Lida Baarova was a Czech-born actress whose talents propelled her to the forefront of 1930’s German cinema. Hollywood took notice and offered her a contract which she declined, for she was in love with two married men. The first was Gustav Frohlich, her handsome frequent co-star. The other was a short, limping Nazi by the name of Joseph Goebbels.

“I have loved a criminal” an aged Baarova dramatically announces, “but that is not a crime.” Whilst being interviewed in Salzburg in the year 2000, Baarova recalls her time before the outbreak of WWII. There is an ambiguous quality to these later scenes, enhanced by Zdenka Procházková’s sly performance, which is sadly lacking in the flashback scenes that make up the bulk of the film. We know, for instance, that Baarova’s mother is living out her dreams through her daughter because we are explicitly told so.

It is a frustrating lack of understatement that permeates the entire film. A handsome production of an intriguing story is repeatedly thwarted by dialogue and a musical score that has all the subtlety of one of Goebbel’s propaganda films. Indicative of this is when the actress and the Nazi consummate their love. As Baarova wraps her legs around Goebbels’ antiquated leg brace shielding his deformed foot (cloven hoof?) she stares into the fireplace to see their images burning in hell.

Which shouldn't be surprising, given every other character in the film tells Baarova she is playing with fire.