I Kissed a Christian Girl. I Promise Never to Do It Again. Nuremberg

German language-born American actress and singer

Marlene Dietrich
Dietrich c. 1930
Built-in	Marie Magdalene Dietrich (1901-12-27)27 Dec 1901 Berlin, Kingdom of Prussia, High german Empire
Died	vi May 1992(1992-05-06) (aged 90) Paris, French republic
Resting place	Städtischer Friedhof Iii
Citizenship	U.s.
Occupation	Actress singer
Years active	1919–1984
Spouse(south)	Rudolf Sieber ​ ​ (m. 1923; died 1976)​
Children	Maria Riva
Relatives	J. Michael Riva (grandson) Peter Riva (grandson)
Signature

Marie Magdalene "Marlene" Dietrich ^[ane] (, German: [maʁˈleːnə ˈdiːtʁɪç] ( mind ); 27 December 1901 – 6 May 1992)^[two] was a German language-born American^{[3] [iv] [5]} actress and vocaliser. Her career spanned from the 1910s to the 1980s.^[6]

In 1920s Berlin, Dietrich 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 half-dozen iconic roles directed by Sternberg —Morocco (1930) (her but Academy Accolade nomination), Dishonored (1931), Shanghai Limited and Blonde Venus (both 1932), The Scarlet Empress (1934) and The Devil Is a Woman (1935)— plus Desire (1936) and Destry Rides Once more (1939). She successfully traded on her glamorous persona and "exotic" looks, and became one of the highest-paid actresses of the era. Throughout World State of war II she was a loftier-profile entertainer in the The states. Although she delivered notable performances in several post-war films including Alfred Hitchcock'south Stage Fright (1950), Baton Wilder's Witness for the Prosecution (1957), Orson Welles's Touch of Evil (1958) and Stanley Kramer's Judgment at Nuremberg (1961), Dietrich spent most of the 1950s to the 1970s touring the world every bit a marquee live-show performer.

Dietrich was known for her humanitarian efforts during Earth War 2, housing German and French exiles, providing financial support and fifty-fifty advocating their American citizenship. For her piece of work on improving morale on the front lines during the war, she received several honors from the United States, France, Kingdom of belgium and State of israel. In 1999 the American Pic Plant named Dietrich the 9th greatest female person screen legend of archetype Hollywood cinema.^[seven]

Early life [edit]

Dietrich's birthplace in Leberstraße 65, Berlin-Schöneberg

Dietrich was built-in on (1901-12-27)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 ane sibling, Elisabeth, who was ane year older. Dietrich'due south father died in 1907.^[viii] His best friend, Eduard von Losch, an aristocratic showtime lieutenant in the Grenadiers, courted Wilhelmina and married her in 1914, but he died in July 1916 from injuries sustained during the First Globe State of war.^[1] Von Losch never officially adopted the Dietrich sisters, then Dietrich's surname was never von Losch, as has sometimes been claimed.^[9]

Dietrich's family nicknamed her "Lena", "Lene", or "Leni" (IPA: [leːnɛ]).^[10] 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^[11] and graduated from the Victoria-Luise-Schule (today Goethe-Gymnasium [de]) in Berlin-Wilmersdorf, in 1918.^[12] She studied the violin^[13] and became interested in theater and poetry equally a teenager. A wrist injury^[xiv] curtailed her dreams of becoming a concert violinist, but past 1922 she had her first job, playing violin in a pit orchestra for silent films at a Berlin cinema. She was fired afterward only four weeks.^[fifteen]

The earliest professional stage appearances by Dietrich were equally a chorus girl on tour with Guido Thielscher's Girl-Kabarett vaudeville-style entertainments, and in Rudolf Nelson revues in Berlin.^[sixteen] In 1922, Dietrich auditioned unsuccessfully for theatrical director and impresario Max Reinhardt's drama academy;^[17] all the same, she before long found herself working in his theatres as a chorus girl and playing small roles in dramas.

Career beginnings [edit]

Dietrich'due south motion picture debut was a pocket-size part in the film The Little Napoleon (1923).^[18] She met her future husband, Rudolf Sieber, on the prepare of Tragedy of Love in 1923. Dietrich and Sieber were married in a civil ceremony in Berlin on 17 May 1923.^[19] Her only kid, girl 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'south Pandora'due south Box,^[21] William Shakespeare'southward The Taming of the Shrew,^[21] and A Midsummer Dark's Dream,^[22] also as George Bernard Shaw's Dorsum 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 attending. Past the late 1920s, Dietrich was also playing sizable parts on screen, including roles in Café Elektric (1927), I Buss Your Hand, Madame (1928), and The Ship of Lost Souls (1929).^[25]

Career [edit]

Association with von Sternberg [edit]

In 1929, Dietrich landed her breakthrough office 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 Bluish Angel (1930), shot at Babelsberg film studios.^{[26] [27]} Josef von Sternberg directed the moving picture and thereafter took credit for having "discovered" Dietrich. The film introduced Dietrich'southward signature song "Falling in Love Once more", which she recorded for Electrola. She made farther recordings in the 1930s for Polydor and Decca Records.

In 1930, on the strength of The Bluish Angel's international success, and with encouragement and promotion from Josef von Sternberg, who was established in Hollywood, Dietrich moved to the U.s.a. nether contract to Paramount Pictures, the U.S. movie distributor of The Blue Angel. The studio sought to market Dietrich as a German reply to Metro-Goldwyn-Mayer'south Swedish-built-in star, Greta Garbo. Sternberg welcomed her with gifts, including a green Rolls-Royce Phantom II. The motorcar later appeared in their kickoff U.Southward. film Kingdom of 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 every bit an actress. She willingly followed his sometimes imperious management in a style that a number of other performers resisted.^[29]

In Morocco (1930) with Gary Cooper, Dietrich was once again cast equally a cabaret singer. The picture is all-time remembered for the sequence in which she performs a song dressed in a man'south white tie and kisses some other woman, both provocative for the era. The film earned Dietrich her just University Award nomination.

Morocco was followed by Dishonored (1931) with Victor McLaglen, a major success with Dietrich bandage as a Mata Hari-like spy. Shanghai Limited (1932) with Anna May Wong, which was dubbed past the critics "Grand Hotel on wheels", was von Sternberg and Dietrich's biggest box office success, becoming the highest-grossing motion picture of 1932. Dietrich and von Sternberg again collaborated on the romance Blonde Venus (1932) with Cary Grant. Dietrich worked without von Sternberg for the start fourth dimension in three years in the romantic drama Vocal of Songs (1933), playing a naïve German language peasant, nether the direction of Rouben Mamoulian. Dietrich and Sternberg'due south concluding two films, The Carmine Empress (1934) with John Davis Gild and The Devil Is a Adult female (1935)—the about stylized of their collaborations—were their everyman-grossing films. Dietrich afterward remarked that she was at her most cute 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 bear on of light passed through a veil or slatted window blinds (equally for example in Shanghai Express). This combined with the scrupulous attention to prepare blueprint and costumes makes the films they made together among cinema'southward nearly visually fashionable.^[30] Critics however 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 once again afterwards Paramount fired von Sternberg and the two ceased working together.^[31] The collaboration of ane extra and manager creating seven films is all the same unmatched in motion pictures, with the possible exception of Katharine Hepburn and George Cukor, who fabricated ten films together over a much longer period merely which were not created for Hepburn the style the concluding six von Sternberg/Dietrich collaborations were.^{[32] [33]}

The subsequently 1930s [edit]

Dietrich's first film after the cease of her partnership with von Sternberg was Frank Borzage'southward Desire (1936) with Gary Cooper, a commercial success that gave Dietrich an opportunity to endeavour her paw at romantic comedy. Her next projection, I Loved a Soldier (1936), ended in shambles when the picture was scrapped several weeks into production due to script problems, scheduling confusion and the studio'due south decision to fire the producer Ernst Lubitsch.^[34]

Improvident offers lured Dietrich abroad from Paramount to make her first color moving-picture show 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 bacon 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 fourth dimension, Dietrich placed 126th in box function rankings, and American movie exhibitors proclaimed her "box office poison" in May 1938, a stardom 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 subsequently said in interviews, she was approached by Nazi Party officials and offered lucrative contracts, should she hold to return to exist a foremost pic star in Nazi Germany. She refused their offers and applied for U.South. 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.

Dietrich, with encouragement from Josef von Sternberg, accepted producer Joe Pasternak's offering to play against type in her first pic 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 accepted to. The bawdy role revived her career and "See What the Boys in the Back Room Will Have", a vocal 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.

Globe War Two [edit]

Marlene Dietrich and U.S. Army Technician Fourth Grade Earl E. McFarland in Belgium (24 November 1944)

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

Dietrich was known to take strong political convictions and the heed to speak them. In the tardily 1930s, Dietrich created a fund with Baton 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 denizen and renounced her German citizenship.^[2] In December 1941, the U.S. entered World War II, and Dietrich became one of the showtime public figures to assist sell war bonds. She toured the U.South. from January 1942 to September 1943 (appearing earlier 250,000 troops on the Pacific Declension leg of her tour solitary) and was reported to take 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 Centrolineal troops in Algeria, Italy, the United kingdom of great britain and northern ireland, France, and Heerlen in kingdom of the netherlands,^[39] then entered Germany with Generals James K. Gavin and George Southward. Patton. When asked why she had done this, in spite of the obvious danger of beingness within a few kilometers of German language lines, she replied, "aus Anstand"—"out of decency".^[twoscore] Wilder later remarked that she was at the front lines more Eisenhower. Her revue, with Danny Thomas as her opening act for the start tour, included songs from her films, performances on her musical saw (a skill taught to her by Igo Sym that she had originally caused for stage appearances in Berlin in the 1920s) and a "mindreading" human action that her friend Orson Welles had taught her for his Mercury Wonder Testify. Dietrich would inform the audition 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, retrieve of something else. I tin't possibly talk about that!" American church building papers reportedly published stories complaining near this part of Dietrich's human activity.^{[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 enlightened that her recordings would exist for OSS use, recorded a number of songs in German language for the projection, including "Lili Marleen", a favorite of soldiers on both sides of the disharmonize.^[42] Major Full general William J. Donovan, head of the OSS, wrote to Dietrich, "I am personally deeply grateful for your generosity in making these recordings for united states."^[43]

At the state of war's end in Europe, Dietrich reunited with her sister Elisabeth and her sister'due south 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 campsite. Dietrich's female parent 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'south husband, sheltering them from possible prosecution as Nazi collaborators.^[44] Withal, Dietrich later omitted the existence of her sister and her sister'south son from all accounts of her life, completely disowning them and challenge to exist an only child.^[45]

Dietrich received the Medal of Freedom in Nov 1947, for her "boggling record entertaining troops overseas during the war".^[46] She said this was her proudest achievement.^[41] She was also awarded the Légion d'honneur past the French government for her wartime piece of work.^[47]

Later movie career [edit]

While Dietrich never fully regained her former screen profile, she continued performing in motility pictures, including appearances for directors such equally Mitchell Leisen in Gold Earrings (1947), Billy Wilder in A Foreign Matter (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'due south Touch of Evil (1958). Dietrich had a kind of platonic love for Welles, whom she considered a genius.^[48] Her last substantial film office was in Judgment at Nuremberg (1961) directed by Stanley Kramer; she also presented the narrative for the documentary Black Fox: The Rising and Fall of Adolf Hitler which won the Academy Laurels for All-time Documentary Feature in 1962.^[49] She cut the ceremonial ribbon to celebrate the grand opening of the Paris Theater in New York Metropolis in 1948.^[50]

Stage and cabaret [edit]

Dietrich often performed parts of her evidence in elevation hat and tails. Extravaganza 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 creative person, performing alive in large theatres in major cities worldwide.

In 1953, Dietrich was offered $30,000 per week^[51] to announced 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 appointment was then successful that she was signed to announced at the Café de Paris in London the following year; her Las Vegas contracts were also renewed.^[53]

Dietrich employed Burt Bacharach every bit her musical arranger starting in the mid-1950s; together, they refined her nightclub act into a more ambitious theatrical ane-woman show with an expanded repertoire.^[54] Her repertoire included songs from her films besides as popular songs of the day. Bacharach'south arrangements helped to disguise Dietrich's limited song range—she was a contralto^[55]—and immune 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 Telly 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 total-fourth dimension to songwriting. Simply she had besides 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, considering I ever thought of him, always longed for him, ever looked for him in the wings, and e'er 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 upwardly. I had lost my director, my support, my teacher, my maestro.^[58]

She often performed the first part of her show in one of her body-hugging dresses and a swansdown coat, and change to meridian lid and tails for the second half of the performance.^[59] This allowed her to sing songs unremarkably associated with male person singers, like "I for My Baby" and "I've Grown Accustomed to Her Confront".^[54]

"She ... transcends her material," according to Peter Bogdanovich. "Whether it's a flighty one-time melody like 'I Can't Requite You Anything Only Dearest, Baby' ... a schmaltzy German language love vocal, 'Das Lied ist Aus' or a French 1 'La Vie en Rose', she lends each an air of the aristocrat, yet she never patronises ... A folk song, 'Become 'Manner From My Window' has never been sung with such passion, and in her easily 'Where Take All the Flowers Gone?' is not merely some other anti-state of war lament simply a tragic accusation against us all."^[threescore]

Francis Wyndham offered a more critical appraisal of the miracle of Dietrich in concert. He wrote in 1964: "What she does is neither difficult nor diverting, simply the fact that she does information technology at all fills the onlookers with wonder ... Information technology takes ii to brand 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 detect themselves unable to share this conventionalities tend to blame themselves rather than her."^[61]

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

Dietrich in Jerusalem during a bout in Israel, 1960

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

Dietrich's return to West Germany in 1960 for a concert tour received a mixed reception—despite a consistently negative printing, vociferous protest by antipathetic Germans who felt she had betrayed her homeland, and 2 flop threats, her performance attracted huge crowds. During her performances at Berlin's Titania Palast theatre, protesters chanted, "Marlene Become Dwelling!"^[64] On the other paw, 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 dominion.^[64] The tour was an creative triumph, but a fiscal failure.^[64] She was left emotionally tuckered by the hostility she encountered, and she left convinced never to visit again. East Germany, notwithstanding, received her well.^[65] She also undertook a tour of Israel effectually the same time, which was well-received; she sang some songs in German during her concerts, including, from 1962, a High german version of Pete Seeger's anti-war canticle "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 consequent record of friendship for the Jewish people". Dietrich in London, a concert anthology, 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 received a Special Tony Laurels in 1968. In November 1972, I Wish You Love, a version of Dietrich'southward Broadway evidence 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 testify was broadcast in the UK on the BBC and in the U.S. on CBS in January 1973.^[68]

Dietrich connected with a busy operation schedule until September 1975.^[69] When Clive Hirschhorn asked her why she continued to perform, she said, "Do yous recall this is glamorous? That this is a great life, and that I do information technology for my health? Well, it isn't. It'south hard work. And who would work if they didn't take to?"^[70]

In her 60s and 70s, Dietrich'south health declined: she survived cervical cancer in 1965^[71] and suffered from poor apportionment in her legs.^[63] Dietrich became increasingly dependent on painkillers and alcohol.^[63] A phase fall at the Shady Grove Music Off-white in Maryland in 1973 injured her left thigh, necessitating skin grafts to permit the wound to heal.^[72] She fractured her right leg in August 1974.^[73]

Paris years [edit]

Dietrich's show concern career largely ended on 29 September 1975, when she brutal from the phase and broke a thigh bone during a functioning in Sydney, Australia.^[74] The post-obit year, her husband, Rudolf Sieber, died of cancer on 24 June 1976.^[75] Dietrich's last on-camera moving-picture show appearance was a brief appearance in Just a Gigolo (1979), starring David Bowie and directed past David Hemmings, in which she sang the title vocal.

Dietrich'due south gravestone in Berlin. The inscription reads " Hier steh ich an den Marken meiner Tage " (literally: "Here I am continuing 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 alphabetic character-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), merely refused to be filmed. The film's director, Maximilian Schell, was allowed only to record her vox. 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 Laurels nomination for All-time Documentary in 1984. Newsweek named it "a unique movie, peradventure the well-nigh fascinating and affecting documentary e'er made about a corking moving picture star".^[77]

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

In an interview with the High german magazine Der Spiegel in November 2005, Dietrich'southward girl and grandson said Dietrich was politically active during these years.^[79] She kept in contact with world leaders by phone, including Ronald Reagan, Mikhail Gorbachev and Margaret Thatcher, running up a monthly bill of over Usa$three,000. In 1989, her appeal to save the Babelsberg Studios from closure was broadcast on BBC Radio, and she spoke on idiot box via phone on the occasion of the autumn of the Berlin Wall later that year. Too in spring 1990, she spoke on French forces radio station addressing her fellow Berliners in Germany well-nigh her then well-nigh contempo chat with former French president Mitterrand regarding his promise to her that Berlin would be the capital urban center of a united Germany later on on—at that indicate in fourth dimension, a quite appealing but not-official French presidential statement.

Death and estate [edit]

Dietrich and Robert W. Service on the set of The Spoilers (1942) in which they shared a brief scene (with Service unbilled as a Yukon poet patterned afterwards Service himself)

On 6 May 1992, Dietrich died of kidney failure at her apartment in Paris at historic period 90. Her funeral was a requiem mass conducted at the Roman Catholic church of La Madeleine in Paris on fourteen May 1992.^[lxxx] Dietrich's funeral service was attended by approximately ane,500 mourners in the church itself—including ambassadors from Germany, Russia, the United states of america, the UK and other countries—with thousands more than outside. Her airtight coffin, draped in the French flag, rested below the chantry and was adorned with a simple bouquet of white wildflowers and roses from the French President François Mitterrand. 3 medals, including France'southward Legion of Award and the U.Due south. Medal of Liberty, were displayed at the foot of the coffin, military style, for a ceremony symbolising the sense of duty Dietrich embodied in her career equally an actress, and in her personal fight confronting Nazism. The officiating priest remarked: "Everyone knew her life as an artist of motion-picture show and song, and anybody knew her tough stands ... She lived like a soldier and would like to be buried similar a soldier".^{[81] [82]} By coincidence, her picture was used in the Cannes Film Festival poster that twelvemonth which was pasted upward all over Paris.^[83]

In her volition Dietrich expressed the wish to exist buried in her birthplace Berlin, most her family. Her body was flown there to fulfill her wish on sixteen May 1992.^[84] Her coffin was draped in an American flag befitting her status as an American. Equally her coffin traveled through Berlin bystanders threw flowers onto it, a fitting tribute considering Dietrich loved flowers, even saving the flowers thrown to her at the terminate of her performances for use in subsequent shows. Dietrich was interred at the Städtischer Friedhof III, Schöneberg, close by the grave of her mother Josefine von Losch, and near the house where she was born.^[81]

On 24 October 1993, the largest portion of Dietrich'south estate was sold to the Stiftung Deutsche Kinemathek—later U.S. institutions showed no involvement—where it became the core of the exhibition at the Filmmuseum Berlin. The collection includes: over 3,000 textile items from the 1920s to the 1990s, including film and stage costumes likewise every bit over a thou items from Dietrich's personal wardrobe; 15,000 photographs, by Sir Cecil Beaton, Horst P. Horst, George Hurrell, 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 equally other items similar flick posters and sound recordings.^[85] The Marlene Dietrich Drove was sold to the Stiftung Deutsche Kinemathek for US$5 million, by Dietrich's heirs.^[86]

The contents of Dietrich'due south Manhattan apartment, forth with other personal effects such as jewelry and items of clothing, were sold by public auction by Sotheby'south in Los Angeles in November 1997. Her former apartment located at 993 Park Avenue was sold for $615,000 in 1998.^[87]

Personal life [edit]

Dietrich's professional image was advisedly crafted and maintained while her personal life was mostly hidden from the public. She was fluent in German, English, and French. Dietrich, who was bisexual, enjoyed the thriving gay bars and drag balls of 1920s Berlin.^{[88] [89]} Bars included the Mali und Igel, run past Elsa Conrad.^[90] She likewise 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. In May 1923 Dietrich married assistant director Rudolf Sieber, who subsequently became an assistant director at Paramount Pictures in France, responsible for foreign language dubbing. Their but child, Maria Riva, was built-in in Berlin on 13 December 1924. She subsequently became an actress, primarily working in television. When Maria gave birth to a son (John, later a famous production designer) in 1948, Dietrich was dubbed "the globe's most glamorous grandmother". After Dietrich'southward death, Riva published a candid biography of her mother, titled Marlene Dietrich (1992).

Dietrich and Rudolf Sieber on their wedding day, 17 May 1923

Throughout her career, Dietrich had numerous diplomacy, some short-lived, some lasting decades, oftentimes overlapping and almost all known to her husband, to whom she was in the habit of passing the intimate letters from her lovers, sometimes with biting comments.^[91] When Dietrich arrived in Hollywood and filmed Kingdom of morocco (1930), she had an matter with Gary Cooper, fifty-fifty though he was having another affair with Mexican extra Lupe Vélez.^[92] Vélez in one case said, "If I had the opportunity to do so, I would tear out Marlene Dietrich's optics."^[93] Another of her affairs was with role player John Gilbert, known for his professional person and personal connexion to Greta Garbo. Gilbert's untimely death was one of the most painful events of her life.^[94] Dietrich also had a cursory matter with Douglas Fairbanks Jr., even though he was married to Joan Crawford at the time.^[95] During the production of Destry Rides Again, Dietrich started a honey affair with co-star James Stewart, which ended after filming stopped. According to writer/manager Peter Bogdanovich, Marlene Dietrich told him during an shipping flight that she became pregnant as a result of the thing, but had a cloak-and-dagger ballgame without telling Stewart.^[96] In 1938, Dietrich met and began a relationship with writer Erich Maria Remarque, and in 1941, the French thespian Jean Gabin. The human relationship ended in 1948.^[97]

In Paris, Dietrich had an thing with Suzanne Baulé, known as Frede, a coach and cabaret hostess whom she met in 1936 at the Monocle, a women's nightclub on Boulevard Edgar-Quinet in Paris. The two women remained friends until the 1970s, as can exist seen in the correspondence kept in the Marlene Dietrich athenaeum in Berlin. In the early 1930s, Dietrich as well had an thing with Cuban-American writer Mercedes de Acosta, who claimed to exist Greta Garbo'due south lover. Sewing circle was a phrase used by Dietrich^[98] to describe the surreptitious, closeted lesbian and bisexual flick actresses and their relationships in Hollywood. In the supposed "Marlene's Sewing Circle" ^[99] are mentioned the names of other close friends such as Ann Warner (the wife of Jack L. Warner, ane of the owners of the Warner studios), Lili Damita (an quondam friend of Marlene's from Berlin and the wife of Errol Flynn), Claudette Colbert,^[100] and Dolores del Río (whom Dietrich considered the most beautiful woman in Hollywood).^{[101] [102]} The French vocalizer Edith Piaf was besides i of Dietrich's closest friends during her stay in Paris in the 1950s, with Dietrich serving as Piaf's matron of honor at her wedding to Jacques Pills in 1952; there were rumors of something more than friendship between them.^{[103] [104]}

When Dietrich was in her 50s she had a relationship with actor Yul Brynner, which lasted more than than a decade. Dietrich's honey life connected into her 70s. Her lovers included Errol Flynn,^[105] George Bernard Shaw, John F. Kennedy, Joe Kennedy,^[106] Michael Todd, Michael Wilding, John Wayne, Kirk Douglas and Frank Sinatra.^[107] Dietrich maintained her husband and his mistress commencement in Europe and later on a ranch in the San Fernando Valley, nearly Hollywood.^[108]

Dietrich was raised in the German language Lutheran tradition of Christianity, but she abandoned information technology as a result of her experiences every bit a teenager during World State of war I, after hearing preachers from both sides invoking God as their support. "I lost my faith during the state of war and tin't believe they are all up there, flying around or sitting at tables, all those I've lost."^[109] Quoting Goethe in her autobiography, she wrote, "If God created this globe, he should review his program."^[110]

Legacy [edit]

Dietrich was an icon to fashion designers and screen stars. Edith Head remarked that Dietrich knew more about fashion than any other actress. Marlene Dietrich favoured Dior. In an interview with The Observer in 1960, she said, "I clothes for the epitome. Not for myself, not for the public, not for fashion, not for men. If I dressed for myself I wouldn't bother at all. Wearing apparel bore me. I'd wearable jeans. I adore jeans. I get them in a public store—men's, of course; I can't wear women'southward trousers. Only I wearing apparel for the profession."^[111] In 2017, Swarovski commissioned a $lx,000 Art Deco-styled dress in the style of her famous "nude clothes", from Berlin-based fashion tech company ElektroCouture to honor Dietrich 25 years subsequently her death. It contains 2,000 crystals in addition to 150 LED lights.^[112] ElektroCouture possessor Lisa Lang said that the dress was inspired past electrical diagrams and correspondence that took place betwixt the extra and fashion designer Jean Louis in 1958: "She wanted a dress that glows, she wanted to be able to control it herself from the phase and she knew she could have died of an electric stroke had it ever been realized." The dress created by Lang's company was featured in French-German broadcaster Arte'southward documentary Das letzte Kleid der Marlene Dietrich (' The Last Wearing apparel of Marlene Dietrich ').^[113]

Her public prototype included openly defying sexual norms, and she was known for her androgynous motion-picture show roles and her bisexuality.^[114]

A significant volume of academic literature, especially since 1975, analyzes Dietrich's image, equally created past the motion picture manufacture, within various theoretical frameworks, including that of psycho-analysis. Emphasis is placed, inter alia, on the "fetishistic" manipulation of the female person image.^[115]

Commemorative plaque at the house where she was born 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 Frg on 14 August 1997.

The main-chugalug asteroid 1010 Marlene, discovered by German astronomer Karl Reinmuth at Heidelberg Observatory in 1923, was named in her laurels.^[116]

For some Germans, Dietrich remained a controversial figure for having sided with the Allies during World War II. In 1996, subsequently some debate, information technology was decided not to proper name a street later her in Berlin-Schöneberg, her birthplace.^[117] However, on 8 November 1997, the central Marlene-Dietrich-Platz was unveiled in Berlin to honour her. The celebration reads: Berliner Weltstar des Films und des Chansons. Einsatz für Freiheit und Demokratie, für Berlin und Frg ("Berlin globe star of picture and song. Dedication to freedom and democracy, to Berlin and Germany").

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

Berlin Memorial Plaque

"Where have all the flowers gone"

Marlene Dietrich

27 December 1901 – 6 May 1992
Extra and Singer
She was one of the few German actresses who attained international significance.
Despite tempting offers by the Nazi regime, she emigrated to the USA and became an American citizen.
In 2002, the urban center of Berlin posthumously made her an honorary denizen.

"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 piece of work. Dietrich has been quoted as saying this was the honour of which she was almost proud in her life. They likewise awarded her with the Operation Amusement Medal. The French Government made her a Chevalier (subsequently 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 Honour of the State of israel, the Manner Foundation of America award and a Chevalier de l'Ordre de Leopold (Belgium).^[118]

Dietrich is referenced in a number of pop 20th century songs, including Rodgers and Hart'due south "The Most Cute Girl in the Earth" (1935), Peter Sarstedt'due south "Where Do You Get To, My Lovely?" (1969), Suzanne Vega'due south "Marlene On The Wall" (1985), Peter Murphy (musician)'southward "Marlene Dietrich'due south Favourite Poem" (1989),and Madonna'south "Faddy" (1990). She is the inspiration for the vocal "Bluish Heaven" from Public Service Broadcasting's 2022 album Bright Magic.

In 2000 a German biopic motion-picture show Marlene was made, directed past Joseph Vilsmaier and starring Katja Flint equally Dietrich.^[119]

On 27 December 2017, she was given a Google Doodle on the 116th anniversary of her nascence.^[120] The doodle was designed by American elevate artist Sasha Velour, who cites Dietrich as a large inspiration due to her "gender-bending" fashion and political views.^[121] Sasha portrayed Marlene during her time at competitive reality series RuPaul's Drag Race.

On 14 May 2020, she was function of an Entertainment Weekly embrace celebrating LBGTQ celebrities.^[122]

Works [edit]

Filmography [edit]

Discography [edit]

Radio [edit]

Noteworthy appearances include:

• Lux Radio Theater: The Legionnaire and the Lady with Clark Gable (1 Baronial 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 (two June 1938)
• Lux Radio Theater: Manpower with Edward 1000 Robinson and George Raft (15 March 1942)
• The Gulf Screen Club Theater: Pittsburgh with John Wayne (12 Apr 1943)
• Theatre Guild on the Air: Grand Hotel with Ray Milland (24 March 1948)
• Studio One: Arabesque (29 June 1948)
• Theatre Lodge on the Air: The Letter with Walter Pidgeon (three October 1948)
• Ford Radio Theater: Madame Bovary with Claude Rains (8 October 1948)
• Screen Managing 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)^[123]
• 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'southward Playhouse: A Foreign Affair with Lucille Ball and John Lund (i March 1951)
• The Big Evidence starring Tallulah Bankhead (two Oct 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 circulate on two April).
• The Child, with Godfrey Kenton, radio play by Shirley Jenkins, produced past Richard Imison for the BBC on xviii August 1965
• Dietrich's appeal to save the Babelsberg Studio was circulate on BBC radio

Dietrich fabricated several appearances on Armed Forces Radio Services shows like The Army Hour and Command Operation during the state of war years. In 1952, she had her own serial on American ABC entitled, Cafe Istanbul. During 1953–54, she starred in 38 episodes of Time for Dearest on CBS (which debuted 15 January 1953).^[124] She recorded 94 short inserts, "Dietrich Talks on Dear and Life", for NBC'southward 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 advent at the Olympia in Paris was also broadcast.

• Desert Island Discs, Dietrich asked to choose eight recordings, circulate Monday iv January 1965

Writing [edit]

• Dietrich, Marlene (1962). Marlene Dietrich's ABC. Doubleday.
• Dietrich, Marlene (1979). Nehmt nur mein Leben: Reflexionen (in German). Goldmann. ISBN978-iii-442-06327-7.
• Dietrich, Marlene (1989). Marlene. Salvator Attanasio (translator). Grove Printing. ISBN978-0-8021-1117-3.
• Dietrich, Marlene (1990). Some Facts About Myself. Helnwein, Gottfried [Formulation and photographs]. ISBN978-3-89322-226-1.
• Dietrich, Marlene (2005). Nachtgedanken. Riva, Maria [Edited by]. ISBN978-three-57000-874-4.

Painting/Drawing [edit]

• 1941: Max Ernst finished the motion picture Marlene in oil who bears her facial features.^[125]

See also [edit]

• List of German-speaking Academy Award winners and nominees
• List of people from Berlin

References [edit]

Notes [edit]

1. ^ ^{a b} Built-in as Maria Magdalena, not Marie Magdalene, according to Dietrich's biography past her daughter, Maria Riva (Riva 1993); however Dietrich's biography by Charlotte Chandler cites "Marie Magdalene" equally her birth proper noun (Chandler 2011, p. 12).
2. ^ ^{a b} Flint, Peter B. (vii May 1992). "Marlene Dietrich, ninety, Symbol of Glamour, Dies". The New York Times.
3. ^ "Marlene Dietrich to be The states Citizen". Painesville Telegraph. 6 March 1937.
4. ^ "Citizen Before long". Telegraph Herald. x March 1939.
5. ^ "Seize Baggage of Marlene Dietrich". Lawrence Journal-World. 14 June 1939.
6. ^ "Marlene Dietrich – The Ultimate Gay Icon » The Movie theatre Museum, London". The Picture palace Museum, London. Archived from the original on vi January 2018. Retrieved 5 January 2018.
7. ^ "AFI's 50 Greatest American Screen Legends". American Film Institute . Retrieved 30 August 2014.
8. ^ Bach 2011, p. xix.
9. ^ "Marlene Dietrich (German-American actress and singer)". Our Queer History. 9 February 2016.
10. ^ Sonneborn, Liz (14 May 2014). A to Z of American Women in the Performing Arts. ISBN9781438107905.
11. ^ Bach 1992, p. xx.
12. ^ Bach 1992, p. 26.
13. ^ Bach 1992, p. 32.
14. ^ Bach 1992, p. 39.
15. ^ Bach 1992, p. 42.
16. ^ Bach 1992, p. 44.
17. ^ Bach 1992, p. 49.
18. ^ Bach 1992, p. 491.
19. ^ Bach 2011, p. 62.
20. ^ Bach 1992, p. 65.
21. ^ ^{a b} Bach 1992, p. 480.
22. ^ Bach 1992, p. 482.
23. ^ Bach 1992, p. 483.
24. ^ Bach 1992, p. 488.
25. ^ "Ship of Lost Men (Das Schiff der verlorenen Menschen)". Amazon. Retrieved 17 May 2013.
26. ^ "100th anniversary of Studio Babelsberg". www.studiobabelsberg.com . Retrieved half-dozen May 2018.
27. ^ "filmportal: The Bluish Angel". www.filmportal.de. Retrieved 6 May 2018.
28. ^ "The Ex-Marlene Dietrich, Multiple Best in Show Winning 1930 Rolls-Royce Phantom". Bonhams. Archived from the original on 23 February 2019. Retrieved 18 April 2015.
29. ^ Encounter e.k., Thomson (1975), p. 587: "He was non 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. ... "
30. ^ Come across, for example, Thomson (1975). The entry for Dietrich: "With him [von Sternberg] Dietrich made seven masterpieces [i.due east., Blue Affections in Germany and the half dozen in Hollywood], films that are withal breathtakingly modernistic, which take no superior for their sense of artificiality suffused with emotion and which visually combine decadence and thrift, tenderness and cruelty, gaiety and despair."
31. ^ Come across, for instance, the entries for Dietrich and Sternberg in Thomson (1975).
32. ^ Nightingale, Benedict (1 February 1979). "After Making Nine Films Together, Hepburn Tin Practically Direct Cukor; Hepburn Helps Cukor Straight The Corn Is Dark-green'". The New York Times.
33. ^ ^{a b} Spoto 1992.
34. ^ Bach 1992, pp. 210–211.
35. ^ "How Joan Crawford Survived Box Function Poison twice!". 29 July 2015.
36. ^ Helm, Toby (24 June 2000). "Motion-picture show star felt ashamed of Belsen link". The Daily Telegraph . Retrieved xviii May 2013.
37. ^ ^{a b c} Sudendorf, Werner.
38. ^ "Thanks Soldier". MarleneDietrich.org. 2000. Archived from the original on 25 September 2011. Retrieved 20 February 2010.
39. ^ "Rijckheyt - centrum voor regionale geschiedenis". world wide web.rijckheyt.nl (in Dutch).
40. ^ "A Soldier Lovingly Remembers Marlene Dietrich". Sis Celluloid. 27 Dec 2014.
41. ^ ^{a b} "A Look Back ... Marlene Dietrich: Singing For A Crusade". Central Intelligence Agency. 23 October 2008. Archived from the original on 21 August 2014. Retrieved xx March 2010.
42. ^ McIntosh 1998, p. 58.
43. ^ McIntosh 1998, p. 59.
44. ^ Marlene Dietrich: Her Ain Song. TCM documentary. 2001.
45. ^ Helm, Toby (24 June 2000). "Film star felt ashamed of Belsen link". The Telegraph . Retrieved 28 May 2017.
46. ^ "Miss Dietrich to Receive Medal" (PDF). The New York Times. 18 November 1947.
47. ^ "Marlene Dietrich : Biography". Who's Who – The People Lexicon (in German language). www.whoswho.de. Retrieved 5 January 2013. Chevalier de la Légion d'Honneur and Officier de la Légion d'Honneur
48. ^ Bach 1992, p. 462.
49. ^ "NY Times: Black Fox: The Rise and Fall of Adolf Hitler". Movies & Goggle box Dept. The New York Times. 2011. Archived from the original on 21 May 2011. Retrieved 8 Nov 2008.
50. ^ "Netflix to Keep New York'south Paris Theatre Open up". The Hollywood Reporter. 25 November 2019. Retrieved 23 December 2019.
51. ^ Bach 1992, p. 369.
52. ^ ^{a b c} Bach 1992, p. 368.
53. ^ ^{a b} Bach 1992, p. 371.
54. ^ ^{a b c} Bach 1992, p. 395.
55. ^ Carpenter, Cassie (9 August 2011). "Cassie'southward Corner: Marlene Dietrich's Top x Badass One-Liners". 50.A Slush. Archived from the original on 12 January 2012.
56. ^ O'Connor 1991, p. 154.
57. ^ "Marlene Dietrich 1971 Copenhagen Interview" on YouTube, 1/2 hour video
58. ^ Dietrich, Marlene. Marlene, Grove Press (1989) ebook
59. ^ Bach 1992, p. 394.
60. ^ Morley 1978, p. 69.
61. ^ O'Connor 1991, p. 133.
62. ^ "How one night in Montreal changed the life of Marlene Dietrich". Montreal Gazette. 2 May 2012.
63. ^ ^{a b c d} Bach 1992, p. 406.
64. ^ ^{a b c} Bach 1992, p. 401.
65. ^ Chesnoff, Richard Z. (7 March 1966). "A Candid Portrait of Marlene Dietrich". Montreal Gazette.
66. ^ Bach 1992, p. 526.
67. ^ "I Wish You Dear Production Schedule". Marlene Dietrich Collection Berlin. Archived from the original on 24 September 2008. Retrieved 11 October 2008.
68. ^ Roberts, Paul Grand. Mode Icons Vol 4 Sirens. Fashion Manufacture Broadcast, 2022 p. 39.
69. ^ "Marlene Dietrich Concert Setlists". setlist.fm . Retrieved 12 July 2018.
70. ^ "Marlene Dietrich". IMDb . Retrieved 12 July 2018.
71. ^ Bach 1992, p. 416.
72. ^ Bach 1992, p. 436.
73. ^ Bach 1992, p. 437.
74. ^ "Deed follows proffer of song's title". Toledo Bract. Ohio. 7 Nov 1973. p. 37.
75. ^ Voss, Joan. "Marlene Dietrich". Senior Connexion. Archived from the original on 24 July 2015. Retrieved 24 July 2015.
76. ^ Nehmt nur mein Leben ... : Reflexionen / Marlene Dietrich. Library of Congress Online Catalogue. Bertelsmann. 1979. ISBN9783570023112 . Retrieved xi October 2016.
77. ^ "Marlene". Atlas International. Archived from the original on 5 January 2009. Retrieved 26 January 2009.
78. ^ Bach 1992, p. 528.
79. ^ "Der Himmel war grün, wenn sie es sagte". Der Spiegel (in German language). 13 November 2005.
80. ^ "I have given upward belief in a God." Allen Smith, Warren (2002). Celebrities in Hell: A Guide to Hollywood'south Atheists, Agnostics, Skeptics, Gratis Thinkers, and More. Barricade Books Inc. p. 130. ISBN978-1-56980-214-iv.
81. ^ ^{a b} "Obituary of Maria Magdalene "Marlene" Dietrich". The Message Newsjournal. Retrieved 9 June 2013.
82. ^ "Marlene Dietrich Funeral". Associated Press Images. Retrieved two Dec 2012.
83. ^ "15 Most Inspiring Cannes Film Festival Posters". 22 Apr 2013. Retrieved 12 September 2015.
84. ^ "Obituary for Marlene Magdelene Dietrich". The Message Newsjournal. Retrieved nine June 2013.
85. ^ "Marlene Dietrich: Berlin". Archived from the original on three January 2013. Retrieved 18 May 2007.
86. ^ Reif, Rita (15 September 1993). "Berlin Buys Drove of Dietrich Memorabilia". The New York Times.
87. ^ Swanson, Carl (5 April 1998). "Recent Transactions in the Real Manor Market". The New York Observer. Archived from the original on xi August 2014.
88. ^ Bourke, Amy (29 May 2007). "Bisexual side of Dietrich show". Pinkish News. Archived from the original on 29 June 2011. Retrieved three January 2009.
89. ^ Kennison, Rebecca (2002). "Clothes Brand the (Wo)man: Marlene Dietrich and "Double Drag"". Journal of Lesbian Studies. half-dozen (2): 147–156. doi:10.1300/J155v06n02_19. PMID 24807670. S2CID 27704118.
90. ^ Kraß, Andreas; Sluhovsky, Moshe; Yonay, Yuval (31 December 2021). Queer Jewish Lives Between Primal Europe and Mandatory Palestine: Biographies and Geographies. transcript Verlag. ISBN978-3-8394-5332-two.
91. ^ Riva 1994, p. 344.
92. ^ "History on Film: Actors: Gary Cooper". Archived from the original on xi February 2012.
93. ^ "Marlene Dietrich". Revista Vanidades de México. 46 (12): 141. 2006. ISSN 1665-7519.
94. ^ Bach 1992, pp. 207, 211.
95. ^ Bach 1992, p. 223.
96. ^ Riva 1994, pp. 456, 500
97. ^ "Marlene Dietrich und Jean Gabin - Ein ungleiches Liebespaar". Archived. Archived from the original on 27 September 2015.
98. ^ Freeman, David (7 January 2001). "Closet Hollywood: A gossip columnist discloses some secrets well-nigh movie idols". The New York Times . Retrieved 18 April 2011.
99. ^ Madsen, Axel (2002). The Sewing Circle: Sappho's Leading Ladies. New York: Kensington Books. p. 3. ISBN978-0-7582-0101-0.
100. ^ Moser, Margaret (2011). Flick Stars Do the Dumbest Things. Macmillan. p. 73. ISBN978-one-4299-7837-viii.
101. ^ Bach 1992, p. 240.
102. ^ Riva 1994, pp. 489, 675.
103. ^ Bach 1992, pp. 316, 380.
104. ^ Carly Maga (17 September 2019). "Edith Piaf, 'the kind of women everybody'southward trying to exist right now'". Toronto Star. Archived from the original on 18 September 2019. Retrieved 12 Dec 2019. The latter was notably present at Piaf's 1952 wedding to vocalist Jacques Pills, but the women'south relationship began in the 1940s as Piaf was beginning trying to break into American amusement and Dietrich took the sparrow under her wing, so to speak.
105. ^ McNulty, Thomas (2004). Errol Flynn: The Life and Career. McFarland. ISBN978-0-7864-1750-vi.
106. ^ "Information technology Happened in the Hotel du Cap". Vanity Fair. March 2009. Retrieved 26 December 2020.
107. ^ Riva 1994, passim.
108. ^ Riva 1994, p. 612.
109. ^ Bach 2011.
110. ^ Nugent, Michael (15 September 2010). "Expressionless Atheists Society". Michaelnugent.com . Retrieved 27 September 2010.
111. ^ "From the Observer archive, half-dozen March 1960: Marlene Dietrich's wardrobe secrets". The Guardian. 4 March 2012. Retrieved 11 September 2016.
112. ^ Knowles, Kitty (1 May 2018). "ElektroCouture: Inside The Mode House Behind Swarovski's $60,000 Light-Upwards Dress". Forbes . Retrieved xxx January 2019.
113. ^ Tran, Quynh (10 April 2017). "Marlene Dietrich's Fashion Tech Vision". Women'due south Wear Daily . Retrieved 30 January 2019.
114. ^ Gammel 2012, p. 373.
115. ^ Weber, Caroline (September–November 2007). "Academy Honor: A new book analyzes Dietrich in and out of the seminar room". Bookforum.
116. ^ Schmadel, Lutz D. (2007). "(1010) Marlene". Dictionary of Minor Planet Names – (1010) Marlene. Springer Berlin Heidelberg. p. 87. doi:10.1007/978-3-540-29925-7_1011. ISBN978-3-540-00238-3.
117. ^ "The German language-Hollywood Connexion: Dietrich's Street". Archived from the original on 22 December 2008.
118. ^ "The Legendary, Lovely Marlene". marlenedietrich.org.uk. Archived from the original on 28 May 2013. Retrieved 18 May 2013.
119. ^ Rentschler, Eric (2007). "An Icon between the Fronts". In Schindler, Stephan Thousand; Koepnick, Lutz Peter (eds.). The Cosmopolitan Screen: High german Cinema and the Global Imaginary, 1945 to the present. University of Michigan Press. p. 207. ISBN978-0-472-06966-8.
120. ^ "Marlene Dietrich: Why Google honours her today". www.aljazeera.com . Retrieved 27 December 2017.
121. ^ "Marlene Dietrich's 116th Birthday". Retrieved eighteen August 2019.
122. ^ "Pride Forever: EW 's LGBTQ event celebrates new storytellers, enduring icons, and Hollywood history". Amusement Weekly . Retrieved xiv May 2020.
123. ^ Morse, Leon (22 Oct 1949). "The MGM Theater of the Air". Billboard. Retrieved 25 December 2014.
124. ^ Kirby, Walter (11 Jan 1953). "Better Radio Programs for the Week". The Decatur Daily Review. p. 42. Retrieved 19 June 2015 – via Newspapers.com.
125. ^ "Max Ernst – Marlene". De.wahooart.com . Retrieved 23 August 2021.

Sources [edit]

• Bach, Steven (1992). Marlene Dietrich: Life and Fable. William Morrow and Company, Inc. ISBN978-0-688-07119-half-dozen.
• Bach, Steven (2011). Marlene Dietrich: Life and Fable. University of Minnesota Press. ISBN978-0-8166-7584-5.
• Chandler, Charlotte (2011). Marlene Dietrich, a personal biography. Simon & Schuster. ISBN978-1-4391-8835-4.
• Gammel, Irene (2012). "Lacing up the Gloves: Women, Battle and Modernity". Cultural and Social History. nine (3): 369–390. doi:10.2752/147800412X13347542916620. S2CID 146585456.
• McIntosh, Elizabeth P. (1998). Sisterhood of Spies: The Women of the OSS. London: Dell. ISBN978-0-440-23466-1.
• Morley, Sheridan (1978). Marlene Dietrich. Sphere Books. ISBN978-0-7221-6163-0.
• O'Connor, Patrick (1991). The Amazing Blonde Woman: Dietrich's Own Fashion. London: Bloomsbury Publishing. ISBN978-0-7475-1264-6.
• Riva, Maria (1993). Marlene Dietrich (1st ed.). Knopf. ISBN978-0-394-58692-2.
• Riva, Maria (1994). Marlene Dietrich. Ballantine Books. ISBN978-0-345-38645-8.
• Spoto, Donald (1992). Bluish Angel: The Life of Marlene Dietrich. Doubleday. ISBN978-0-385-42553-seven.
• Thomson, David (1975). A Biographical Dictionary of the Cinema. London: Secker and Warburg. ISBN978-0-436-52010-five.

Further reading [edit]

• Carr, Larry (1970). Four Fabulous Faces:The Evolution and Metamorphosis of Swanson, Garbo, Crawford and Dietrich. Doubleday and Company. ISBN978-0-87000-108-6.
• Phillips, James (2019). Sternberg and Dietrich: The Phenomenology of Spectacle. Oxford University Press. ISBN978-0-19091-524-vii.
• Riva, David J. (2006). A Woman at War: Marlene Dietrich Remembered. Wayne State University Printing. ISBN978-0-8143-3249-viii.
• Walker, Alexander (1984). Dietrich. Harper & Row. ISBN978-0-06-015319-nine.

External links [edit]

freemansweves.blogspot.com

Source: https://en.wikipedia.org/wiki/Marlene_Dietrich

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