Marlene Dietrich

Dietrich's film debut was a small part in the film The Little Napoleon (1923).[18] She met her future husband, Rudolf Sieber, on the set of Tragedy of Love in 1923. Dietrich and Sieber were married in a civil ceremony in Berlin on 17 May 1923.[19] Her only child, daughter Maria Elisabeth Sieber, was born on 13 December 1924.[20]

Dietrich continued to work on stage and in film both in Berlin and Vienna throughout the 1920s. On stage, she had roles of varying importance in Frank Wedekind's Pandora's Box,[21] William Shakespeare's The Taming of the Shrew,[21] and A Midsummer Night's Dream,[22] as well as George Bernard Shaw's Back to Methuselah[23] and Misalliance.[24] 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 roles in Café Elektric (1927), I Kiss Your Hand, Madame (1928), and The Ship of Lost Souls (1929).[25]

Dietrich in her breakthrough role in The Blue Angel (1930)

Josef von Sternberg used butterfly lighting to enhance Dietrich's features in Shanghai Express (1932)

In 1929, Dietrich landed her breakthrough role of Lola Lola, a cabaret singer who caused the downfall of a hitherto respectable schoolmaster (played by Emil Jannings), in the UFA production of The Blue Angel (1930), shot at Babelsberg film studios.[26][27] Josef von Sternberg directed the film and thereafter took credit for having "discovered" Dietrich. The film 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.

In 1930, on the strength of The Blue Angel's international success, and with encouragement and promotion from Josef von Sternberg, who was established in Hollywood, Dietrich moved to the United States under contract to Paramount Pictures, the U.S. film distributor of The Blue Angel. The studio sought to market Dietrich as a German answer to Metro-Goldwyn-Mayer's Swedish-born star, Greta Garbo. Sternberg welcomed her with gifts, including a green Rolls-Royce Phantom II. The car later appeared in their first U.S. film Morocco.[28]

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 and mysterious femme fatale. He encouraged her to lose weight and coached her intensively as an actress. She willingly followed his sometimes imperious direction in a way that a number of other performers resisted.[29]

In Morocco (1930), Dietrich was again cast 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 cast as a Mata Hari-like spy. Shanghai Express (1932), which was dubbed by the critics "Grand Hotel on wheels", was von Sternberg and Dietrich's biggest box office success, becoming the highest-grossing film of 1932. Dietrich and von Sternberg again collaborated on the romance Blonde Venus (1932). Dietrich worked without von Sternberg for the first time in three years in the romantic drama Song of Songs (1933), playing a naïve German peasant, under the direction of Rouben Mamoulian. Dietrich and 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.

Von Sternberg is known for his exceptional skill in lighting and photographing Dietrich to optimum effect. He had a signature use of light and shadow, including the impact of light passed through a veil or slatted window blinds (as for example in Shanghai Express). This combined with the scrupulous attention to set design and costumes makes the films they made together among cinema's most visually stylish.[30] 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.[31] The collaboration of one actress and director creating seven films is still unmatched in motion pictures, with the possible exception of Katharine Hepburn and George Cukor, who made ten films together over a much longer period but which were not created for Hepburn the way the last six von Sternberg/Dietrich collaborations were.[32][33]

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 shambles when the film was scrapped several weeks into production due to script problems, scheduling confusion and the studio's decision to fire the producer Ernst Lubitsch .[34]

Extravagant offers lured Dietrich away from Paramount to make her first color film The Garden of Allah (1936) for independent producer David O. Selznick, for which she received $200,000, and to Britain for Alexander Korda's production, Knight Without Armour (1937), at a salary of $450,000, which made her one of the best paid film stars of the time. While both films performed decently at the box office, 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, Norma Shearer, Dolores del Río and Fred Astaire among others.[35]

While in London, Dietrich later said in interviews, she was approached by Nazi Party officials and offered 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 U.S. citizenship in 1937.[36] She returned to Paramount to make Angel (1937), another romantic comedy directed by Ernst Lubitsch; the film was poorly received, leading Paramount to buy out the remainder of Dietrich's contract.

James Stewart and Marlene Dietrich in Destry Rides Again (1939)

Dietrich, with encouragement from Josef von Sternberg, accepted producer Joe Pasternak's offer 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 (1939), with James Stewart. This was a significantly less well paid role than she had been accustomed. 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 with John Wayne.

Dietrich and Rita Hayworth serve food to soldiers at the Hollywood Canteen (17 November 1942)

Dietrich with airmen of the 401st Bomb Group (29 September 1944)

Dietrich signing a soldier's cast in Belgium (24 November 1944)

Dietrich and U.S. soldiers somewhere in France during her second USO tour (1944)

Dietrich was known to have strong political convictions and the mind to speak them. In the late 1930s, Dietrich created a fund with Billy Wilder and several other exiles to help Jews and dissidents escape from Germany. In 1937, her entire salary for Knight Without Armor ($450,000) was put into escrow to help the refugees. In 1939, she became an American citizen and renounced her German citizenship.[2] In December 1941, the U.S. entered World War II, and Dietrich became one of the first public figures to help sell war bonds. She toured the U.S. 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.[37][38]

During two extended tours for the USO in 1944 and 1945,[37] she performed for Allied troops in Algeria, Italy, the UK, France, and Heerlen in the Netherlands,[39] then entered Germany with Generals James M. Gavin and George S. Patton. When asked why she had done this, in spite of the obvious danger of being within a few kilometers of German lines, she replied, "aus Anstand"—"out of decency".[40] Wilder later remarked that she was at the front lines more than Eisenhower. Her revue, with Danny Thomas as her opening act for the first tour, included songs from her films, performances on her musical saw (a skill taught to her by Igo Sym that she had originally acquired for stage appearances in Berlin in the 1920s) and a "mindreading" act that her friend Orson Welles had taught her for his Mercury Wonder Show. 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.[33][37]

In 1944, the Morale Operations Branch of the Office of Strategic Services (OSS) initiated the Musak project, musical propaganda broadcasts designed to demoralize enemy soldiers.[41] 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.[42] 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."[43]

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 frequented by 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 vouched for her sister and her sister's husband, sheltering them from possible prosecution as Nazi collaborators.[44] Dietrich would later omit the existence of her sister and her sister's son from all accounts of her life, completely disowning them and claiming to be an only child.[45]

Dietrich received the Medal of Freedom in November 1947, for her "extraordinary record entertaining troops overseas during the war".[46] She said this was her proudest accomplishment.[41] She was also awarded the Légion d'honneur by the French government for her wartime work.[47]

While Dietrich never fully regained her former screen profile, she continued performing in motion pictures, including appearances for directors such as Mitchell Leisen in Golden Earrings (1947), Billy Wilder in A Foreign Affair (1948) and Alfred Hitchcock in Stage Fright (1950). Her appearances in the 1950s, included films such as Fritz Lang's Rancho Notorious, (1952) and Wilder's Witness for the Prosecution (1957). She appeared in Orson Welles's Touch of Evil (1958). Dietrich had a kind of platonic love for Welles, whom she considered a genius.[48] Her last substantial film role was in Judgment at Nuremberg (1961) directed by Stanley Kramer; she also presented the narrative for the documentary Black Fox: The Rise and Fall of Adolf Hitler which won the Academy Award for Best Documentary Feature in 1962.[49] She cut the ceremonial ribbon to celebrate the grand opening of the Paris Theater in New York City in 1948.[50]

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 cabaret artist, performing live in large theatres in major cities worldwide.

In 1953, Dietrich was offered a then-substantial $30,000 per week[51] to appear live at the Sahara Hotel[52] on the Las Vegas Strip. The show was short, consisting only of a few songs associated with her.[52] 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.[52] 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.[53]

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.[54] 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[55]—and allowed her to perform her songs to maximum dramatic effect;[54] together, they recorded four albums and several singles between 1957 and 1964.[56] In a TV interview in 1971, she credited Bacharach with giving her the "inspiration" to perform during those years.[57]

Bacharach then felt he needed to devote his full-time to songwriting. But she had also come to rely on him in order to perform, and wrote about his leaving in her memoir:

From that fateful day on, I have worked like a robot, trying to recapture the wonderful woman he helped make out of me. I even succeeded in this effort for years, because I always thought of him, always longed for him, always looked for him in the wings, and always fought against self-pity ... He had become so indispensable to me that, without him, I no longer took much joy in singing. When he left me, I felt like giving everything up. I had lost my director, my support, my teacher, my maestro.[58]

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.[59] This allowed her to sing songs usually associated with male singers, like "One for My Baby" and "I've Grown Accustomed to Her Face".[54]

"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."[60]

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."[61]

Her use of body-sculpting undergarments, nonsurgical temporary facelifts (tape),[62] expert makeup and wigs,[63] combined with careful stage lighting,[53] helped to preserve Dietrich's glamorous image as she grew older.

Dietrich in Jerusalem during a tour in Israel, 1960

Dietrich's return to West Germany in 1960 for a concert tour was met with mixed reception— despite a consistently negative press, vociferous protest by chauvinistic Germans who felt she had betrayed her homeland, and two bomb threats, her performance attracted huge crowds. During her performances at Berlin's Titania Palast theatre, protesters chanted, "Marlene Go Home!"[64] 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.[64] The tour was an artistic triumph, but a financial failure.[64] She was left emotionally drained by the hostility she encountered, and she left convinced never to visit again. East Germany, however, received her well.[65] 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.[63] She would become the first woman and German to receive the Israeli Medallion of Valor in 1965, "in recognition for her courageous adherence to principle and consistent record of friendship for the Jewish people". Dietrich in London, a concert album, was recorded during the run of her 1964 engagement at the Queen's Theatre.[66]

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.[67] 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 U.S. on CBS in January 1973.[68]

Dietrich continued with a busy performance schedule until September 1975.[69] When asked about why she continued to perform by Clive Hirschhorn she said, "Do you think this is glamorous? That this is a great life, and that I do it for my health? Well, it isn't. It's hard work. And who would work if they didn't have to?"[70]

In her 60s and 70s, Dietrich's health declined: she survived cervical cancer in 1965[71] and suffered from poor circulation in her legs.[63] Dietrich became increasingly dependent on painkillers and alcohol.[63] 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.[72] She fractured her right leg in August 1974.[73]

Dietrich's show business career largely ended on 29 September 1975, when she fell from the stage and broke a thigh bone during a performance in Sydney, Australia.[74] The following year, her husband, Rudolf Sieber, died of cancer on 24 June 1976.[75] Dietrich's final on-camera film appearance was a brief appearance in Just a Gigolo (1979), starring David Bowie and directed by David Hemmings, in which she sang the title song.

Dietrich's gravestone in Berlin. The inscription reads "Hier steh ich an den Marken meiner Tage" (literally: "Here I am standing at the border stones of my days"), a line from the sonnet "Abschied vom Leben" ("Farewell to Life") by Theodor Körner.

Dietrich withdrew to her apartment at 12 Avenue Montaigne in Paris. She spent the final 13 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.[76]

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. Schell used his interviews with her as the basis for the film, set to a collage of film clips from her career. The 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".[77]

In 1988, Dietrich recorded spoken introductions to songs for a nostalgia album by Udo Lindenberg.[78]

In an interview with the German magazine Der Spiegel in November 2005, Dietrich's daughter and grandson said Dietrich was politically active during these years.[79] She kept in contact with world leaders by telephone, including Ronald Reagan Mikhail Gorbachev Margaret Thatcher, 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. Also in spring 1990, she spoke on French forces radio station addressing her fellow Berliners in Germany about her then most recent conversation with former French president Mitterrand regarding his promise to her that Berlin will be the capital city of a united Germany later on—at that point in time, a quite appealing but non-official French presidential statement.

Noteworthy appearances include:

• Lux Radio Theater: The Legionnaire and the Lady with Clark Gable (1 August 1936)
• Lux Radio Theater: Desire with Herbert Marshall (22 July 1937)
• Lux Radio Theater: Song of Songs with Douglas Fairbanks, Jr (20 December 1937)
• The Chase and Sanborn Hour with Edgar Bergen and Don Ameche (2 June 1938)
• Lux Radio Theater: Manpower with Edward G Robinson and George Raft (15 March 1942)
• The Gulf Screen Guild Theater: Pittsburgh with John Wayne (12 April 1943)
• Theatre Guild on the Air: Grand Hotel with Ray Milland (24 March 1948)
• Studio One: Arabesque (29 June 1948)
• Theatre Guild on the Air: The Letter with Walter Pidgeon (3 October 1948)
• Ford Radio Theater: Madame Bovary with Claude Rains (8 October 1948)
• Screen Director's Playhouse: A Foreign Affair with Rosalind Russell and John Lund (5 March 1949)
• MGM Theatre of the Air: Anna Karenina (9 December 1949)[121]
• MGM Theatre of the Air: Camille (6 June 1950)
• Lux Radio Theater: No Highway in the Sky with James Stewart (21 April 1952)
• Screen Director's Playhouse: A Foreign Affair with 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 Babelsberg Studio 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).[122] 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

• Dietrich, Marlene (1962). Marlene Dietrich's ABC. Doubleday.
• Dietrich, Marlene (1979). Nehmt nur mein Leben: Reflexionen (in German). Goldmann. ISBN 978-3-442-06327-7.
• Dietrich, Marlene (1989). Marlene. Salvator Attanasio (translator). Grove Press. ISBN 978-0-8021-1117-3.
• Dietrich, Marlene (1990). Some Facts About Myself. Helnwein, Gottfried [Conception and photographs]. ISBN 978-3-89322-226-1.
• Dietrich, Marlene (2005). Nachtgedanken. Riva, Maria [Edited by]. ISBN 978-3-57000-874-4.

• Bach, Steven (1992). Marlene Dietrich: Life and Legend. William Morrow and Company, Inc. ISBN 978-0-688-07119-6.
• Bach, Steven (2011). Marlene Dietrich: Life and Legend. University of Minnesota Press. ISBN 978-0-8166-7584-5.
• Chandler, Charlotte (2011). Marlene Dietrich, a personal biography. Simon & Schuster. ISBN 978-1-4391-8835-4.
• Gammel, Irene (2012). "Lacing up the Gloves: Women, Boxing and Modernity". Cultural and Social History. 9 (3): 369–390. doi:10.2752/147800412X13347542916620. S2CID 146585456.
• McIntosh, Elizabeth P. (1998). Sisterhood of Spies: The Women of the OSS. London: Dell. ISBN 978-0-440-23466-1.
• Morley, Sheridan (1978). Marlene Dietrich. Sphere Books. ISBN 978-0-7221-6163-0.
• O'Connor, Patrick (1991). The Amazing Blonde Woman: Dietrich's Own Style. London: Bloomsbury Publishing. ISBN 978-0-7475-1264-6.
• Riva, Maria (1993). Marlene Dietrich (1st ed.). Knopf. ISBN 978-0-394-58692-2.
• Riva, Maria (1994). Marlene Dietrich. Ballantine Books. ISBN 978-0-345-38645-8.
• Spoto, Donald (1992). Blue Angel: The Life of Marlene Dietrich. Doubleday. ISBN 978-0-385-42553-7.
• Thomson, David (1975). A Biographical Dictionary of the Cinema. London: Secker and Warburg. ISBN 978-0-436-52010-5.