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There is no shortage of interesting and complex female characters in the Golden Age of Hollywood, and one outstanding example is Angel, a film that reinvigorated Marlene Dietrich’s stale screen persona following her extended collaboration with Josef von Sternberg. Maria (Dietrich), the bored wife of a British diplomat (Herbert Marshall), travels to Paris for pastime, where she has a fling with a charming gentleman (Melvyn Douglas) who falls in love with her and unexpectedly befriends her husband. When the lover knocks on the door, and the husband suspects, how would Maria handle it? Just like Design for Living, Angel centres around the desire and emotion of its heroine; here, Dietrich is at her most ambiguous, elusive, and alluring.