Surely iconic, Shanghai Express is to be watched in a psychotropic mood of fascination or terminal, bridge-burning melancholy. Formal, uncommitted, an-intense, non-seducing, transported beyond critical negativity (its human interactions are either arthritic like society games of manners or wearing their hearts on starched sleeves) & positive feedback, it is a piece of film DNA & early example of hyperrealism that may
The combination of two actresses of blazing potency, bits of smart (and smarting) dialogue from Furthman's script, the photography (which we must attribute to both Lee Garmes and von Sternberg), radical cutting, and of course the busy mise-en-scène, mean that SHANGHAI EXPRESS found me w/ my jaw regularly gaping. You wouldn't think it possible, but von Sternberg takes his peerless work w/ light to a whole new level.
After an underwhelming run of catching up on this year's Oscar contenders, it was refreshing to revisit a classic of pre-Code Hollywood weirdness. Don't go into a Sternberg movie expecting an airtight tale of intrigue. His method is more to drop a woman like Marlene Dietrich—not to mention Anna May Wong—into the middle of a flimsy plot whose action is ostensibly driven by (much less interesting) men. A wet nightmare.
Esta pelicula contiene unos los mejores encuadres de Marlene Dietrich en el cine y la escencia de los personajes que la hizo la famosa femme fatale del cine. Lo mejor es el descenlace de una pelicula que parece no va a ninguna parte, con un ritmo soso y personajes de relleno. Destaca la fotografía y el sonido, un constante sonar del tren sobre los dialogos.