is susceptible to the charms of attractive women. Alison Skipworth as Señora Pérez: Concha's scheming mother. Cesar Romero as Antonio Galvan: A young bourgeois revolutionary, one step ahead of Seville's police. He is narcissistic, yet good-natured, and lucky with women. Don Alvarado as Morenito Tempe Pigott as Tuerta Luisa Espinel as Gypsy Dancer (uncredited) Production Notes When Sternberg embarked upon filming The Devil Is a Woman, Paramount was experiencing falling profits. His latest film, the lavishly produced The Scarlet Empress, had proved unpopular with the public. Devil was completed on February 6, 1935, premiered without fanfare in March, and released to general audiences in May. Incoming production manager Ernst Lubitsch (who was replacing Ben Schulberg) announced that Sternberg's contract with Paramount would not be renewed. The original title proposed by Sternberg for the film was Caprice Espagnol, a reference to Russian composer Rimsky-Korsakov's orchestral suite Capriccio Espagnol, of which several selections accompany the film. Lubitsch changed the title to The Devil Is a Woman. Sternberg later remarked: "Though Mr. Lubitsch’s poetic intention to suggest altering the sex of the devil was meant to aid in selling the picture, it did not do so." Approximately seventeen minutes of footage, including a musical number in which Dietrich sang "If It Isn't Pain (It Isn't Love)", was cut from the film, reducing the total running time to 79 minutes. Presumed for a time to be a lost film, a copy of the work was provided by Sternberg for a screening at the 1959 Venice Film Festival, and The Devil Is a Woman received a limited re-release in 1961. Reception On May 5, 1935, The New York Times surprised the studio with a remarkably positive review, describing the film "as the best product of the Dietrich-Sternberg alliance since The Blue Angel." The Devil Is a Woman is the last of Sternberg's seven quasi-autobiographical films featuring his star and muse, Marlene Dietrich. A box-office failure, panned by most contemporary critics for its perceived "caviar aestheticism and loose morals", the film's highly sophisticated rendering of a conventional romantic conceit left most audiences confused or bored. Censorship: Spain and US Department of State Upon its release, the Spanish Embassy issued protests to the US government that led Paramount to withdrawal the film from circulation and destroy available prints. The US Department of State also, with Spanish and American trade agreements in mind, pressured Paramount Pictures to stage