Marlene Dietrich
Dietrich in 1951
Born Marie Magdalene Dietrich
(1901-12-27)27 December 1901
Schöneberg, Brandenburg, Germany
Died 6 May 1992(1992-05-06) (aged 90)
Paris, France
Resting place Städtischer Friedhof III, Berlin-Schöneberg
Occupation Actress, singer
Years active 1919–1984
Spouse(s) Rudolf Sieber
(m. 1923–1976; his death)
Children Maria Riva, born (1924-12-13) 13 December 1924
Relatives John Michael Riva (grandson), (1948–2012)[1] Peter Riva (grandson)
Website .commarlene

Marie Magdalene "Marlene" Dietrich (, German pronunciation: ; 27 December 1901 – 6 May 1992)[2] was a German-American actress and singer.

Dietrich maintained popularity throughout her unusually long show business career by continually re-inventing herself, professionally and characteristically. In 1920s Berlin, she acted on the stage and in silent films. Her performance as Lola-Lola in The Blue Angel (1930), directed by Josef von Sternberg, brought her international fame resulting in a contract with Paramount Pictures. Dietrich had starring roles in Hollywood films such as Shanghai Express (1932) and Desire (1936). Dietrich successfully traded on her glamorous persona and "exotic" (to Americans) looks, cementing her super-stardom and becoming one of the highest-paid actresses of the era. Dietrich became a U.S. citizen in 1939,[3] and throughout the Second World War she was a high-profile frontline entertainer. Although she still made occasional films after the end of the Second World War, Dietrich spent most of the 1950s to the 1970s touring the world as a marquee live-show performer.

In 1999, the American Film Institute named Dietrich the ninth-greatest female star of classic Hollywood cinema.[4]

Childhood

Location of Marlene Dietrich's & Alfred Lion's birthplace on the Rote Insel
Her birthplace in Leberstraße 65, Berlin-Schöneberg

Marie Magdalene Dietrich was born on 27 December 1901 in Leberstrasse 65 on the Rote Insel in Schöneberg, now a district of Berlin, Germany. She was the younger of two daughters (her sister Elisabeth was a year older) of Wilhelmina Elisabeth Josephine (née Felsing) and Louis Erich Otto Dietrich, who married in December 1898. Dietrich's mother was from a well-to-do Berlin family who owned a jeweller and clockmaking firm, and her father was a police lieutenant who died in 1907.[5] His best friend Eduard von Losch, an aristocratic first lieutenant in the Grenadiers, courted Wilhelmina and married her in 1916, but he died soon afterward from injuries sustained during the First World War.[6] Eduard von Losch never officially adopted the Dietrich girls, so Dietrich's surname was never von Losch, as has sometimes been claimed. Her family nicknamed her "Lena" and "Lene" (pronounced Lay-neh). Around age 11, she contracted her two first names to form the name "Marlene".

Dietrich attended the Auguste-Viktoria Girls' School from 1907 to 1917[7] and graduated from the Victoria-Luise-Schule (today Goethe-Gymnasium Berlin-Wilmersdorf) in 1918.[8] She studied the violin[9] and became interested in theatre and poetry as a teenager. Her dreams of becoming a concert violinist were curtailed when she injured her wrist,[10] but by 1922 she had her first job, playing violin in a pit orchestra that accompanied silent films at a cinema in Berlin. However, she was sacked after only four weeks.[11]

Film career

Beginnings

Even at the start of her film career, Dietrich would often include masculine clothes in her wardrobe, giving herself an androgynous quality.[12]
[13]

Her earliest professional stage appearances were as a chorus girl on tour with Guido Thielscher's Girl-Kabarett, vaudeville-style entertainments, and in Rudolf Nelson revues in Berlin.[14] In 1922, Dietrich auditioned unsuccessfully for theatrical director and impresario Max Reinhardt's drama academy;[15] however, she soon found herself working in his theatres as a chorus girl and playing small roles in dramas, without attracting any special attention at first. She made her film debut playing a bit part in the film, The Little Napoleon (1923).[16]

She met her future husband, Rudolf Sieber, on the set of another film made that year, Tragödie der Liebe. Dietrich and Sieber were married in a civil ceremony in Berlin on 17 May 1923.[17] Her only child, daughter Maria Elisabeth Sieber, was born on 13 December 1924.[18]

Dietrich continued to work on stage and in film both in Berlin and Back to Methuselah[21] and Misalliance.[22] It was in musicals and revues, such as Broadway, Es Liegt in der Luft, and Zwei Krawatten, however, that she attracted the most attention. By the late 1920s, Dietrich was also playing sizable parts on screen, including Café Elektric (1927), Ich küsse Ihre Hand, Madame (1928) and Das Schiff der verlorenen Menschen (1929).[23]

Breakthrough

In 1929, Dietrich landed the breakthrough role of Lola Lola, a sexy cabaret singer who causes the downfall of a hitherto respected schoolmaster, in UFA's production The Blue Angel (1930). Josef von Sternberg directed the film and thereafter took credit for having "discovered" Dietrich. The film is also noteworthy for having introduced Dietrich's signature song "Falling in Love Again", which she recorded for Electrola and later made further recordings in the 1930s for Polydor and Decca Records.

Success in the United States

In 1930, on the strength of The Blue Angel's international success, and with encouragement and promotion from von Sternberg, who was already established in Hollywood, Dietrich then moved to the United States under contract to Paramount Pictures. The studio sought to market Dietrich as a German answer to Metro-Goldwyn-Mayer's Swedish sensation, Greta Garbo.

Von Sternberg welcomed her with gifts including a green Rolls-Royce Phantom II. The car later appeared in their first US film Morocco.[24]

A still from Shanghai Express (1932). Josef von Sternberg used butterfly lighting to enhance Dietrich's features. This photograph was cited by Mick Rock as the inspiration for the iconic Queen II album cover.
Dietrich starred in six films directed by von Sternberg at Paramount between 1930 and 1935. von Sternberg worked effectively with Dietrich to create the image of a glamorous femme fatale. He encouraged her to lose weight and coached her intensively as an actress—she, in turn, was willing to trust him and follow his sometimes imperious direction in a way that a number of other performers resisted.[25]

Their first American collaboration, Morocco (1930), again cast her as a cabaret singer; the film is best remembered for the sequence in which she performs a song dressed in a man's white tie and kisses another woman, both provocative for the era. The film earned Dietrich her only Academy Award nomination.

Morocco was followed by Dishonored (1931), a major success, with Dietrich as a Mata Hari-like spy, and Blonde Venus (1932), a critical and box office failure. Shanghai Express (1932), which was dubbed, by the critics, as "Grand Hotel on wheels", was von Sternberg and Dietrich's biggest box office success, becoming the highest-grossing film of 1932. Dietrich worked without von Sternberg for the first time in three years in the romantic drama Song of Songs (1933), playing a naive German peasant, under the direction of Rouben Mamoulian. Dietrich and von Sternberg's last two films, The Scarlet Empress (1934) and The Devil Is a Woman (1935)—the most stylized of their collaborations—were their lowest-grossing films. Dietrich later remarked that she was at her most beautiful in The Devil Is a Woman.[26]

A crucial part of the overall effect was created by von Sternberg's exceptional skill in lighting and photographing Dietrich to optimum effect—the use of light and shadow, including the impact of light passed through a veil or slatted blinds (as for example in Shanghai Express)—which, when combined with scrupulous attention to all aspects of set design and costumes, make this series of films among the most visually stylish in cinema history.[27] Critics still vigorously debate how much of the credit belonged to von Sternberg and how much to Dietrich, but most would agree that neither consistently reached such heights again after Paramount fired von Sternberg and the two ceased working together.[28] The collaboration of one actress and director creating seven films is still unmatched in cinema history.[13]

Dietrich's first film after the end of her partnership with von Sternberg was Frank Borzage's Desire (1936), a commercial success that gave Dietrich an opportunity to try her hand at romantic comedy. Her next project, I Loved a Soldier (1936), ended in a shambles when the film was scrapped several weeks into production due to script problems, scheduling confusion and the studio's decision to fire the director, Ernst Lubitsch.[29]

"Box office poison"

Extravagant offers lured Dietrich away from Paramount to make her first color film The Garden of Allah (1936) for independent producer David O. Selznick, receiving $200,000, and to Britain for Alexander Korda's production, Knight Without Armour (1937), at a salary of $450,000. Although she was now one of the best paid film stars, her vehicles were costly to produce and her public popularity had declined. By this time, Dietrich placed 126th in box office rankings, and American film exhibitors proclaimed her "box office poison" in May 1938, a distinction she shared with Greta Garbo, Joan Crawford, Mae West, Katharine Hepburn, and Fred Astaire among others.

While she was in London, officials of the Nazi Party approached Dietrich and offered her lucrative contracts, should she agree to return to Germany as a foremost film star in the Third Reich. She refused their offers and applied for US citizenship in 1937.[30]

She returned to Paramount to make Angel (1937), a romantic comedy directed by Ernst Lubitsch; reception to the film was unfavorable, leading Paramount to buy out the remainder of Dietrich's contract. When film projects at other studios fell through, Dietrich and her family set sail for an extended holiday in Europe.

Revival and later film career

In 1939, with encouragement from von Sternberg, she accepted producer Joe Pasternak's offer—and a significant pay cut—to play against type in her first film in two years: that of the cowboy saloon girl, Frenchie, in the western-comedy Destry Rides Again, opposite James Stewart. Pasternak had tried to sign Marlene to Universal Studios after the release of "The Blue Angel." The bawdy role revived her career and "See What the Boys in the Back Room Will Have", a song she introduced in the film, became a hit when she recorded it for Decca. She played similar types in Seven Sinners (1940) and The Spoilers (1942), both opposite John Wayne.

While Dietrich never fully regained her former screen success, she continued performing in motion pictures, including appearances for such distinguished directors as Alfred Hitchcock, Fritz Lang, Orson Welles, and Billy Wilder, in films that included A Foreign Affair (1948), Stage Fright (1950), Rancho Notorious (1952), Witness for the Prosecution (1957), and Touch of Evil (1958).

Second World War

Marlene Dietrich signing a soldier's cast in Belgium, 1944.

Dietrich was known to have strong political convictions and the mind to speak them. In interviews, Dietrich stated that she had been approached by representatives of the Nazi Party to return to Germany but had turned them down flat. Dietrich, a staunch anti-Nazi, became an American citizen in 1939.[2] In December 1941, the U.S. entered the Second World War, and Dietrich became one of the first celebrities to raise war bonds. She toured the US from January 1942 to September 1943 (appearing before 250,000 troops on the Pacific Coast leg of her tour alone) and was reported to have sold more war bonds than any other star.[31][32]

During two extended tours for the aus Anstand"—"out of decency". Her revue, with Danny Thomas as her opening act, included songs from her films, performances on her musical saw (a skill she had originally acquired for stage appearances in Berlin in the 1920s) and a pretend "mindreading" act. Dietrich would inform the audience that she could read minds and ask them to concentrate on whatever came into their minds. Then she would walk over to a soldier and earnestly tell him, "Oh, think of something else. I can't possibly talk about that!" American church papers reportedly published stories complaining about this part of Dietrich's act.[31]

In 1944, the Morale Operations Branch of the Office of Strategic Services (OSS) initiated the Musak project, musical propaganda broadcasts designed to demoralise enemy soldiers.[33] Dietrich, the only performer who was made aware that her recordings would be for OSS use, recorded a number of songs in German for the project, including "Lili Marleen", a favorite of soldiers on both sides of the conflict.[34] Major General William J. Donovan, head of the OSS, wrote to Dietrich, "I am personally deeply grateful for your generosity in making these recordings for us."[35]

At the war's end in Europe, Dietrich reunited with her sister Elisabeth and her sister's husband and son. They had resided in the German city of Belsen throughout the war years, running a cinema for Nazi officers and officials who oversaw the Bergen-Belsen concentration camp. Dietrich's mother remained in Berlin during the war, her husband moved to a ranch in the San Fernando Valley of California. Dietrich interceded with Allied officials on behalf of her relatives, sheltering them from possible prosecution as Nazi collaborators.[36] Dietrich was awarded the Medal of Freedom by the US in 1945. She said this was her proudest accomplishment.[33] She was also awarded the Légion d'honneur by the French government as recognition for her wartime work.[37]

Stage and cabaret

Dietrich often performed parts of her show in top hat and tails. Caricature by Hans Georg Pfannmüller showing Dietrich during a cabaret performance in 1954.
From the early 1950s until the mid-1970s, Dietrich worked almost exclusively as a highly paid cabaret artist, performing live in large theatres in major cities worldwide.

In 1953, Dietrich was offered a then-substantial $30,000 per week[38] to appear live at the Sahara Hotel[39] on the Las Vegas Strip. The show was short, consisting only of a few songs associated with her.[39] Her daringly sheer "nude dress"—a heavily beaded evening gown of silk soufflé, which gave the illusion of transparency—designed by Jean Louis, attracted a lot of publicity.[39] This engagement was so successful that she was signed to appear at the Café de Paris in London the following year; her Las Vegas contracts were also renewed.[40]

Dietrich employed Burt Bacharach as her musical arranger starting in the mid-1950s; together they refined her nightclub act into a more ambitious theatrical one-woman show with an expanded repertoire.[41] Her repertoire included songs from her films as well as popular songs of the day. Bacharach's arrangements helped to disguise Dietrich's limited vocal range—she was a contralto[42]—and allowed her to perform her songs to maximum dramatic effect;[41] together, they recorded four albums and several singles between 1957 and 1964.[43] In a TV interview in 1971, she credited Bacharach with giving her the "inspiration" to perform during those years.[44]

She would often perform the first part of her show in one of her body-hugging dresses and a swansdown coat, and change to top hat and tails for the second half of the performance.[45] This allowed her to sing songs usually associated with male singers, like "One for My Baby" and "I've Grown Accustomed to Her Face".[41]

"She ... transcends her material," according to Peter Bogdanovich. "Whether it's a flighty old tune like 'I Can't Give You Anything But Love, Baby' ... a schmaltzy German love song, 'Das Lied ist Aus' or a French one 'La Vie en Rose', she lends each an air of the aristocrat, yet she never patronises ... A folk song, 'Go 'Way From My Window' has never been sung with such passion, and in her hands 'Where Have All the Flowers Gone?' is not just another anti-war lament but a tragic accusation against us all."[46]

Francis Wyndham offered a more critical appraisal of the phenomenon of Dietrich in concert. He wrote in 1964: "What she does is neither difficult nor diverting, but the fact that she does it at all fills the onlookers with wonder ... It takes two to make a conjuring trick: the illusionist's sleight of hand and the stooge's desire to be deceived. To these necessary elements (her own technical competence and her audience's sentimentality) Marlene Dietrich adds a third—the mysterious force of her belief in her own magic. Those who find themselves unable to share this belief tend to blame themselves rather than her."[47]

Her use of body-sculpting undergarments, nonsurgical temporary facelifts, expert makeup and wigs,[48] combined with careful stage lighting,[40] helped to preserve Dietrich's glamorous image as she grew older.

Marlene Dietrich, 1960
Dietrich in Jerusalem during a tour in Israel, 1960

Marlene Dietrich discusses her film and cabaret career in an interview recorded in Paris, 1959.

Dietrich's return to Germany in 1960 for a concert tour elicited a mixed response. Many Germans felt she had betrayed her homeland by her actions during the Second World War. During her performances at Berlin's Titania Palast theatre, protesters chanted, "Marlene Go Home!"[49] On the other hand, Dietrich was warmly welcomed by other Germans, including Berlin Mayor Willy Brandt, who was, like Dietrich, an opponent of the Nazis who had lived in exile during their rule.[49] The tour was an artistic triumph, but a financial failure.[49] She also undertook a tour of Israel around the same time, which was well-received; she sang some songs in German during her concerts, including, from 1962, a German version of Pete Seeger's anti-war anthem "Where Have All the Flowers Gone", thus breaking the unofficial taboo against the use of German in Israel.[48] Dietrich in London, a concert album, was recorded during the run of her 1964 engagement at the Queen's Theatre.[50]

She performed on Broadway twice (in 1967 and 1968) and won a special Tony Award in 1968. In November 1972, I Wish You Love, a version of Dietrich's Broadway show titled An Evening With Marlene Dietrich, was filmed in London.[51] She was paid $250,000 for her cooperation but was unhappy with the result. The show was broadcast in the UK on the BBC and in the US on CBS in January 1973.

In her sixties and seventies, Dietrich's health declined: she survived cervical cancer in 1965[52] and suffered from poor circulation in her legs.[48] Dietrich became increasingly dependent on painkillers and alcohol.[48] A stage fall at the Shady Grove Music Fair in Maryland in 1973 injured her left thigh, necessitating skin grafts to allow the wound to heal.[53] She fractured her right leg in August 1974.[54] "Do you think this is glamorous? That it's a great life and that I do it for my health? Well it isn't. Maybe once, but not now," Dietrich told Clive Hirschhorn in 1973, explaining that she continued performing only for the money.[55]

Final years and death

Dietrich's show business career largely ended on 29 September 1975, when she fell off the stage and broke her thigh during a performance in Sydney, Australia.[56] The following year, her husband, Rudolf Sieber, died of cancer on 24 June 1976.[57]

Dietrich's gravestone in Berlin. The inscription reads "Hier steh ich an den Marken meiner Tage" (literally: "Here I stand at the marks of my days"), a line from the sonnet "Abschied vom Leben" ("Farewell to Life") by Theodor Körner.
Dietrich's final on-camera film appearance was a cameo role in Just a Gigolo (1979), starring David Bowie and directed by David Hemmings, in which she sang the title song.

An alcoholic dependent on painkillers, Dietrich withdrew to her apartment at 12 Avenue Montaigne in Paris. She spent the final 11 years of her life mostly bedridden, allowing only a select few—including family and employees—to enter the apartment. During this time, she was a prolific letter-writer and phone-caller. Her autobiography, Nehmt nur mein Leben (Take Just My Life), was published in 1979.

In 1982, Dietrich agreed to participate in a documentary film about her life, Marlene (1984), but refused to be filmed. The film's director, Maximilian Schell, was allowed only to record her voice. He used his interviews with her as the basis for the film, set to a collage of film clips from her career. The final film won several European film prizes and received an Academy Award nomination for Best Documentary in 1984. Newsweek named it "a unique film, perhaps the most fascinating and affecting documentary ever made about a great movie star".[58]

In 1988, Dietrich recorded spoken introductions to songs for a nostalgia album by Udo Lindenberg.[59]

In an interview with the German magazine Der Spiegel in November 2005, Dietrich's daughter and grandson claim that Dietrich was politically active during these years.[60] She kept in contact with world leaders by telephone, including Ronald Reagan and Mikhail Gorbachev, running up a monthly bill of over US$3,000. In 1989, her appeal to save the Babelsberg studios from closure was broadcast on BBC Radio, and she spoke on television via telephone on the occasion of the fall of the Berlin Wall later that year.

On 7 May 1992, Dietrich died of renal failure at her flat in Paris at age 90.[61] Her funeral ceremony was conducted at La Madeleine in Paris, a Roman Catholic church (despite Dietrich having been an atheist) on 14 May 1992.[62]

Dietrich's funeral service was attended by approximately 1,500 mourners in the church itself—including several ambassadors from Germany, Russia, the US, the UK and other countries—with thousands more outside. Her closed coffin rested beneath the altar draped in the French flag and adorned with a simple bouquet of white wildflowers and roses from the French President, François Mitterrand. Three medals, including France's Legion of Honour and the US Medal of Freedom, were displayed at the foot of the coffin, military style, for a ceremony symbolising the sense of duty Dietrich embodied in her career as an actress, and in her personal fight against Nazism. Her daughter placed a wooden crucifix, a St. Christopher's medal and a locket enclosing photos of Dietrich's grandsons in the coffin.[63] The officiating priest remarked: "Everyone knew her life as an artist of film and song, and everyone knew her tough stands... She lived like a soldier and would like to be buried like a soldier".[64][65] By a coincidence of fate her picture was used in the Cannes Film Festival poster that year which was currently pasted up all over Paris.[66]

After the fall of the Berlin Wall, Dietrich instructed in her will that she was to be buried in her birthplace, Berlin, near her family; on 16 May her body was flown there to fulfill her wish.[61] Dietrich was interred at the Städtischer Friedhof III, Berlin-Schöneberg,[67] next to the grave of her mother, Josefine von Losch, and near the house where she was born.[64]

Personal life

Unlike her professional celebrity, which was carefully crafted and maintained, Dietrich's personal life was kept out of public view. Dietrich, who was bisexual, quietly enjoyed the thriving gay scene of the time and drag balls of 1920s Berlin.[68] She also defied conventional gender roles through her boxing at Turkish trainer and prizefighter Sabri Mahir’s boxing studio in Berlin, which opened to women in the late 1920s. As Austrian writer Hedwig (Vicki) Baum recalls in her memoir, "I don't know how the feminine element sneaked into those masculine realms [the boxing studio], but in any case, only three or four of us were tough enough to go through with it (Marlene Dietrich was one)."[69]

She was married only once, to assistant director Rudolf Sieber, who later became an assistant director at Paramount Pictures in France, responsible for foreign language dubbing. Dietrich's only child, Maria Elisabeth Sieber, was born in Berlin on 13 December 1924. She would later become an actress, primarily working in television, known as Maria Riva. When Maria gave birth to a son (John, a famous production designer) in 1948, Dietrich was dubbed "the world's most glamorous grandmother". After Dietrich's death, Riva published a frank biography of her mother, titled Marlene Dietrich (1992).[70]

Throughout her career Dietrich had an unending string of affairs, some short-lived, some lasting decades; they often overlapped and were almost all known to her husband, to whom she was in the habit of passing the love letters of her men, sometimes with biting comments.[71] When Dietrich filmed John F. Kennedy and John Wayne among her conquests.[74] Dietrich maintained her husband and his mistress first in Europe and later on a ranch in San Fernando Valley, California.

Dietrich's family brought her up to follow the Lutheran religion, but she lost her faith due to battlefront experiences during her time with the US Army as an entertainer, after hearing preachers from both sides invoking God as their support. "I lost my faith during the war and can't believe they are all up there, flying around or sitting at tables, all those I've lost."[75] She once said: "If God exists, He needs to review his plan."[76]

However, according to her daughter, Maria Riva, Dietrich always travelled with a satchel containing many religious medallions (e.g., St. Christopher, etc.), showing her desire to keep her faith.[77] Also, during her reclusive twilight years in Paris, Dietrich converted to and strongly embraced Roman Catholicism. On 14 May 1992, her funeral ceremony was performed at her favorite Parisian church, La Madeleine.[62]

Image and legacy

German stamp issued in 1997 in the Women in German history series

Dietrich was a fashion icon to the top designers as well as a screen icon that later stars would follow. She once said, "I dress for myself. Not for the image, not for the public, not for the fashion, not for men."[78] Her public image included openly defying sexual norms, and she was known for her androgynous film roles and her bisexuality.[79]

A significant volume of academic literature, especially since 1975, analyses Dietrich's image, as created by the film industry, within various theoretical frameworks, including that of psycho-analysis. Emphasis is placed, inter alia, on the "fetishistic" manipulation of the female image.[80]

Commemorative Plaque at her birth-house in Berlin

In 1992, a plaque was unveiled at Leberstraße 65 in Berlin-Schöneberg, the site of Dietrich's birth. A postage stamp bearing her portrait was issued in Germany on 14 August 1997.

Luxury pen manufacturer MontBlanc produced a limited edition "Marlene Dietrich" pen to commemorate Dietrich's life. It is platinum-plated and has an encrusted deep blue sapphire.

Pop singer Madonna references Dietrich in her hit song, "Vogue."

For some Germans, Dietrich remained a controversial figure for having sided with Nazi Germany's foes during the Second World War. In 1996, after some debate, it was decided not to name a street after her in Berlin-Schöneberg, her birthplace.[81] However, on 8 November 1997, the central Marlene-Dietrich-Platz was unveiled in Berlin to honour her. The commemoration reads: Berliner Weltstar des Films und des Chansons. Einsatz für Freiheit und Demokratie, für Berlin und Deutschland ("Berlin world star of film and song. Dedication to freedom and democracy, to Berlin and Germany").

Dietrich was made an honorary citizen of Berlin on 16 May 2002. Translated from German, her memorial plaque reads

Berlin Memorial Plaque

"Tell me, where have all the flowers gone"
Marlene Dietrich
27 December 1901 – 6 May 1992
Actress and Singer
She was one of the few German actresses that attained international significance.
Despite tempting offers by the Nazi regime, she emigrated to the USA and became an American citizen.
In 2002, the city of Berlin posthumously made her an honorary citizen.

"I am, thank God, a Berliner."

Funded by the GASAG Berlin Gasworks Corporation.

The U.S. Government awarded Dietrich the Medal of Freedom for her war work. Dietrich has been quoted as saying this was the honor of which she was most proud in her life. They also awarded her with the Operation Entertainment Medal. The French Government made her a Chevalier (later upgraded to Commandeur) of the Légion d'honneur and a Commandeur of the Ordre des Arts et des Lettres. Her other awards include the Medallion of Honor of the State of Israel, the Fashion Foundation of America award and a Chevalier de l'Ordre de Leopold (Belgium).[82]

In 2000 a German biopic film Marlene was made, directed by Joseph Vilsmaier and starring Katja Flint as Dietrich.[83]

Estate

On 24 October 1993, the largest portion of Dietrich's estate was sold to the Stiftung Deutsche Kinemathek—after U.S. institutions showed no interest—where it became the core of the exhibition at the Lord Snowdon and Edward Steichen; 300,000 pages of documents, including correspondence with Burt Bacharach, Yul Brynner, Maurice Chevalier, Noël Coward, Jean Gabin, Ernest Hemingway, Karl Lagerfeld, Nancy and Ronald Reagan, Erich Maria Remarque, Josef von Sternberg, Orson Welles and Billy Wilder; as well as other items like film posters and sound recordings.[84]

The contents of Dietrich's Manhattan apartment, along with other personal effects such as jewelry and items of clothing, were sold by public auction by Sotheby's (Los Angeles) on 1 November 1997.[85] The apartment itself (located at 993 Park Avenue) was sold for $615,000 in 1998.[86]

Works

Filmography

Discography

Radio

Noteworthy appearances include:

  • Lux Radio Theater: The Legionnaire and the Lady opposite Clark Gable (1 August 1936)
  • Lux Radio Theater: Desire opposite Herbert Marshall (22 July 1937)
  • Lux Radio Theater: song of Songs opposite Douglas Fairbanks, Jr (20 December 1937)
  • The Chase and Sanborn Program with Edgar Bergen and Don Ameche (2 June 1938)
  • Lux Radio Theater: Manpower opposite Edward G Robinson and George Raft (15 March 1942)
  • The Gulf Screen Guild Theater: Pittsburgh opposite John Wayne (12 April 1943)
  • Theatre Guild on the Air: Grand Hotel opposite Ray Milland (24 March 1948)
  • Studio One: Arabesque (29 June 1948)
  • Theatre Guild on the Air: The Letter opposite Walter Pidgeon (3 October 1948)
  • Ford Radio Theater: Madame Bovary opposite Claude Rains (8 October 1948)
  • Screen Director's Playhouse: A Foreign Affair opposite Rosalind Russell and John Lund (5 March 1949)
  • MGM Theatre of the Air: Anna Karenina (9 December 1949)[87]
  • MGM Theatre of the Air: Camille (6 June 1950)
  • Lux Radio Theater: No Highway in the Sky opposite James Stewart (21 April 1952)
  • Screen Director's Playhouse: A Foreign Affair opposite Lucille Ball and John Lund (1 March 1951)
  • The Big Show starring Tallulah Bankhead (2 October 1951)
  • Marlene Dietrich in conversation with J. W. Lambert and Carl Wildman recorded after her season at the Queen's Theatre London, BBC radio, 12 August 1965 (a shorter version had been broadcast on 2 April).
  • The Child, with Godfrey Kenton, radio play by Shirley Jenkins, produced by Richard Imison for the BBC on 18 August 1965
  • Dietrich's appeal to save the Babelsburg studios was broadcast on BBC radio

Dietrich made several appearances on Armed Forces Radio Services shows like The Army Hour and Command Performance during the war years. In 1952, she had her own series on American ABC entitled, Cafe Istanbul. During 1953–54, she starred in 38 episodes of Time for Love on CBS (which debuted 15 January 1953[88]). She recorded 94 short inserts, "Dietrich Talks on Love and Life", for NBC's Monitor in 1958. Dietrich gave many radio interviews worldwide on her concert tours. In 1960, her show at the Tuschinski in Amsterdam was broadcast live on Dutch radio. Her 1962 appearance at the Olympia in Paris was also broadcast.

  • Desert Island Discs, Dietrich asked to choose eight recordings, broadcast Monday 4 January 1965

Writing

See also

Notes

  1. ^
  2. ^ a b
  3. ^ Dietrich applied for US citizenship in 1937 , 6 March 1937.)Painesville Telegraph("Marlene Dietrich to be US Citizen". ; it was granted in 1939 (see , 10 March 1939.The Telegraph Herald"Citizen Soon". and , 14 June 1939Lawrence Journal World"Seize Luggage of Marlene Dietrich". ).
  4. ^
  5. ^
  6. ^ Born as Maria Magdalena, not Marie Magdalene, according to Dietrich's biography by her daughter, Maria Riva titled Marlene Dietrich, ISBN 0-394-58692-1; however Dietrich's bio by Charlotte Chandler, Marlene(2011), ISBN 978-1-4391-8835-4, cites "Marie Magdalene" as her birth name, on page 12
  7. ^ Bach 1992, p. 20.
  8. ^ Bach 1992, p. 26.
  9. ^ Bach 1992, p. 32.
  10. ^ Bach 1992, p. 39.
  11. ^ Bach 1992, p. 42.
  12. ^
  13. ^ a b
  14. ^ Bach 1992, p. 44.
  15. ^ Bach 1992, p. 49.
  16. ^ Bach 1992, p. 491.
  17. ^ Bach, Steven. "Marlene Dietrich: Life and Legend". University of Minnesota Press, 2011. p. 62.
  18. ^ Bach 1992, p. 65.
  19. ^ a b Bach 1992, p. 480.
  20. ^ Bach 1992, p. 482.
  21. ^ Bach 1992, p. 483.
  22. ^ Bach 1992, p. 488.
  23. ^
  24. ^
  25. ^ See e.g., David Thomson (1975). A Biographical Dictionary of the Cinema. London, Secker and Warburg. p. 587: "He was not an easy man to be directed by. Many actors—notably [Emil] Jannings and William Powell—reacted violently to him. Dietrich adored him, and trusted him...."
  26. ^
  27. ^ See, for example, David Thomson, A Biographical Dictionary of the Cinema. London, Secker and Warburg, 1975, entry for Dietrich: "With him [von Sternberg] Dietrich made seven masterpieces [i.e., Blue Angel in Germany and the six in Hollywood], films that are still breathtakingly modern, which have no superior for their sense of artificiality suffused with emotion and which visually combine decadence and austerity, tenderness and cruelty, gaiety and despair."
  28. ^ See, for example, the entries for Dietrich and von Sternberg in David Thomson, A Biographical Dictionary of the Cinema (1975).
  29. ^ Bach 1992, pp. 210-11.
  30. ^
  31. ^ a b c Sudendorf, Werner.
  32. ^
  33. ^ a b
  34. ^
  35. ^
  36. ^
  37. ^
  38. ^ Bach 1992, p. 369.
  39. ^ a b c Bach 1992, p. 368.
  40. ^ a b Bach 1992, p. 371.
  41. ^ a b c Bach 1992, p. 395.
  42. ^
  43. ^
  44. ^ "Marlene Dietrich 1971 Copenhagen Interview" on YouTube, 1/2 hour video
  45. ^ Bach 1992, p. 394.
  46. ^ Morley 1978, p. 69.
  47. ^ O'Connor, 1991. p. 133.
  48. ^ a b c d Bach 1992, p. 406.
  49. ^ a b c Bach 1992, p. 401.
  50. ^ Bach, 1992. p. 526.
  51. ^
  52. ^ Bach 1992, p. 416.
  53. ^ Bach 1992, p. 436.
  54. ^ Bach 1992, p. 437.
  55. ^ Morley 1978, p. 72.
  56. ^ 'Act follows suggestion of song's title', Toledo Blade, Ohio 7 November 1973, p. 37.
  57. ^ "Marlene Dietrich" Retrieved 24 July 2015
  58. ^
  59. ^ Bach, 1992. p 528.
  60. ^
  61. ^ a b
  62. ^ a b "I have given up belief in a God."
  63. ^
  64. ^ a b
  65. ^
  66. ^
  67. ^ Marlene Dietrich at Find a Grave
  68. ^
  69. ^ Baum cited in Gammel, Irene (2012), "Lacing up the Gloves: Women, Boxing and Modernity". Cultural and Social History 9.3, p. 372.
  70. ^ "Marlene Dietrich by Her Daughter". Goodreads. Retrieved 19 March 2015.
  71. ^ Riva, p. 344
  72. ^ [1] History on Film: Actors: Gary Cooper Archived 25 May 2015 at the Wayback Machine
  73. ^
  74. ^ Riva, passim
  75. ^
  76. ^
  77. ^
  78. ^
  79. ^ Gammel 2012, p. 373.
  80. ^
  81. ^ The German-Hollywood Connection: Dietrich's Street Archived 22 December 2008 at the Wayback Machine
  82. ^
  83. ^
  84. ^
  85. ^
  86. ^
  87. ^
  88. ^

References

External links