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They remain as deep and spacious as ever. Rather, his consciousness of their distance and illusory nature grows. On their very wedding night Dietrich separates herself from Jannings with a veil. His relation to her becomes more purely visual as he goes through hell; the scope of his experience grows and grows, his vision becomes stronger and clearer as his life changes.

Finally he is forced to play a clown in his home town while Dietrich backstage messes with a young actor. The ringmaster steps on stage, but Jannings refuses to come from behind the gauze curtain which partly obscures him.

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Sternberg cuts to high-angle shots of the rowdy audience, instead of stage-level shots which would show Jannings on the same moral plane, and then as Jannings on the same moral plane, and then as Jannings comes on stage to a terrifying long shot of the stage, rectangle of light, surrounded by the darkened hall and crowd. Despite the weight of this darkness, our attention is riveted to the personal drama on the bright stage. This finally proves the ideal and Romantic basis of Sternberg's drama as against its Expressionist surroundings.

As Jannings is forced to crow, we see Dietrich watching him, for the first time in close-up. As she sees his humiliation her cynicism takes on a new depth echoed in the final images of her singing. Jannings charges offstage to kill her; her flight is shot in high-angle, expressing the degree of freedom in even Jannings' most desperate action.

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Indeed, Sternberg cuts away to a doorway rather than showing Jannings being strait-jacketed. Later released, he returns to his old school desk to die the death of all Expressionist heroes. But Sternberg ends the film with shots of Dietrich, the burning Romantic figure and object, so that even in the person of the protagonists Sternberg's system triumphs over the Expressionistic scheme.