Emil Jannings's puritanical professor interposes himself between his impressionable students and a cabaret artiste called Lola-Lola; but in so doing he succumbs himself to the spell of this pitiless femme fatale, and he sinks lower and lower in order just to be near her, donning clown makeup, crowing like a rooster, and peddling erotic postcards of his aloof inamorata. Josef von Sternberg's lugubrious love ballad, which first brought Marlene Dietrich to the attention of American audiences, moves with the weight of ineluctable doom. (1930) — Duncan Shepherd
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