Shanghai Express (1932) -  Sternberg rightly banking his cinema muse's power avoids any chance of Anna May getting an entrenched foothold. Great support comes in the form of Warner Oland who plays the evil revolutionary leader who tries in on with both gals... but this is all Dietrich and Garmes' exquisite cinematography. This is film mood at its absolute pinnacle - a high-class exotic passenger ride in spacious train cars with thick velour seats - my imagination makes them maroon-ish red. A masterpiece.

Excerpt from Gary Tooze's review located HERE

Blonde Venus (1932) - Mainly noted for Dietrich singing 'Hot Voodoo' in a gorilla suit, this otherwise unremarkable and dull star vehicle has the pouty one turn night-club singer paying for her ailing husband Marshall's European cure. When she spots politician playboy Grant, she has a better idea, preferring a love-less relationship to the hard life of nightclub singing. Meandering between social realism and flights of fancy, the film which looks lavish but lacks a convincing plot. Grant seems lost. Dietrich can at least burst into song every other reel or so; nevertheless, this was a mere rest stop in her career.

Excerpt from Channel 4 located HERE    

The Devil Is a Woman (1935) - Josef von Sternberg's final collaboration with Marlene Dietrich (1935) was out of circulation for many years, withheld by Paramount at the request of the Spanish government, which objected to the portrayal of the nation's officials as doom-ridden romantics. But the material world, of Spain or anywhere else, has little to do with Sternberg's creation, which remains one of the most coldly beautiful films ever made. Sternberg's universe is a realm of textures, shadows, and surfaces, which merge and separate in an erotic dance.

 Excerpt from Dave Kehr's review at the Chicago Reader located HERE

Destry Rides Again (1939) - Marvellous comedy Western, with Stewart's pacifist, reputedly wimpy marshal taming the lawless town of Bottleneck by means of words and jokes rather than the gun Donlevy's villain repeatedly provokes him to use. What is remarkable about the film is the way it combines humour, romance, suspense and action so seamlessly (with individual scenes - Dietrich singing 'See What the Boys in the Back Room Will Have', Stewart's delicious parable about a homicidal orphan, Mischa Auer losing his pants - indelibly printed in the memory). Flawless performances, pacy direction and a snappy script place it head and shoulders above virtually any other spoof oater.

Excerpt from TimeOut Film Guide located HERE     

The Lady Is Willing (1942) - A spendthrift stage star (Dietrich) astonishes her entourage (MacMahon, Ridges, Canty) by deciding to raise a foundling baby. Her instant motherhood is as impractical as it is impulsive. This brings her into contact with a pediatrician (MacMurray). He is 'the best' at his job though he says that he detests children; his real interest is in research. In order to adopt the baby she proposes a marriage of convenience - he gets research funds, she gets a doctor on the premises. It's a business arrangement: no sex. Of course complications develop, and eventually.

Excerpt from Senses of Cinema located HERE     

A Foreign Affair (1948) - Shot amid the ruins of Berlin, Wilder's satire on the corruption among GIs fraternising with the locals did not go down too well with the Defence Department. Arthur plays a prim congresswoman investigating an army officer (Lund), and when she realises she really has fallen for her man, she has to win him away from the exotic charms of chanteuse Dietrich. This may not be Wilder at his best - the story develops along fairly predictable lines, with Arthur switching her starchy uniform for a glistening evening gown - but there are some precious set pieces, notably a seduction among a row of filing cabinets and Dietrich's club act, not to mention a crackling script.