Marlene Dietrich

Marie Magdalene "Marlene" Dietrich (, German: [maʁˈleːnə ˈdiːtʁɪç] ; 27 December 1901 – 6 May 1992) was a German-American actress and singer whose career spanned nearly seven decades. In 1920s Berlin, she performed on the stage and in silent films. Her performance as Lola Lola in Josef von Sternberg's The Blue Angel (1930) brought her international acclaim and a contract with Paramount Pictures. Dietrich starred in many Hollywood films, including six roles directed by Sternberg: Morocco (1930) (her only Academy Award nomination), Dishonored (1931), Shanghai Express and Blonde Venus (both 1932), The Scarlet Empress (1934), The Devil Is a Woman (1935). Throughout World War II, she was a high-profile entertainer in the United States. Although she delivered notable performances in several post-war films, including Billy Wilder's A Foreign Affair (1948), Alfred Hitchcock's Stage Fright (1950), Billy Wilder's Witness for the Prosecution (1957), Orson Welles's Touch of Evil (1958), and Stanley Kramer's Judgment at Nuremberg (1961), she spent most of the 1950s to the 1970s touring the world as a marquee live-show performer.

Dietrich was known for her humanitarian efforts during World War II, housing German and French exiles, providing financial support and advocating their American citizenship. For her work on improving morale on the front lines during the war, she received various honors from the United States, France, Belgium, and Israel. In 1999, the American Film Institute named Dietrich the ninth greatest female screen legend of classic Hollywood cinema.

Early life

Marlene Dietrich was born Marie Magdalene Dietrich on 27 December 1901 at Leberstraße 65 in the neighborhood of Rote Insel in Schöneberg, now a district of Berlin. Her mother, Wilhelmina Elisabeth Josefine (née Felsing), was from an affluent Berlin family who owned a jewelry and clock-making firm. Her father, Louis Erich Otto Dietrich, was a police lieutenant. Dietrich had one sibling, Elisabeth (5 February 1900 – 8 May 1973). Dietrich's father was born on 26 August 1867 and died in August 1908. His best friend, Eduard von Losch, an aristocratic first lieutenant in the Grenadiers, courted Wilhelmina and married her in 1914, but he died in July 1916 from wounds sustained during the First World War. Von Losch never officially adopted the Dietrich sisters, so Dietrich's surname was never von Losch, as has sometimes been said.

Dietrich's family nicknamed her "Lena", "Lene", or "Leni" (IPA: [leːnɛ]). Aged about 11, she combined her first two names to form the name "Marlene." Dietrich attended the Auguste-Viktoria Girls' School from 1907 to 1917 and graduated from the Victoria-Luise-Schule (today Goethe-Gymnasium) in Berlin-Wilmersdorf in 1918. She studied the violin and became interested in theater and poetry as a teenager. A wrist injury curtailed her dreams of becoming a concert violinist, but by 1922 she had her first job playing violin in a pit orchestra for silent films at a Berlin cinema. She was fired after four weeks.

The earliest professional stage appearances by Dietrich were as a chorus girl on tour with Guido Thielscher's Girl-Kabarett vaudeville-style entertainments and in Rudolf Nelson revues in Berlin. In 1922, Dietrich auditioned unsuccessfully for theatrical director and impresario Max Reinhardt's drama academy; however, she soon found herself working in his theatres as a chorus girl and playing small roles in dramas.

Career beginnings

Dietrich's film debut was a small part in the film The Little Napoleon (1923). 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. Her only child, daughter Maria Elisabeth Sieber, was born on 13 December 1924.

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, William Shakespeare's The Taming of the Shrew and A Midsummer Night's Dream, and George Bernard Shaw's Back to Methuselah and Misalliance. 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).

Career

Association with von Sternberg

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. 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. She 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 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.

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.

In Morocco (1930) with Gary Cooper, 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) with Victor McLaglen, a major success with Dietrich cast as a Mata Hari–like spy.

Shanghai Express (1932) with Anna May Wong, which was dubbed by the critics "Grand Hotel on wheels", was another major success, earning $1.5 million in worldwide rentals.

Dietrich and von Sternberg again collaborated on the romance Blonde Venus (1932) with Cary Grant. 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) with John Davis Lodge 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, so much so, that even 50 years later, one of Shanghai Express's production stills became the inspiration of the cover of rock band Queen's album Queen II which was integrated into the music video of their single "Bohemian Rhapsody".

His signature use of light and shadow, including the impact of light passed through a veil or slatted window blinds, combined with the scrupulous attention to set design and costumes makes the films they made together among cinema's most visually stylish.

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.

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.

The later 1930s

Dietrich's first film after the end of her partnership with von Sternberg was Frank Borzage's Desire (1936) with Gary Cooper, 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.