Der Blaue Engel full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Immanuel Rath (Emil Jannings) is an educator at the local Gymnasium (a college preparatory high school) in Weimar Germany. The boys disrespect him and play pranks on him. Rath punishes several of his students for circulating photographs of the beautiful Lola Lola (Marlene Dietrich), the headliner for the local cabaret, "The Blue Angel". Hoping to catch the boys at the club, Rath goes there later that evening. He does finds some student there, but while chasing them, he also finds Lola backstage and sees her partially disrobing. When he returns to the cabaret the following evening to return a pair of panties that were smuggled into his coat by one of his students, he ends up staying the night with her. The next morning, reeling from his night of passion, Rath arrives late to school to find his classroom in chaos; the principal is furious and threatens to fire Rath.

Rath gives up his position at the gymnasium to marry Lola. Their happiness is short-lived, however, as Rath becomes humiliatingly dependent on Lola. Over several years, he sinks lower and lower, first selling dirty postcards, and then becoming a clown in Lola's troupe to pay the bills. His growing insecurities about Lola's profession as a "shared woman" eventually consume him with lust and jealousy.

The troupe returns to his hometown and The Blue Angel, where everyone turns out to see the professor they knew play a clown. Once onstage, Rath is humiliated, not only by a magician who breaks eggs on his head, but also by seeing Lola embrace and kiss the strongman Mazeppa. He is enraged to the point of insanity. He attempts to strangle Lola, but the strongman and others subdue him and lock him in a straitjacket.

Later that night, Rath is released. He leaves and goes to his old classroom. Rejected, humiliated, and destitute, he dies clutching the desk at which he once taught.

• "Ich bin von Kopf bis Fuß auf Liebe eingestellt" ("Falling in Love Again (Can't Help It)")
  • music and lyrics by Friedrich Hollaender, sung by Marlene Dietrich
• "Ich bin die fesche Lola" ("They Call Me Naughty Lola")
  • music by Friedrich Hollaender, lyrics by Robert Liebmann, sung by Marlene Dietrich
• "Nimm Dich in Acht vor blonden Frau'n" ("Those Charming Alarming Blond Women")
  • music by Friedrich Hollaender, lyrics by Richard Rillo, sung by Marlene Dietrich
• "Kinder, heut' abend, da such' ich mir was aus" ("A Man, Just a Regular Man")
  • music by Friedrich Hollaender, lyrics by Robert Liebmann, sung by Marlene Dietrich
• "Ein Mädchen oder Weibchen wünscht Papageno sich!" ("A Girl or a Little Wife, Wishes Papageno")
  • by Wolfgang Amadeus Mozart, from the opera The Magic Flute

By 1929, Sternberg had completed a number of films for Paramount, none of which were box office successes. Fortunately for Sternberg, Paramount's sister studio in Germany, UFA, offered him the opportunity to direct Emil Jannings in his first sound film. Jannings was the Oscar-winning star of Sternberg's 1928 movie The Last Command, and had specially requested Sternberg's participation, despite an "early clash of temperaments" on the set.

Though The Blue Angel and Morocco, both from 1930, are often cited as his first sound films, Sternberg had already directed "a startling experiment" in asynchronous sound techniques with his 1929 Thunderbolt.

Singer Lucie Mannheim was favored by UFA producer Erich Pommer for the part of Lola, with support from leading man Emil Jannings, but Sternberg vetoed her as insufficiently glamorous for a major production. Sternberg also turned down author Mann's actress-girlfriend Trude Hesterberg. Brigitte Helm, seriously considered by Sternberg, was not available for the part. Sternberg and Pommer settled on stage and film actress Käthe Haack for the amount of 25,000 Deutschmarks.

Biographer Herman G. Weinberg, citing Sternberg's memoirs (1966) reports that the director had his first look at the 29-year-old Marie Magdalene "Marlene" Dietrich at a music revue named the Zwen Kravatten (Two Neckties), produced by dramatist Georg Kaiser. Film historian John Baxter corrects this account, acknowledging that Sternberg attended the show, but only after he had selected Dietrich for the role of Lola-Lola. Baxter cites John Kahan's version of the events surrounding Sternberg's "discovery":

One day, Liebmann, Pommer and myself were discussing certain things, when suddenly from the Reception a man came in and said, 'There is a young lady. She has a letter from Dr. Vollmoeller for Mr. Pommer.' Vollmoeller had given Marlene a letter of introduction asking Pommer to give her some small part in the picture. And when Marlene entered the door, Sternberg jumped up and said "Erich, this is Lola!' He smelt it, instinctively; this was how his mind worked. And Pommer said, 'But Jo, what about the contract with Käthe Haack? She could sue' 'Talk to her, pay her off' Sternberg said. 'It will pay back.' So Pommer rang Käthe Haack, who was a very nice, decent girl. She didn't sue; she resigned and accepted her fee.

John Kahan described Dietrich as "a second-rate actress" before Sternberg's intervention, and Baxter comments on "the awkward shape of her nose and her stage presence...'bovine and charmless.'".

Sternberg began immediately to groom her into "the woman he saw she could become" despite her defects. The Blue Angel, largely a musical, required that Dietrich, who had "no singing voice at all" learn to vocalize and a coach was hired. She would learn her lines for the English version by recitation.

Critic Andrew Sarris remarks on the irony of this singular director-actress relationship: "Josef von Sternberg is too often subordinated to the mystique of Marlene Dietrich...the Svengali-Trilby publicity that enshrouded The Blue Angel – and the other six Sternberg-Dietrich film collaborations – obscured the more meaningful merits not only of these particular works but of Sternberg's career as a whole."

After arriving at Berlin's UFA studios, Sternberg declined an offer to direct a film about Rasputin, the former Russian spiritual advisor to the family of Czar Nicholas II. He was intrigued, however, by a story from socialist reformer Heinrich Mann entitled Professor Unrat (Professor Filth) (1905), which critiques "the false morality and corrupt values of the German middle class" and agreed to adapt it.

The narrative of Mann's story was largely abandoned by Sternberg (with the author's consent), retaining only scenes describing an affair between a college professor of high rectitude who becomes infatuated with a promiscuous cabaret singer. During the filming, Sternberg altered dialog, added scenes and modified cast characterizations that "gave the script an entirely new dimension." The Professor's descent from sexual infatuation to jealous rage and insanity was entirely the director's invention.

In order to maximize the films profitability, The Blue Angel was filmed in both German and English, each shot in tandem for efficiency. The shooting spanned 11-weeks, from Novernber 4, 1929 to January 22, 1930 at an estimated budget of $500,000, remarkably high for a UFA production of that period.

During filming, although he was still the nominal star of the film (with top billing), Jannings could see the growing closeness between Sternberg and Dietrich and the care the director took in presenting her, and the actor became jealous, engaging in histrionics and threatening to quit the production. The Blue Angel was to be his last great cinematic moment; i