Dietrich Articles & Miscellany
Dietrich Phantom Rolls Royce To Go To Auction
Marlene Dietrich Berlin 'Walk of Fame'
Marlene Dietrich Waxworks In Hollywood
Marlene Dietrich Letters Go To Auction
Lunch with Marlene
MD Exhibition In Moscow (Pictures)
Marlene Dietrich Exhibition In Moscow
Philip French's Screen Legends MD
Berlin Marks Birthplace
Dietrich's Fury In Letter
Marlene Dietrich Airport ?
Marlene's Lost Earring (?)
The Saga of Lili Marleen
BBC MD News Archive
Marlene Dietrich News Archive New York Times
Marlene In Berlin (MDCB)
German Federal Film Archives
Germany Honours Dietrich
Dietrich (German-Hollywood Connection)
Marlene Dietrich/Gottfried Helnwein
Marlene's Lenci Dolls
Marlene On The Wall
Larry King Interviews Maria Riva 2003
James Leavey Interviews Peter Riva 2001
Marlene Dietrich Sells Jewelry Items At Auction
Photographic Memory William Claxton
82nd Airborne Division Memories (MD)
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''The British have an umbilical cord which has never been cut and through which tea flows constantly. It is curious
to watch them in times of sudden horror, tragedy or disaster. The pulse stops apparantly, and nothing can be done, and not
one move made, until a 'nice cup of tea' is quickly made. There is no question that it brings solace and does steady the mind.
What a pity all countries are not so tea-conscious. World-peace conferences would run smoothly if a 'nice cup of tea' or indeed
, a samovar, were available at the proper time''- Marlene Dietrich.
extract below appears with kind permission.
Davidhazy, Gunars Viksnins
Click on articles to enlarge.
Marlene Dietrich astrological chart. ŠKozmik horoscope.
Dietrich Orchid Cactus
Marlene Dietrich in 1997. The breeder is Harold F.Watts.
ESA-registration number is: 12197
Light shrimp pink with slightly brighter pink-cerise
edge on sides of petals. Next row medium shrimp pink with cerise overcast. Outer petals amber-pink. Overlapping, bell shape.
Ruffled petal edges.
(Special Thanks to Karin at Epikakteen for
photograph below appears with kind permission from ©Teresa Rodriguesz.
Click on image to enlarge
Lili Marleen (Bare Root Rose)
Floribunda, Deep Crimson
Flowers: Double, Cupped, Exhibition Form, Medium, 25 Petals, Lightly
Flowering Habit: Clusters
Height: 3 feet x , Habit: Bushy
Leathery Semi-Glossy Bronzed
Cultivation: Good for Bedding, Vigorous, Good for Cutting
, Good for Bedding , Needs Sun , Vigorous
Strengths: Profuse Blooms
Weaknesses: Disease prone
Hardiness: In general,
Floribunda, roses are hardy to Zone 6, Zone 5 with winter protection, but there is considerable variation between varieties.
GermanyIntroducer: KOR- Kordes (Sparrieshoop) 1959
Parentage: (Our Priness
x Rudolph Timm) x Ama
ARS Colour: mr Medium Red ARS Rating: 7.7
Awards: Gold Medal(s) RNRS
Also known as: Lili Marlene, KORlima, Lily Marlene, Lilli Marlane
Averages of Responses from
Garden Rating Average: - / 10
Average: - / 3
Cut Flower Rating Average: - / 10
Exhibition Rating Average: - / 10
photograph below of the Lili Marleen Roses was taken by ©N.H.
Click on image to enlarge.
Marlene Dietrich DayLily Information courtesy of
Plant Files at davesgarden.com
Cultivar: Marlene Dietrich
Kirchhoff; Year of Registration or Introduction: 2005Height:
24-36 in. (60-90 cm)Spacing:
18-24 in. (45-60 cm)Hardiness:
USDA Zone 4a: to -34.4 °C
(-30 °F)USDA Zone 4b: to -31.6 °C (-25 °F)USDA Zone 5a: to -28.8 °C (-20 °F)USDA Zone 5b: to -26.1 °C
(-15 °F)USDA Zone 6a: to -23.3 °C (-10 °F)USDA Zone 6b: to -20.5 °C (-5 °F)USDA Zone 7a: to -17.7 °C
(0 °F)USDA Zone 7b: to -14.9 °C (5 °F)USDA Zone 8a: to -12.2 °C (10 °F)USDA Zone 8b: to -9.4 °C (15
°F)USDA Zone 9a: to -6.6 °C (20 °F)USDA Zone 9b: to -3.8 °C (25 °F)
USDA Zone 10a: to -1.1 °C
(30 °F)USDA Zone 10b: to 1.7 °C (35 °F)Sun Exposure: Full Sun Soil pH requirements: 6.6
to 7.5 (neutral) Propagation Methods: By dividing the rootballBloom Time: Early (E)Reblooming
(Re) Flower Size: Large (more than 4.5" diameter) Blooming Habit: Extended (ext.)Flower
Type: Double Bloom Color: PinkCoral/Apricot Color Patterns: Blend Flower
Fragrance: No fragranceFoliage Habit: Evergreen (ev.) Ploidy: Tetraploid
courtesy ©David Kirschhoff.
Click on image to
With its total floor space of
60,000sqft and its 46ft. ceiling, Marlene Dietrich Halle counts amongst Europe’s largest sound stages – an ideal
location for feature film production. The complex is divided into three stages, the main 22,600sqft. stage and two additional
stages, offering 17,760sqft. each. The stages at Marlene Dietrich Halle are all equipped with a broadband communication network
(Monomode). Photograph and text appear courtesy Babelsberg Studios. Click on image to enlarge.
Marlene Dietrich Cocktail
two photographs below of Marlene's Cadillac were taken by ©Orinoko and appear with kind permission. The Cadillac
is housed at the Southward Car Museum, nr.Wellington, New Zealand.
on images to enlarge.
Marlene with her Cadillac.
Click on image to enlarge.
Marlene and Gary Cooper filming 'Desire' 1936, Pontiac & Auburn V-8.
Click on image to enlarge.
The photograph below of the1935 Auburn was taken
by ©Alex Small and appears with kind permission. Click on image to enlarge
The 1935 Auburn 851 has been part of the collection at the Museum for many years. Unfortunately almost nothing is
known of it's history before about 1956. It was owned by a high ranking RAF officer before passing initially into joint
ownership between the then Montagu Motor Museum and another individual and later into the Montagu Collection.
is reputed to have been used in the film 'Desire' however I can find no documentation in
the vehicles file to confirm whether or not Marlene Dietrich actually owned the car. I believe the connection between the
car and the film may have been originally made by another Dietrich enthusiast.- Patrick Collins Enquiries Officer, National Motor Museum, Beaulieu, Hampshire, U.K.
Beaulieu Motor Collection
Capacity CylindersAmerican 4,585cc
Max SpeedSide 115bhp@3,600rpm
The piece below sent in by Jodie North (edited from the Sheila Variations).Peter
Bogdonavich on Dietrich:What a remarkably dedicated Old World artist she was! The only German superstar, the one European
with the longest international appeal -- and this despite two World Wars that made Germany not exactly the most popular country
to be from. In a brand-new medium for which no one really knew the rules of the game, Dietrich -- which means "passkey"
in German -- had to make them up for herself. There was no way to predict the price she would have to pay: her last ten-plus
years in seclusion so as not to destroy the legend she had created, the myth that was a part of her art, both of which --
though pretending otherwise -- she took very seriously. Her unique qualities and upbringing, and fate, gave her the remarkable
ability and opportunity to express -- through the first six decades of women's official emancipation (the right to vote)
-- the many faces of Woman: sacred to profane, victim and killer combined, nurse, bohemian artist, siren, vamp or love goddess
to Great Earth Mother. Marlene's German-born mother -- "the good General," she called her -- had told Dietrich
repeatedly: "Do something." And to her European sensibility, implicit in that injunction was: "Do something
well." Marlene did everything extremely well, made it all look so easy that many people eventually took her for granted.
Many still do: separating her always from the 'serious' actors of the time, as opposed to 'personalities'.
But personality-actors were those star-players whose actual personae were uniquely appropriate to the closely analytic eye
of a camera: the character and actor merge into one -- a seminal difference about this new performing art-form.Perhaps the
best description of her face was provided by Erich Maria Remarque, her longtime friend, in his novel "Arch of Triumph":
"The cool, bright face that didn't ask for anything, that simply existed, waiting -- it was an empty face, he thought;
a face that could change with any wind of expression. One could dream into it anything. It was like a beautiful empty house
waiting for carpets and pictures. It had all possibilities -- it could become a palace or a brothel." The face of an
icon. "One could dream into it anything." People continue to project fantasies and dreams onto the face of Marlene
Dietrich - her face existed in the realm of fantasy. She knew it - which was why she lived as a recluse for the last years
of her life. Sure, she was probably very vain - didn't want people to see her as an old woman - but on another level -
she didn't want to ruin the fantasy for others. The fantasy of Marlene Dietrich. Best to just disappear quietly - and
leave the face intact in the mind of the world - so that they can continue dreaming, speculating, projecting ...They don't
make 'em like Marlene Dietrich any more. Peter Bogdonavich’s book Who the
Hell's In it, describes meeting Marlene Dietrich."Marlene Dietrich's taken your seats." The
assistant director was a little out of breath. "You don't care, do you? She likes to sit in the first two on the
right. They moved you guys behind her." It was September 1972, and Ryan O'Neal and I were at Los Angeles International
Airport with a few others of the cast and crew of Paper Moon, which we
were flying to Kansas to shoot. I said we didn't mind. Ryan was incredulous. "Marlene Dietrich is on our plane going
to Kansas?"No, it turned out she was flying to Denver (we had to switch planes there) to give six concert performances
at the Denver Auditorium. Hard to believe, but sure enough, there she was, sitting across from us at the gate, all in white
-- wide-brimmed hat, pants, shirt, jacket -- looking great and also bored and a little suspicious of the noisy good spirits
around our group.We went over to say hello. I introduced myself. Ryan said, "Hello, Miss Dietrich. I'm Ryan O'Neal.
Love Story?" He grinned."Yes," she said. "I didn't
see it -- I liked the book too much. I won't see The Godfather for
the same reason -- Brando is too slow for it anyway -- why didn't they use Eddie Robinson?" She had that deep voice
and distinct German accent.There were several people I knew who had worked with and loved her, and I mentioned a few of them,
trying to get a conversation going, but she was a little frosty, so we slipped away after a few moments. Ryan said, "I
think we did great," but I didn't.She was right behind us as we waited to have our hand baggage searched, not a common
event then, and I can't recall why it was done. We tried again; she was nicer this time. "I saw The Last Picture Show," she said to me; the film had opened a year before. "I thought if one
more person stripped slowly, I would go crazy.""Did you see What's Up,
Doc?" Ryan said. "We did that together." The picture was still in theatres at the time."Yes,
I saw it," she said and nothing more.Not an auspicious beginning, huh? But during the flight she warmed up. Not only
did she warm up, but she basically joined their entourage and they all had a riotous flight together - with Bogdonavich pumping
her for information about her career. She was more than forthcoming.The next excerpt from Bogdonavich:On the plane she sat
in front of us, with her blond girl Friday, and by now, she had obviously decided we weren't so bad; she spent almost
the whole flight turned backward and leaning over the top of her seat, on her knees, talking to us. She was animated, girlish,
candid, funny, sexy, with her baby-talk "r" (that becomes "w") and everything. I told her I was trying
to stop smoking again. "Oh, don't," she said. "I stopped
ten years ago and I've been miserable ever since. I never drank before -- and now I drink. I never had a cough when I
was smoking -- now I cough. Don't stop -- you'll get fat and you
don't want to do that."We talked about movies she had been in and directors she had worked for. After a while, it
became apparent to her that I had seen an awful lot of her pictures. "Why do you know so much about my films?""Because
I think you're wonderful, and you've worked for a lot of great directors.""No," she said dubiously.
"No, I only worked for two great directors -- Sternberg and Billy Wilder.""And what about Orson?""Oh,
well, yes. Orson -- of course."I guess she wasn't so impressed with Lubitsch or Alfred Hitchcock or Fritz Lang, Raoul
Walsh or Tay Garnett or Rene Clair or Franz Borzage. Here's a picture of her from Orson Welles' Touch of Evil.Bogdonavich talked with her about her performance in Touch
of Evil:I had read somewhere that her own favorite performance was in Welles' Touch of Evil (1958). "Do you still feel that way?" I said."Yes. I was terrific in that.
I think I never said a line as well as the last line in that movie -- 'What does it matter what you say about people ...?'
Wasn't I good there? I don't know why I said it so well. And I looked so good in that dark wig. It was Elizabeth Taylor's.
My part wasn't in the script, you know, but Orson called and said he wanted me to play a kind of gypsy madam in a border
town, so I went over to MGM and found that wig. It was very funny, you know, because I had been crazy about Orson -- in the
forties when he was married to Rita Hayworth and when we toured doing his magic act [The
Mercury Wonder Show, benefits exclusively done for servicemen] -- I was just crazy about him -- we were great
friends, you know, but nothing ... Because Orson doesn't like blond women. He only likes dark women. And suddenly when
he saw me in this dark wig, he looked at me with new eyes. Was this Marlene ...?""Well, he certainly photographed
you lovingly.""Yes. I never looked so good."More from Bogdonavich - watch her total honesty with herself in
this excerpt - she is one of the greats:I asked her if she'd been upset about Sternberg's acerbic autobiography Fun in a Chinese Laundry, first published in 1965, in which he'd said that he
had created her, and implied that she would have been nothing without him. (He once said to me, "I am Marlene Dietrich -- Miss Dietrich is me.")
She pursed her lips, lifted her eyebrows slightly. "No -- because it was true. I didn't know what I was doing --
I just tried to do what he told me. I remember in Morocco, I had a scene
with [Gary] Cooper -- and I was supposed to go to the door, turn and say a line like, 'Wait for me' and then leave.
And Sternberg said, 'Walk to the door, turn, count to ten, say your line and leave.' So I did and he got very angry.
'If you're so stupid that you can't count slowly, then count to twenty-five.' And we did it again. I think
we did it forty times, until finally I was counting probably to fifty. And I didn't know why. I was annoyed. But at the
premiere of Morocco -- at Grauman's Chinese Theatre" -- she said the original name of the LA movie palace with just
the lightest of mockery -- "when this moment came and I paused and then said, 'Wait for me' ... the audience
burst into applause. Sternberg knew they were waiting for this -- and he made them wait and they loved it."Bogdonavich
again, watching her concert in Denver (she invited the entire cast of Paper Moon
to come see her):Of course she saw World War II at close range, entertaining the troops for three years with "benefits"
-- more than any other star performer did, for which she was awarded America's highest civilian honor, the Medal of Freedom,
as well as France's most valued order of distinction, the Legion d'honneur.
And the experience was all brought back through her touching introduction to "Lili Marlene" - an old German song,
forbidden by Hitler in her own country -- which was comprised mainly of a recitation of all the countries in which she had
sung "Lili Marlene" during the war. It called to mind what Hemingway had written in his World War I novel, A Farewell to Arms: ... There were many words that you could not stand to hear and
finally only the names of places had dignity. Certain numbers were the same way and certain dates and these with the names
of the places were all you could say and have them mean anything. Abstract words such as glory, honor, courage, or hallow
were obscene beside the concrete names of villages, the numbers of roads, the names of rivers, the numbers of regiments and
the dates ...And that was what Marlene conveyed; as she said, "Africa, Sicily, Italy, Greenland, Iceland, France, Belgium
and Holland" -- here she paused -- "Germany, and Czechoslovakia", her voice carried with each a different untold
story of what she had seen, what the 500,000 soldiers she sang for had seen.Pauline Kael's review of Blue Angel:Dietrich's Lola Lola is a rather coarse, plump young beauty; as she sings "Falling
in Love Again," her smoldering voice and sadistic indifference suggest sex without romance, love, or sentiment. The pedant
becomes her husband, her slave, her stooge; he travels with the cafe troupe, hawking dirty pictures of his wife. Dietrich
is extraordinary.Dietrich asLola-Lola in Blue Angel. Bogdonavich writes
about that film:The Blue Angel instantly set Dietrich among the immortals.
Her chair-straddling portrayal of cabaret singer Lola-Lola defined her essential image in certain irrevocable ways. She would
forever sing the song she is doing (in German) the first time we see her: "Falling in love again ... never wanted to
-- What am I to do? Can't help it ..." She too, then, was a fool for love, like all the men who fell for her. Talking
with Sternberg one time, I said that among the pictures he made with Dietrich, Blue
Angel was actually the only time she really destroyed a man, to which he replied: "She did not destroy him
-- he destroyed himself. It was his mistake -- he should never have taken up with her. That's what the story is."
Was he speaking of himself a bit or only of the prudish boys'-school teacher [Emil] Jannings played, who fell madly in
love with a loose, bawdy, compulsively unfaithful performer? The strain breaks him down to ultimate degradation. Like that
line in Jacques Brel's masochistic love chant, "Ne me quitte pas,"
Jannings becomes content to be to Dietrich "the shadow of your dog ..." The moment when Marlene humiliates Jannings
by making him crow for her like a rooster is one of the most chilling in picture history.Ernest Hemingway wrote a piece about
Marlene Dietrich for Life magazine.If she has nothing more than her voice
she could break your heart with it. But she has that beautiful body and that timeless loveliness of her face. It makes no
difference how she breaks your heart if she is there to mend it.
Marlene Dietrich Quotes
- A king, realizing his incompetence, can either delegate or abdicate
his duties. A father can do neither. If only sons could see the paradox, they would understand the dilemma.
- A man would prefer to come home to an unmade bed and a happy woman
than to a neatly made bed and an angry woman.
- America took me into her bosom when there was no longer a country
worthy of the name, but in my heart I am German - German in my soul.
- Courage and grace are a formidable mixture. The only place to see
it is in the bullring.
- Darling, the legs aren't so beautiful, I just know what to do with
- Glamour is what I sell, it's my stock in trade.
- Grumbling is the death of love.
- How do you know love is gone? If you said that you would be there
at seven and you get there by nine, and he or she has not called the police yet - it's gone.
- I am at heart a gentleman.
- I dress for the image. Not for myself, not for the public, not for
fashion, not for men.
- I had no desire to be an film actress, to always play somebody else,
to be always beautiful with somebody constantly straightening out your every eyelash. It was always a big bother to me.
- I love quotations because it is a joy to find thoughts one might have,
beautifully expressed with much authority by someone recognized wiser than oneself.
- I never enjoyed working in a film.
- I was raised almost entirely on turnips and potatoes, but I think
that the turnips had more to do with the effect than the potatoes.
- I'm worth more dead than alive. Don't cry for me after I'm gone; cry
for me now.
- If there is a supreme being, he's crazy.
- In America, sex is an obsession, in other parts of the world it's
- It's the friends you can call up at 4 a.m. that matter.
- Latins are tenderly enthusiastic. In Brazil they throw flowers at
you. In Argentina they throw themselves.
- Most women set out to try to change a man, and when they have changed
him they do not like him.
- Once a woman has forgiven her man, she must not reheat his sins for
- Superstitions are habits rather than beliefs.
- The average man is more interested in a woman who is interested in
him than he is in a woman with beautiful legs.
- The Germans and I no longer speak the same language.
- The tears I have cried over Germany have dried. I have washed my face.
- The weak are more likely to make the strong weak than the strong are
likely to make the weak strong.
- There is a gigantic difference between earning a great deal of money
and being rich.
- There's something about an American soldier you can't explain. They're
so grateful for anything, even a film actress coming to see them.
- They want you to bring out your intestines.
- Think twice before burdening a friend with a secret.
- To be completely woman you need a master, and in him a compass for
your life. You need a man you can look up to and respect. If you dethrone him it's no wonder that you are discontented, and
discontented women are not loved for long.
- We all regret our youth once we have lost it.
- When you're dead, you're dead. That's it.
- Without tenderness, a man is uninteresting.
'Nothing has ever been invented that is more cumbersome to make
than the motion picture.'-JvS
'Shadow is mystery and light
is clarity. Shadow conceals - light reveals. To know what to reveal and what to conceal and in what degrees to do this is
all there is to art.'-JvS
[on the director's
role] '... the determining influence, and the only influence, despotically exercised or not, which accounts for the worth
of what is seen on the screen.'-JvS
then put her into the crucible of my conception, blended her image to correspond with mine, pouring lights on her until the
alchemy was complete.'-JvS
'Leonardo da Vinci of the camera' scrutinized the programme with his eagle eye, found my name, stood up and left the
''Von Sternberg was creator,
Lord of Light, an incomparable technician, the commander-in-chief of the film world.''-MD
''I didn't discover Dietrich,' Von Sternberg would often remark. 'I
am a teacher,' he elaborated, 'and this beautiful woman came to that teacher's attention. He shaped her appearance,
highlighted her charm, minimized the defects, and moulded her into an aphrodisiac phenomenon.''-MD/MR
''Von Sternberg had achieved the desired effect despite the cutbacks the studio
had imposed on him. I was very young and inexperienced, but I admired his flair for magic, that faculty I was to see at work
for so many years. In the course of the shooting period, with an ever growing admiration, I learned everything from Josef
Von Sternberg, that conjuror of the thousand -headed serpent called 'film''! '-MD
''I want immediate sound. Swamp the audience immediately. Envelop them with
raw sound.... early morning sounds...hard heels on cobblestone streets, the slap of water thrown on a storefront from a metal
bucket... dogs barking... rattle of thick breakfast dishes. A canary sings. The professor has a canary ? Yes ! The professor
has a canary ! Yes ! Sound ! Sound ! It's so correct, the German word for sound, klang ! That says it so much better than
our word - a klang film ! 'KLANG,' ' he bellowed the word. 'You feel how it vibrates ? That's what we
must do ! From the first moment the audience must be deluged with sound, conditioned instantly, it must learn to concentrate
on hearing, to listen to dialogue above the klang.''-JvS
MD (Hollaender) Quotes
one, not even Spoli could have written these songs. Everyday, another double entendre thing for me to sing! The words! how
he does it! Amazing!''-MD
''Papi-you know what is meant by 'pi-a-no-la,' '' my
mother chortled. ''So vulgar - and so right. Papi, he is a genius, that Hollander. For The Blue Angel, he
is a genius! Listen to this one - today, he doodle-doodled on the piano, tried this, then that - it's my favourite in
''But the song, the one that everybody loves, something about 'moths
and flames' and 'I can't help it that all men want me' - that one is terrible! Thank God, once The Blue Angel
is finally finished, I will never have to sing that awful song again!''-MD
Did You Ever Look Like Marlene Dietrich ?
(extract from an article by © Evan G.)
If you’re a heterosexual male who’s dreaming that you’re looking into a mirror and this image above
is more or less what you see reflected back into your eyes—except it’s in color, highlighted by a hint of medium
reddish lipstick—and you really like what you’re seeing, and feeling good about looking like this and feeling
this way, then what the hell does it all mean? Yes, I dreamt that I looked sort of like Marlene Dietrich and had
on a top hat, and pasty white face with perhaps the nose a tad more splayed out and the face maybe a little rounder, and some
of the aforementioned lipstick, which I particularly fixated on, since, for some reason, it seemed like the most natural part
of the ensemble and everything else seemed new and strange and surprisingly agreeable. Am I getting in touch with my feminine
side, my side that is tired of being average, unglamorous and unnoticed? Or does it just have something to do with the fact
that I recently watched that cherished scene of Dietrich in the 1930 film, Morocco, where she, in this very get-up,
plants a hot kiss on a diminutive brunette cabaret patron, partly to tease legionnaire Gary Cooper but also because she just
likes doing erotic things like that? Or does it feed into my frustrations at not being able to have women that I’d like
to have, romantically, sexually? In my waking state, I have no drag-queen desires, no urge to don stockings and sing “Quand
L’Amour Meurt” or “Ich Bin Die Fesche Lola.” It was an isolated thing, and it only lasted a few seconds,
just a blip on a rich full night of dreaming. But it was way too much fun, and that’s why I ponder it. And lest any
of you boys want me to “see what the boys in the back room will have,” forget about it. EG- (extract from an article
by ©Evan G.).
photograph below was taken by ©Michael Zargarov and appears with kind permission. Click on image to enlarge.
'Here is the elusive Shalimar perfume bottle. It was on Marlene's
dressing room make-up table at Paramount, in the late 1940's, when my Father's last wife, Ruth Hancock was
a Costumer there. She was doing something for Marlene during the filming of Golden Earrings, and made some mention of loving
the smell of Shalimar.
Marlene picked up the bottle and
gave it to Ruth. Ruth used almost ALL the perfume...there is only a thick jelly at the bottom now, but the intoxicating smell
Ruth remembered that Marlene gave perfume and
other gifts to everyone involved with a film after it was finished. She once got a gold medallion of St. Genesius (Patron
of Actors) for her charm bracelet. I wish I knew where that was now'. -Michael Zargarov
The photograph below of the Beach House in Santa Monica
where Marlene used to reside was taken by ©Michael Zargarov and appears with kind permission. Click on image to enlarge.
photograph below is of British dollmaker Paul Crees (Paul Crees/Peter Coe) with one of his Marlene Dietrich dolls.
Click on image to enlarge.
Marlene Dietrich Exhibit - Madagascar 2008
The inauguration of the Marlene Dietrich Exhibit
was held at the “Toit de Tana”, Hotel Carlton on Monday the 08th of December 2008. More than 200
persons were present, such as The Malagasy Minister of Culture Dr. Jean Louis Robinson; his Excellency the German Ambassador
and his wife, M. Moser; Mrs. Neils Marquardt, wife of the American Ambassador; M. Vladimir Goncharenko, Russian Ambassador
and his wife; M. Samuel Mokgethi and his wife, South African’s Ambassador.Also were present those from the National and private TV channels, press and more important
personalities. Those who were present at the opening
were stunned by the exhibit, “a real success and an international standard”.After three years of preparation and two months of intense work and set up, I’m satisfied
to pay such homage as I ever wanted for MD.Thanks
for your help, the Goethe Institute of Antananarivo and Johannesburg, the German Embassy, the Hotel Carton’s General
Manager, M. François Van Rens who gracefully grant the 300 Sq meter space, friends and sponsors who gave hands to make
this exhibit happen and made it a real success by the quality and things in general.The Malagasy Ministry of the Culture would wish to have the exhibit at the renewed area
of their building for another month (January).We
have a lot of people everyday leaving great comments on MD and what they have learned from.Again all my gratitude for your help and assistance, I made my dream come true, paying
homage worth of the Diva which I was a real admirer since many years.
The piece below appears with kind permission from the Allen Ginsberg Estate.
Marlene Dietrich is singing a lament
for mechanical love.
She leans against a mortarboard tree
on a plateau by the seashore.She’s a life-sized toy,
the doll of eternity;
her hair is shaped like an abstract hat
made out of white steel.Her face is powdered, whitewashed
immobile like a robot.
Jutting out of her temple, by an eye,
is a little white key.She gazes through dull
set in the whites of her eyes.
She closes them, and the key
turns by itself.She opens her eyes,
and they’re blank
like a statue’s in a museum.
Her machine begins to move, the key turns
her eyes change, she sings.—you’d think I would have thought a plan
to end the inner grind,
till I have found a man
to occupy my mind. © Allen Ginsberg Estate. Collected Poems: 1947-1997 Pengin Publishers/Harper
piece below entitled 'Mechanical Love' is by artist Sam Aguirre and appears with kind permission.
© Sam Aguirre.
The magazine cutting below appears with kind
permission from Linda Wulfestieg.
© Linda Wulfestieg.