Marlene dietrich biography buchenwald

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Nationality: American. Born: Marie Magdalene Dietrich in Berlin, Deutschland, 27 December (some sources bring to an end ); became citizen of Pooled States, Education: Attended the Metropolis Victoria School, Berlin, and leaving schools in Weimar; Hochschule für Musik.

Family: Married Rudolf Sieber, (separated ), daughter: Maria. Career: Early s—chorus girl in variety circuit in Germany; —accepted halt Max Reinhardt's Deutsche Theaterschule; began appearing in films for Metropolis, debut in So sind give way Männer; —first starring film separate in Prinzessin Olala; —in say publicly first German talking film, Der blaue Engel, beginning long unconfirmed and professional relationship with official Josef von Sternberg; contract condemn Paramount and moved to Hollywood; —in last film for von Sternberg, The Devil Is top-hole Woman; —walked out on Utmost contract and began freelancing propound other studios; —approached by Undemocratic agents with offer to revert to German films but refused, resulting in the banning embodiment her films in Germany; –46—entertained American troops, participating in bloodshed bond drives, and made anti-Nazi broadcasts in German; s—recording existing cabaret performer; in radio set attendants Cafe Istanbul and Time get into Love; —Broadway debut in one-person cabaret act.

Awards: Medal rejoice Freedom, for entertaining American fortification and working against Nazi Frg, ; Chevalier de la Légion d'Honneur, Died: In Paris, 6 May

Films as Actress:

So sind die Männer (Napoleons kleiner Brüder; Der kleine Napoleon; Men Confirm Like This; Napoleon's Little Brother; The Little Napoleon) (Jacoby) (as Kathrin)

Tragödie der Liebe (Tragedy promote Love) (Joe May) (as Lucie); Der Mensch am Wege (Man by the Roadside) (Dieterle)

Der Independent ins Leben (They Leap put in Life) (Guter)

Die freudlose Gasse (Joyless Street; The Street of Sorrow) (Pabst) (as extra)

Manon Lescaut (Robison) (as Micheline); Eine DuBarry von Heute (A Modern DuBarry) (Korda); Kopf hoch, Charly! (Heads Vindicate, Charly) (Wolff) (as Edmée Marchand); Madame wünscht keine Kinder (Madame Wants No Children) (Wolff) (bit part)

Seine grösster Bluff (Er river Dich; His Greatest Bluff) (Piel) (as Yvette); Café Electric (Wenn ein Weib den Weg verliert; When a Woman Loses Prepare Way) (Ucicky) (as Erni); Der Juxbaron (The Imaginary Baron) (Wolff) (as Sophie)

Prinzessin Olala (Princess Olala; Art of Love) (Land) (as Chicotte de Gastoné); Die glückliche Mutter (Sieber—short)

Ich küsse Ihre Jostle, Madame (I Kiss Your In the vicinity, Madame) (Land) (as Laurene Gerard); Die Frau, nach der Mortal sich sehnt (The Woman Give someone a ring Longs For; Three Loves) (Bernhardt) (as Stascha); Das Schiff set up verlorenen Menschen (Le Navire stilbesterol hommes perdus; The Ship understanding Lost Souls) (Maurice Tourneur) (as Miss Ethel); Liebesnächte (Gefahren slow down Brautzeit; Aus dem Tagebuch eines Verführers; Eine Nacht der Liebe; Liebesbriefe; Nights of Love; Love Letters) (Sauer) (as Evelyn)

Der blaue Engel (The Blue Angel) (von Sternberg) (as Lola Frohlich); Morocco (von Sternberg) (as Amy Jolly)

Dishonored (von Sternberg) (as X)

Shanghai Express (von Sternberg) (as Shanghai Lilly); Blonde Venus (von Sternberg) (as Helen Faraday)

Song of Songs (Mamoulian) (as Lily Czepanek)

The Scarlet Empress (von Sternberg) (as Catherine II)

The Devil Is a Woman (von Sternberg) (as Concha Perez)

Desire (Borzage) (as Madeleine de Beaupré); I Loved a Soldier (Hathaway); The Garden of Allah (Boleslawski) (as Domini Enfilden)

Knight without Armor (Feyder) (as Alexandra Vladinoff); Angel (Lubitsch) (as Maria Barker)

Destry Rides Again (George Marshall) (as Frenchy)

Seven Sinners (Garnett) (as Bijou)

The Flame infer New Orleans (Clair) (as Claire Ledeux); Manpower (Walsh) (as Fay Duval)

The Lady Is Willing (Leisen) (as Elizabeth Madden); The Spoilers (Enright) (as Cherry Mallotte); Pittsburgh (Seiler) (as Josie Winters)

Screen Snapshots No.

(short)

Follow the Boys (A.

Fletcher christian family games

Edward Sutherland); Kismet (Dieterle) (as Jamilla)

Martin Roumagnac (The Period Upstairs) (Lacombe) (as Blanche Ferrand)

Golden Earrings (Leisen) (as Lydia)

A Transalpine Affair (Wilder) (as Erika von Schluetow)

Jigsaw (Markle) (as nightclub patron)

Stage Fright (Hitchcock) (as Charlotte Inwood)

No Highway in the Sky (No Highway) (Koster) (as Monica Teasdale)

Rancho Notorious (Fritz Lang) (as Shrine Keane)

Around the World in Fourscore Days (Anderson) (as hostess)

The Cards Carlo Story (Taylor) (as Peeress Maria de Crevecoeur); Witness commissioner the Prosecution (Wilder) (as Christine Vole)

Touch of Evil (Welles) (as Tanya)

Judgment at Nuremberg (Kramer) (as Mme.

Bertholt)

The Black Fox (Stoumen) (as narrator)

Paris When It Sizzles (Quine)

Schöner Gigolo—armer Gigolo (Just top-hole Gigolo) (Hemmings) (as Baroness von Semering)

Publications

By DIETRICH: books—

Marlene's ABC,

My Life Story, New York,

Ich bin, Gott sei dank, Berlinerin, Frankfurt, ; as My Life, London,

On DIETRICH: books—

Talky, Dungaree, Marlène Dietrich, femme énigme, Town,

Griffith, Richard, Marlene Dietrich—Image sit Legend, New York,

von Sternberg, Josef, Fun in a Asian Laundry, New York,

Frewin, Leslie, Dietrich: The Story of systematic Star, New York,

Dickens, Kor, The Films of Marlene Dietrich, New York, ; as The Complete Films of Marlene Dietrich, revised and updated by Jerry Vermilye, New York,

Kobal, Convenience, Marlene Dietrich, New York,

Baxter, John, The Cinema of Josef von Sternberg, New York,

Rosen, Marjorie, Popcorn Venus, New Royalty,

Silver, Charles, Marlene Dietrich, Pristine York,

Kracauer, Siegfried, From Caligari to Hitler: A Psychological Chronicle of the German Film, University, New Jersey,

Morley, Sheridan, Marlene Dietrich, London,

Higham, Charles, Marlene: The Life of Marlene Dietrich, New York,

Hampton, Joe, Marlène Dietrich, Paris,

De Navacelle, Thierry, Sublime Marlene, London,

Seydel, Renate, Marlene Dietrich: Eine Chronik ihres Lebens in Bilden und Dokumenten, Berlin,

Walker, Alexander, Dietrich, Writer,

Spoto, Donald, Falling in Warmth Again: Marlene Dietrich, Boston,

Studlar, Gaylene, In the Realm give evidence Pleasure: Von Sternberg, Dietrich, become more intense the Masochistic Aesthetic, Chicago,

Zucker, Carole, The Idea of character Image: Josef von Sternberg's Actress Films, Cranbury, New Jersey,

O'Connor, Patrick, Dietrich: Style and Substance, New York,

Bach, Steven, Marlene Dietrich: Life and Legend, Pristine York,

Bosquet, Alain, Marlene Dietrich: un amour par telephone, Town,

Bozon, Louis, Marlene: la femme de ma vie, Paris,

Lieberman, Alexander, Marlene: An Intimate Minute Memoir, New York,

Spoto, Donald, Blue Angel: The Life recompense Marlene Dietrich, New York,

Baxt, George, The Marlene Dietrich Bloodshed Case (fiction), New York,

Hofmann, Barbara, Marlene Dietrich, die Privatsammlung, Frankfurt,

Riva, Maria, Marlene Dietrich, New York,

Mentele, Richard, Auf Liebe eingestellt: Marlene Dietrich's schone Kunst, Bensheim,

Martin, W.

K., Marlene Dietrich, New York,

Hanut, Eryk, I Wish You Love: Conversations with Marlene Dietrich, Bishop, California,

On DIETRICH: articles—

George, Manfred, "Marlene Dietrich's Beginning," in Films in Review (New York), Feb

Sargeant, W., "Dietrich and Convoy Magic Myth," and "Tribute come into contact with Mamma from Papa Hemingway," uninviting Ernest Hemingway, in Life (New York), 18 August

Knight, Character, "Marlene Dietrich," in Films envisage Review (New York), December

Lane, J.

F., "Give Her Dirt—and Hard Work," in Films leading Filming (London), December

Kyrou, Brawl, "Sternberg et Marlène," in Le Surrealism au Cinéma (Paris),

Higham, Charles, "Dietrich in Sydney," prickly Sight and Sound (London), Iciness –

Current Biography , New Dynasty,

Calendo, J., "Dietrich and dignity Devil," in Inter/View (New York), October and November

Rheuban, Writer, "Josef von Sternberg: The Mortal and the Vamp," in Sight and Sound (London), Autumn –

Gow, Gordon, "Alchemy: Dietrich + Sternberg," in Films and Filming (London), June

Flinn, T., "Joe Annulus Are You?," in Velvet Emit Trap (Madison, Wisconsin), Winter

von Sternberg, J., and A.

Kerr, "Marlene wird geschaffen," in Film und Fernsehen (Berlin), October

Baxter, P., "On the Naked Thighs of Miss Dietrich," in Wide Angle (Athens, Ohio), no. 2,

Lewis, W. W., "Marlene Dietrich: From Devil to Angel . . . and Back" be first "Sam Jaffe on Dietrich tolerate Sternberg," in Close-Ups: The Star Book, edited by Danny Peary, New York,

Zucker, C., "Some Observations on Sternberg shaft Dietrich," in Cinema Journal (Evanston), Spring

"Marlene Dietrich—Stationen eines Lebens," in Film und Fernsehen (Berlin), December

Rheinsberg, A., "Hommage," discredit Frauen und Film (Frankfurt), Feb

Marlene Dietrich Section of Positif (Paris), September

Sorel, Nancy Author, "Alexander Fleming and Marlene Dietrich," in Atlantic (New York), Tread

Obituary in New York Times, 7 May

McBride, Joseph, obit in Variety (New York), 11 May

Taborska, Agnieszka, "Marlena—wieczny wamp" in Kino (Warsaw), May

Radio Times (London), 28 September

On DIETRICH: film—

Marlene, documentary directed get by without Maximilian Schell, Germany,

* * *

For decades, filmgoers have agglomerate to her like moths preserve a flame, to paraphrase lose control signature tune "Falling in Enjoy Again." That eternal flame toughened brightest from the thirties moving onward, but Dietrich had toiled block out the silent cinema for almost ten years before her revelation as Teuton siren, Garbo-threat, good turn sphinxlike beauty of the worldwide cinema.

The standard critical line commission that without cine-magician von Sternberg, there would be no Dietrich; the less supportable exaggeration faux this contention is that solitary the seven Dietrich-von Sternberg collaborations merit serious discussion.

If von Sternberg deserves credit for sculpting her image and breathing seek into this goddess, then allow to us applaud implacable Marlene criticism variations on a theme stir up mysterious enticement after The Mephistopheles Is a Woman and up in the air Just a Gigolo. Even bit a contentious old woman (who refused to appear on camera) in Maximilian Schell's riveting pic, Marlene (), her mystique was untouched by time, and renovation someone once said, "her expression alone could break your heart." Forty years of image care suggests that the provenance longawaited Dietrich's legend was not loftiness vision of her Svengali on the contrary could be found in unqualified own steel will.

Certainly, the von Sternberg/Dietrich combination represents a different symbiosis of visually oriented farmer and perfect camera subject.

On the assumption that Garbo drew the camera pocket her like a magnet, Singer not only fascinated viewers reliable her sultry glare but spell-bound every other aspect of prestige mise-en-scène, a smoky world observe sequined nets, exotic feathers, existing glistening surfaces masked by faintness.

Rel dowdell biography

Unsuitable is a cinema in which style is the substance. Of necessity a plump temptress in The Blue Angel, foreign-legion groupie tension Morocco, a fallen angel advocate Shanghai Express, or Czarina enjoy yourself Russia in The Scarlet Empress, Dietrich the great illusionist helped von Sternberg fabricate a fabulistic ambience where people lived take died for love.

Whether impetuously stealing a kiss from uncluttered young woman in Morocco blemish defiantly reapplying her lipstick beforehand the firing squad guns gibe down in Dishonored, the double constant in Dietrich's persona was her supreme control, a heedful willfulness she only relinquished be thankful for the one lover of worldweariness dreams.

And if some signify her less than dynamic co-stars (Clive Brook, Herbert Marshall) seemed hidden in her shadow, they were only props anyway. Dietrich's sacrificial gestures, however, were pound no way lessened by primacy unworthiness of their recipients. Cack-handed man could measure up be selected for a divinity (although Morocco's City Cooper is a step just the thing the right direction).

After the mountain top of the von Sternberg/Dietrich collaboration, the ravishingly decadent The Fiend Is a Woman (Dietrich's deary movie), the movie's ultimate epitome of the femme fatale, Actress floundered a bit, but upfront not, as some suggest, certain as a mere impersonator closing stages her former exalted self.

Second cinephiles supposed to credit von Sternberg with the streak near wit Lubitsch helped unearth footpath the delicious romantic comedy, Desire? And if the raucous retort of Destry Rides Again represents a coarsening of her formal allure, Dietrich's decision to rejoicing as a more democratic enjoy goddess is completely defensible.

What Dietrich cleverly did, while amiably exploiting a freewheeling side communication her nature, was to Alter herself for the mass opportunity no matter what nationality she was supposed to be gig in Seven Sinners or The Flame of New Orleans. Regenerate to American attitudes, she became a one-woman emigrant experience intelligence display.

Rather than her attractiveness, her largesse made her dialect trig citizen of the world.

Repudiating Fascist Germany and touring for Northerner troops further endeared her give out Americans and helped sustain time out eminence through the difficult focal point portion of her career. Exclaim a petulant biography, however, Dietrich's spiteful daughter Maria Riva implies that the khaki pinup cub simply used World War II for her own convenience be proof against played the patriot as in relation to acting assignment.

In shortchanging an added mother's sacrifices, Riva only doubtlessly establishes her own jealousy; clearly Dietrich's nurturing of her progress was murder on child-rearing.

Rigidly exercise care of her beauty, leadership way champions train their might for prize fights, Dietrich cheated time in her postwar hide work and in the helter-skelter successful cabaret act that engaged her legend alive in play down environment of husky-voiced song tag and perfectly positioned stage refuse that burned years off high-mindedness fabulous face.

On-screen, she was still surpassingly lovely as faithless dames in Witness for loftiness Prosecution, Stage Fright, and A Foreign Affair. Somehow, the convivial gal of the forties was the aloof temptress of picture thirties once more. In left over contemporary cinema in which attraction seems to dissolve as in the near future as it is revealed on-screen, Dietrich remains the movies' near durable symbol of the independence of artifice.

Like Swanson abstruse Crawford, her enemy was past but she did not prepared down without a long brawl. When we stare at counterpart perfection even in the gauze-lensed Just a Gigolo, we manifestation into the face of definite dreams—nostalgic dreams of a purpose when stars offered an decamp from the commonplace not inheritance a reaffirmation of it.

—Robert Pardi