175 pics of Marlene Dietrich
and 539,131 images of 17,191 celebrities!
-
1
2
3
4
5
6
7
Next
-
Marlene Dietrich Filmography
Marlene Dietrich Gossip
Marlene Dietrich Info
Marlene Dietrich Is Related
Sources
Marlene Dietrich to star on Berlin 'Walk of Fame'
(AFP)
AFP - Berlin-born Hollywood legend Marlene Dietrich will be immortalised on the streets of her home city on a new "Walk of Fame" to be unveiled during the Berlin film festival this week, promoters said Saturday.
on 2010-02-07 04:45:05Iconic Actresses Take Center Stage in New Book
The book celebrates Hollywood actresses known for their beauty.What do Marilyn Monroe, Marlene Dietrich and Julia Roberts all have in common -- aside from famously good looks and acting talent, that is? All three women are among the featured subjects in T
on 2008-10-02 04:54:38Jennifer Lopez and Eva Longoria Parker: New BFFs?
The style-setters share a row at NYC's Fashion Week plus "Project Runway" news!
Everyone from Gossip Girls to Oscar winners collide at New York's Fashion Week, so fans at Sunday's Diane Von Furstenberg show got a treat when the fabulous Jennifer Lopez was
on 2008-09-09 04:50:26Saying Hi to High Party Pants
The high-waisted pant has had its ups and downs. In the 1940s, it allowed actresses like Marlene Dietrich to achieve a glamorous menswear style, and then in the '70s, it gave...
on 2007-10-16 14:52:25-
On 21 Jul 2005 07:40:49 -0700, "Giving Tree"
wrote:
>autobiography, "Ich bin, Gott sei Dank, Berlinerin" (I am, Thank God, a
>Berliner).
>I also love Berlin. If King Michael moves to Berlin, I'll have to give
>some serious thought to doing the same.
You couldn't afford to live in Berlin.
-
> himself can't explain why he's fallen so deeply in love with Berlin."
I think the great Marlene Dietrich said it best in the title of her
autobiography, "Ich bin, Gott sei Dank, Berlinerin" (I am, Thank God, a
Berliner).
I also love Berlin. If King Michael moves to Berlin, I'll have to give
some serious thought to doing the same.
-
There's a $cientology phrase for Gottfried - degraded being.
In article ,
Babble Schwarz wrote:
> MUSIC
> Rosenkavalier,' arouses creative tumult.
> Times Staff Writer
> lived through, the dissension over the "Der Rosenkavalier" he designed
> for Los Angeles Opera seems like a tempest in a teekanne.
> out of school for creating a portrait of Hitler with his own blood.
> Decades later, as a successful artist, he painted a
> Renaissance-inspired mural in which an infant Christ is greeted by
> three wise men - wearing SS uniforms. The piece nearly led to a
> lawsuit by a soldier's widow. In the '80s, an unknown assailant slashed
> the throats of the children in the canvas mural; at an art festival in
> 2001, someone set fire to a girl's portrait.
> Francisco show, "is the visual equivalent of a contact sport."
> Sunday afternoon at the Dorothy Chandler Pavilion (with Margaret
> Thompson stepping in for an indisposed Alice Coote as the love-struck
> young nobleman Octavian). But the criticism began even before it
> opened, with an ad he photographed showing two fetching young women on
> the verge of a kiss. The objections grew louder after audiences got a
> load of his whimsically grotesque vision - including monochromatic
> sets and minor characters who seem inspired by Dr. Seuss - of an
> opera originally set in 18th century Vienna.
> his temperament and constant sunglasses suggest a Germanic Roy Orbison.
> He says he has no urge to shock, but he appears to find controversy
> sadly inevitable.
> he says, sitting outside his studio in downtown L.A.'s artist district.
> "But I believe in the idea of Gesamtkunstwerke, the art that includes
> all art. And that means you have visual art, you have directing, you
> have choreography, and of course you have the music and the singing.
> What makes opera such an interesting art is that everything comes
> together."
> second opera for which Helnwein has designed the sets and costumes.
> Times music critic Mark Swed called the production "terrific" and
> described its look as "sensational." The New York Times was also
> enthusiastic.
> production "has been commandeered by a gum-chewing dandy in a bandanna
> and sunglasses. He is the scenery and costume designer and no doubt an
> artiste, and someone must have given him the company's American Express
> card and said, 'Go to it.' "
> Schell's conception "leaches layers of meaning from the opera,
> rendering emotionally complex ideas flat and distracting us from both
> the music and the less obvious aspects of the drama."
> masterpiece, and his use of a single color to dominate each act, came
> after he had seen several decades' worth of productions whose bland
> sets and "corny, fake rococo costumes" he calls visual "disasters."
> the director's 1984 documentary about Marlene Dietrich - Helnwein
> says he sought to be true to the spirit of Strauss but "wanted a piece
> you could see was made in the 21st century and made in Los Angeles."
> visually," he says. "And there's a connection between rococo and the
> spirit of this city, of Hollywood. So I wanted to have some elements of
> that in the piece. It seems to contradict, but it doesn't really."
> children have long given him a reputation for provocation, Helnwein
> says his art comes from a psychological need.
> experienced: I wanted to respond, but I didn't know how to articulate
> it. But I could paint it. That medium opened all doors. Certain images
> can reach so deeply into people's souls.
> responsibility." One role of art, he believes, is to "force people to
> look at things they would rather not look at," an impulse he sees in
> Goya and Shakespeare.
> when Austria was still reeling and consumed with guilt and silence.
> landed in the wrong place. If you lose two world wars, and your houses
> are bombed, you are not in a very good mood. Everything was ugly and
> threatening. People didn't talk. I never heard anybody laugh or sing."
> big awakening and revelation.... When I opened my first comic book, it
> was like opening a door to a world without boundaries. That's where I
> wanted to live. I couldn't read, but I could read the pictures."
> Carl Barks, for whom he would years later curate a touring museum show.
> Another jolt: a chewing gum wrapper that included a small picture of
> Elvis Presley - "the most beautiful person I had ever seen."
> identify with in our parents' generation: It culminated in the
> explosion of the '60s. We didn't want anything to do with their culture
> or their crimes or their fascistic past. I believed in comics and rock
> 'n' roll."
> usually torture scenes, people nailed and cut into pieces, sacred
> corpses. I was scared - I had nightmares - but I was fascinated, of
> course.
> millions of pictures. And Puritan or Protestant countries, especially
> when they're Calvinistic like America, are very different."
> leaving Austria to settle in Germany. So in the '90s, after visiting
> rural Ireland largely on a whim, he decided to relocate there and in
> New York. Then, in 2002, he moved his TriBeCa studio to downtown L.A.
> painterly photography would be welcome in a city dominated by
> entertainment. But he found a public and fell for L.A.
> beauty. L.A. is the most underestimated city in the entire world," he
> says, describing its ability to draw exiles, émigrés and dreamers
> from everywhere.
> as his friend and countryman Arnold Schwarzenegger, who has collected
> several of his paintings. "I'm interested in people who are not
> satisfied with the world as it is and have impossible dreams."
> suits him as well. He likens it to the "peaceful anarchy" of the city's
> many ethnic groups and religions.One aspect of local culture that
> Helnwein has not experienced from the inside is Hollywood. He's
> designed for theater and ballet - and developed a series of graphic
> photographs with rocker Marilyn Manson - and is increasingly
> interested in working for the movies, perhaps with his friend Sean
> Penn. But he admits that he doesn't bend easily when working in a group
> and says collaboration entails "an ethics question to be true to your
> vision."
> but acknowledges that there was more creative tension than usual during
> the "Rosenkavalier" production process.
> cannot.' We all love him here, but it was not an easy job. He's just
> not used to compromise or working with a creative team. This is
> artistic energy - you can't predict it."
> of love and death" but notes their partnership was "two perfectionists
> coming together. On certain things we could not agree: He is so
> obsessed with what he's thinking out."
> Oberhausen, Germany, before returning to Ireland. He finds the green
> hills, peat-scented air and antique culture of Tipperary to be a
> necessary respite from L.A.'s "urban decadence" and lack of historical
> memory. But both are important to him.
> decadent time where things are really falling apart. It's like the
> great Western culture is finally coming to an end. It has many
> parallels to the last days or Rome, when everything fell apart. And I
> want to experience that with open eyes, you know?"
>
-
MUSIC
Must everything be such an opera?
Gottfried Helnwein, who designed the sets and costumes for 'Der
Rosenkavalier,' arouses creative tumult.
By Scott Timberg
Times Staff Writer
June 18, 2005
Compared with some of the other controversies Gottfried Helnwein has
lived through, the dissension over the "Der Rosenkavalier" he designed
for Los Angeles Opera seems like a tempest in a teekanne.
As a student in Vienna, the Austrian-born Helnwein, now 56, was kicked
out of school for creating a portrait of Hitler with his own blood.
Decades later, as a successful artist, he painted a
Renaissance-inspired mural in which an infant Christ is greeted by
three wise men - wearing SS uniforms. The piece nearly led to a
lawsuit by a soldier's widow. In the '80s, an unknown assailant slashed
the throats of the children in the canvas mural; at an art festival in
2001, someone set fire to a girl's portrait.
Helnwein's art, curator Robert Flynn Johnson wrote of a recent San
Francisco show, "is the visual equivalent of a contact sport."
His "Rosenkavalier" will receive its last performance of the season
Sunday afternoon at the Dorothy Chandler Pavilion (with Margaret
Thompson stepping in for an indisposed Alice Coote as the love-struck
young nobleman Octavian). But the criticism began even before it
opened, with an ad he photographed showing two fetching young women on
the verge of a kiss. The objections grew louder after audiences got a
load of his whimsically grotesque vision - including monochromatic
sets and minor characters who seem inspired by Dr. Seuss - of an
opera originally set in 18th century Vienna.
Helnwein himself, it turns out, is serious, thoughtful, almost grave;
his temperament and constant sunglasses suggest a Germanic Roy Orbison.
He says he has no urge to shock, but he appears to find controversy
sadly inevitable.
"Great music, amazing singers - for many opera fans that is enough,"
he says, sitting outside his studio in downtown L.A.'s artist district.
"But I believe in the idea of Gesamtkunstwerke, the art that includes
all art. And that means you have visual art, you have directing, you
have choreography, and of course you have the music and the singing.
What makes opera such an interesting art is that everything comes
together."
Some viewers have been captivated by this "Rosenkavalier," only the
second opera for which Helnwein has designed the sets and costumes.
Times music critic Mark Swed called the production "terrific" and
described its look as "sensational." The New York Times was also
enthusiastic.
The Orange County Register, on the other hand, concluded that the
production "has been commandeered by a gum-chewing dandy in a bandanna
and sunglasses. He is the scenery and costume designer and no doubt an
artiste, and someone must have given him the company's American Express
card and said, 'Go to it.' "
Similarly, the Daily News said Helnwein and director Maximilian
Schell's conception "leaches layers of meaning from the opera,
rendering emotionally complex ideas flat and distracting us from both
the music and the less obvious aspects of the drama."
But Helnwein says his unorthodox take on Richard Strauss' 1911
masterpiece, and his use of a single color to dominate each act, came
after he had seen several decades' worth of productions whose bland
sets and "corny, fake rococo costumes" he calls visual "disasters."
In working with Schell - who knew him from the posters he created for
the director's 1984 documentary about Marlene Dietrich - Helnwein
says he sought to be true to the spirit of Strauss but "wanted a piece
you could see was made in the 21st century and made in Los Angeles."
He drew from research into the doomed, extravagant rococo-era Vienna.
"I wanted to have something of that exaggeration as I told the story
visually," he says. "And there's a connection between rococo and the
spirit of this city, of Hollywood. So I wanted to have some elements of
that in the piece. It seems to contradict, but it doesn't really."
Though his paintings of smiling Nazis, retro crime scenes and wounded
children have long given him a reputation for provocation, Helnwein
says his art comes from a psychological need.
"For me, art is a way to fight back against everything I've
experienced: I wanted to respond, but I didn't know how to articulate
it. But I could paint it. That medium opened all doors. Certain images
can reach so deeply into people's souls.
"And I feel also like a witness to my times - that's my duty, my
responsibility." One role of art, he believes, is to "force people to
look at things they would rather not look at," an impulse he sees in
Goya and Shakespeare.
Helnwein was born three years after the conclusion of World War II,
when Austria was still reeling and consumed with guilt and silence.
"In my memory, my childhood was horrible. As a kid, I always felt I'd
landed in the wrong place. If you lose two world wars, and your houses
are bombed, you are not in a very good mood. Everything was ugly and
threatening. People didn't talk. I never heard anybody laugh or sing."
He calls his discovery of Mickey Mouse comics left by American GIs "my
big awakening and revelation.... When I opened my first comic book, it
was like opening a door to a world without boundaries. That's where I
wanted to live. I couldn't read, but I could read the pictures."
He was especially taken by the Donald Duck comics drawn by Disney's
Carl Barks, for whom he would years later curate a touring museum show.
Another jolt: a chewing gum wrapper that included a small picture of
Elvis Presley - "the most beautiful person I had ever seen."
"America became this myth for us, because there was nothing we could
identify with in our parents' generation: It culminated in the
explosion of the '60s. We didn't want anything to do with their culture
or their crimes or their fascistic past. I believed in comics and rock
'n' roll."
The other key influence on the budding artist was Roman Catholicism.
"The only art I saw as a kid was the art in the churches. They were
usually torture scenes, people nailed and cut into pieces, sacred
corpses. I was scared - I had nightmares - but I was fascinated, of
course.
"People who come from Roman Catholic countries have as their heritage
millions of pictures. And Puritan or Protestant countries, especially
when they're Calvinistic like America, are very different."
Helnwein says he always felt out of place, like a Gypsy, even after
leaving Austria to settle in Germany. So in the '90s, after visiting
rural Ireland largely on a whim, he decided to relocate there and in
New York. Then, in 2002, he moved his TriBeCa studio to downtown L.A.
Upon arriving here, he wasn't sure his photorealist painting and
painterly photography would be welcome in a city dominated by
entertainment. But he found a public and fell for L.A.
"I love it for everything - the corniness, the ugliness and the
beauty. L.A. is the most underestimated city in the entire world," he
says, describing its ability to draw exiles, =E9migr=E9s and dreamers
from everywhere.
He points to Billy Wilder, Charlie Chaplin and Walt Disney - as well
as his friend and countryman Arnold Schwarzenegger, who has collected
several of his paintings. "I'm interested in people who are not
satisfied with the world as it is and have impossible dreams."
The L.A. art scene, less organized and hierarchical than New York's,
suits him as well. He likens it to the "peaceful anarchy" of the city's
many ethnic groups and religions.One aspect of local culture that
Helnwein has not experienced from the inside is Hollywood. He's
designed for theater and ballet - and developed a series of graphic
photographs with rocker Marilyn Manson - and is increasingly
interested in working for the movies, perhaps with his friend Sean
Penn. But he admits that he doesn't bend easily when working in a group
and says collaboration entails "an ethics question to be true to your
vision."
Los Angeles Opera's artistic director, Edgar Baitzel, praises his work
but acknowledges that there was more creative tension than usual during
the "Rosenkavalier" production process.
"Sometimes we really had to stop him and say, 'No, that's it. No, we
cannot.' We all love him here, but it was not an easy job. He's just
not used to compromise or working with a creative team. This is
artistic energy - you can't predict it."
Schell calls Helnwein "a genius" with a great feel for "the closeness
of love and death" but notes their partnership was "two perfectionists
coming together. On certain things we could not agree: He is so
obsessed with what he's thinking out."
Helnwein has just left for Europe, where he opened a show in
Oberhausen, Germany, before returning to Ireland. He finds the green
hills, peat-scented air and antique culture of Tipperary to be a
necessary respite from L.A.'s "urban decadence" and lack of historical
memory. But both are important to him.
"I also want to really experience our times. And I think we are in a
decadent time where things are really falling apart. It's like the
great Western culture is finally coming to an end. It has many
parallels to the last days or Rome, when everything fell apart. And I
want to experience that with open eyes, you know?"
-
http://story.news.yahoo.com/s/ap/20050506/ap_en_mo/entertainment_history/nc:790
On May 6, 1965, guitarist Keith Richards of the Rolling Stones came up
with the riff that formed the foundation of the song "(I Can't Get No)
Satisfaction." He was staying at a motel in Clearwater, Fla., at the
time.
_ In 1971, Ike and Tina Turner received their only gold single, for
their version of "Proud Mary."
_ In 1973, Paul Simon began his first solo tour in Boston, three years
after splitting with Art Garfunkel. Recordings from some of the shows
were released as the "Live Rhymin'" LP.
_ In 1977, Led Zeppelin broke their own world record for largest
audience at a single-act concert when they attracted over 76,000 fans
to the Silverdome in Pontiac, Mich.
_ In 1984, Tina Turner's comeback hit, "What's Love Got To Do With It,"
was released.
_ In 1991, a judge in Macon, Ga., threw out a lawsuit claiming that
Ozzy Osbourne's music drove a 16-year-old boy to suicide. The parents
of Michael Waller alleged that their son listened repeatedly to
Osbourne's "Suicide Solution" before shooting himself.
_ In 1992, actress Marlene Dietrich died at her home in Paris at age
90.
_ Also in 1992, Whitney Houston announced her engagement to Bobby
Brown, during her first TV special, "This Is My Life."
_ In 1994, Pearl Jam filed a complaint with the U.S. Justice Department
against Ticketmaster. The band charged that the company had a monopoly
on the concert ticket-selling business.
_ In 1997, Neil Young boycotted his induction into the Rock and Roll
Hall of Fame as part of Buffalo Springfield. Young objected to rampant
commercialism and the $1,200-a-plate dinner.
_ Also in 1997, actor David Duchovny and actress Tea Leoni (were
married in New York.
_ In 2004, the last episode of "Friends" aired.
Today's Birthdays:
_ Singer Bob Seger is 60.
_ Singer Jimmie Dale Gilmore is 60.
_ Actor Ben Masters ("Passions") is 58.
_ Host Tom Bergeron (new "Hollywood Squares") is 50.
_ Singer John Flansburgh of They Might Be Giants is 45.
_ Actor George Clooney is 44.
_ Actress Roma Downey ("Touched by an Angel") is 42.
_ Singer-bassist Tony Scalzo of Fastball is 41.
_ Guitarist Mark Bryan of Hootie and the Blowfish is 38.
_ Guitarist Chris Shiflett of Foo Fighters is 34.
-
Sorry! Uma's perfect for this role and I'm glad that Nicole dropped
out! Uma looks alot like Marlene Dietrich and I hope she proves she's
got the musical theatre chops for this so they'll put her in a bio-pic!
-
NY POST...PAGE 6
GEORGE Jacobs' best-selling memoir about his years as Frank Sinatra's personal
valet might never have been penned if Jacobs didn't owe money to some old
friends, says a source close to the publisher.
"Mr. S: My Life with Frank Sinatra" (HarperEntertainment) came about after
Henry "Bombastic" Bushkin - the entertainment attorney made famous by Johnny
Carson's frequent references on the "Tonight" show - heard that Jacobs owed a
pretty chunk of change to their mutual friend Walter Seiferd.
Bushkin single-handedly put a book package together, nabbing celeb biographer
William Stadiem to write the book with Jacobs and securing a publishing deal.
For his work, we're told, Bushkin landed an interest of 30 percent of all
proceeds.
Of course, Buskin didn't keep the whole 30 percent, but split his piece of the
action with Seiferd.
Bushkin admits he got the percentage and split it with Seiferd, but tells PAGE
SIX's Ian Spiegelman, "This is the first I'm hearing about anyone owing any
money." He also says that he and Seiferd have yet to see a dime, as they agreed
to let the advance go to Jacobs and Stadiem while they take their share from
the royalties.
Complicating the matter is Hollywood's recent interest in the book, which
features a wet-and-wild lesbian pool party with Marlene Dietrich and Greta
Garbo at the Sinatra homestead, as well as a pre-presidential John F. Kennedy
snorting coke with Peter Lawford.
Director Brett Ratner is hot to make the pic, says the source, and envisions
Nicolas Cage in the lead, co-starring with Ratner's "Rush Hour" buddy Chris
Tucker as Jacobs. Although Jacobs and Stadiem own the film rights equally, the
source says Bushkin wants them turned over to him - gratis.
"He wants to control the rights without paying for them," says the tipster.
"All I care about is that it gets made into a movie," says Bushkin. "I would
receive a percentage of it."
Asked how he can get a piece of such a deal when he doesn't own the movie
rights, Bushkin said he plans to file suit against Stadiem, who declined to
comment, in Los Angeles next week. Asked to elaborate, Bushkin replied, "Just
wait until you see the lawsuit."
A rep for George Jacobs did not return calls.
-
"Fiona McQuarrie" wrote in message
news:c95nn6$q0d$2@morgoth.sfu.ca...
> In alt.showbiz.gossip Rick in Oz wrote:
> : http://www.itv.com/news/1702695.html
> : 2.50PM, Thu May 27 2004
> : biopic of Marlene Dietrich.
> be with her baby, and who criticized working mothers who leave their kids
> in daycare all the time?
I was just going to SAY...I sure wouldn't want to be an actress, what with
that two week maternity leave and all........
aleen the karaoke queen
-
http://www.smh.com.au/articles/2003/12/23/1071941712977.html
Ms Dionne and the boyz
December 23, 2003
"The minute it becomes a job, that's it," says Warwick.
After 40 years of entertaining, you might expect this songstress to slow
down, but her latest collaboration is set to send her star into the next
orbit, writes Sharon Verghis.
This is a diva story in a class of its own. Dionne Warwick - queen of the
easy-listening format, seller of 20 million albums, gold-plated matriarch of
pop - goes on the warpath, armed with a very big stick. She applies it
firmly, metaphorically speaking, to the posteriors of some of rap music's
wildest boys - Snoop Doggy Dogg, Tupac Shakur and 2 Live Crew, among
others - publicly "spanking" them for their trash-talking antics at a US
Senate hearing on violence and demeaning imagery in music.
With gangsta rap squarely in her sight La Warwick cracks the whip on Capitol
Hill. "I am hurt. I am angered. I am tired and I've had enough," declares
the songstress in her role as co-chair of the powerful National Political
Congress of Black Women at the 1993 hearing, where she is the only performer
addressing the room. Citing the presence of T-shirts bearings slogans like,
"Women Ain't Nothing But Bitches and Hos", indisputably misogynistic lyrics,
Warwick is intent on tackling the men who sing them and the men who sell
them.
So what do these bad boys do in retaliation? They accept their whacking from
"Aunty Dee" with good grace, then five years later, improbably, flock to
Hollywood's famous Studio 56 to help her re-record a rap version of her 1966
classic What the World Needs Now is Love as the lead single on the Dionne
Sings Dionne album. Coolio, Bobby Brown, Kurupt, Flesh-N-Bone - all the big
names line up to spread the "love-sweet-love" message. Bobby Brown, the
husband of her cousin, Whitney Houston, sighs that the session was "pure
love", rapper Kurupt claims he "always wanted to be part of something like
this".
"It was wonderful," Warwick recalls in a phone interview with the Herald
earlier this month. "I'd kind of taken them to task at the Senate hearings
so I thought they'd be p-offed when I approached them to work on the album,
but the response was absolutely amazing - they all said yes. They're my
babies, you know, they're all my children's ages and I became Aunty Dee -
the respect they had for me was so wonderful."
In that magical, husky voice that manages to transcend trans-Pacific phone
lines and tiredness, she adds the coda: "And you know, therewas not one
curse word used, not one derogatory connotation." Tough love, Dionne-style.
Warwick appears to enjoy every single minute of the triumphant celebrations
marking her 40 years in the music business. Well, perhaps not every minute -
she was infamously arrested in Florida last year after airport officials
discovered 11 joints in a lipstick case (the charges were later dropped) -
but apart from that small hiccup, she has become a woman, once again, on the
rise and rise. The rap redemption yarn is a measure of the power that "Aunty
Dee" wields in American music. It speaks, too, of how easily one of the
indisputable grand matriarchs of the industry can snap her fingers and get
just about anyone to work along with her.
Next year, Warwick will release a new album of all her classics, modelled on
Frank Sinatra's money-spinning "Duets" formula and featuring the likes of
Beyonce Knowles, Pink and Maya, among others. Sitting more firmly than ever
at the centre of a nexus of powerful friends and family connections
(Whitney's mother, Cissy Houston, is her aunt), she is riding a swell of
popular support that includes a campaign to see her inducted into the Rock
'N' Roll Hall of Fame.
She sang at Liza Minnelli's and David Gest's ill-fated wedding anniversary
extravaganza earlier this year - "the wedding was one of David's
performances", she says dryly - and was one of the key performers at the
mammoth 30th anniversary concert for Michael Jackson, one of her closest and
most loyal friends. On Jackson's recent troubles, she says nothing, only
that he is a master musician and the only person she feels "could walk into
Sammy Davis jnr's shoes". Whitney Houston captured the sentiments of many
when she said that when Warwick sang a song, "she owned it".
Then there's the critical praise tracking her mammoth year-long
international tour, featuring orchestral reworkings of all her classic hits.
Australia is the next stop in the itinerary - she will perform with the
Sydney Symphony Orchestra at the Opera House in February - and strong demand
has translated into a rush for tickets for her four scheduled shows. It has
been eight years since Warwick last visited and anticipation is high in the
lead-up to the 75-minute spectacular that will feature all those famous
hits - Walk on By, Heartbreaker, Message to Michael, I Say a Little Prayer
and That's What Friends are For - the last considered one of the most
seminal markers in publicising the AIDS scourge around the world.
The SSO will be an equal partner in the effort, and while it's becoming an
increasingly familiar sight to see modern pop married to classical
arrangements, Warwick stresses she has been doing "the orchestral thing" for
many years. "It's nothing new for me," she says, pointing out that Burt
Bacharach's unusually complex song structures lend themselves naturally to
orchestral arrangement.
Master composer Bacharach and lyricist Hal David have often been touted as
the twin Svengalis behind Warwick's rise. The pair discovered the New
Jersey-born singer in her late teens when she came in to record backing
vocals on an album Bacharach was conducting, and in 1962 Warwick gained her
first hit with Don't Make Me Over. They wrote most of her 30 or so hits and
she sang them right to the top of the charts - her fortunes rose and fell on
the strength of this unique, collaborative team effort.
She was the first artist to win Grammys in both the pop and R&B categories
in the same year and scored 19 top-40 hits between 1963 and 1969. In the
'70s, Warwick's star started to fade and it took another songwriting team,
the Bee Gees, to elevate her to stardom again, this time with the hit
tear-jerker, Heartbreaker, in 1982.
Warwick has not released an album of entirely new work since her 1994 album,
Aquarela Do Brasil - as always, her talents seem to work best in tandem with
a talented songwriter - but in light of the rush from the cream of music to
work with her, you suspect she doesn't have to.
Warwick knows she's always had the knack and good fortune of eliciting
support, building great collaborative partnerships and getting talented
people to both write songs for her and sing them with her. As a young
performer, she hung around with Frank Sinatra, Dean Martin, Ella Fitzgerald
and Lena Horne, learning the tricks of the trade.
Sinatra was like a "surrogate dad", she says, generous with his time and
advice. Marlene Dietrich, who introduced the young singer at her first
international concert in Paris in the '60s, was a bona fide mother figure,
she says laughing : "She was a real stickler for correct diet, about what I
could and couldn't eat - I remember trying to escape from her so I could eat
my hamburgers and fries!"
Looking back, she is grateful for this network of heavyweight mentors:
"Young performers today don't have that, but I was so lucky to work with
people like that and to learn from them." The younger generation, she
believes, are also handicapped by the massive marketing pressures imposed on
them by record companies. Opting for discretion when asked what she thinks
of the new breed of female singers - Christina Aguilera, Britney Spears
etc - she says carefully: "With the kids today, it's a showbiz thing, it's
all image and marketing. It's a completely different generation."
Nevertheless, she's recruited "the kids" - and their predecessors - in a big
way to record her upcoming album, My Friends and Me, scheduled for worldwide
release in February.
"We originally aimed for Valentine's Day - very ambitious, I know," she says
laughing, adding that 38 of the 40 performers she targeted to perform duets
of her hits have already confirmed their involvement. Names include
Destiny's Child, Patti LaBelle, Stevie Wonder, Gladys Knight, Elton John,
Kenny Rogers and Barry Manilow. With pride, she says, "we haven't had a
single 'no' yet".
"Each era had a plateau and I've lived through a lot of styles, a lot of
fashions," she concedes. "But there's a simple answer to why I've survived -
I had the great good fortune of working with two of most prolific and
talented songwriters of our time, and they created for me, songs that will
outlive me."
What about the dreaded R-word? After all, she's now in her '60s, and a
grandmother of five. Warwick laughs: "What I do, I'm enjoying doing - the
minute it becomes a job, that's it. It hasn't happened yet, but I guess,
yeah, I'm going to be slowing down, I won't be running around the world as
much. But this isn't a farewell tour. When I go, everyone'll be hearing
about it."
From Sunny Oz, Rick :)
Proud Keeper of the talented & beautiful Halle Berry.
-
Top 100 Beautiful Women
By Dave Higgens, PA News
Film legend Audrey Hepburn was today named the most naturally beautiful
woman of all time by a panel of experts.
The full list is:
1. Audrey Hepburn 2. Liv Tyler 3. Cate Blanchett 4. Angelina Jolie 5. Grace
Kelly 6. Natalie Imbruglia 7. Juliette Binoche 8. Halle Berry 9. Helena
Christensen 10. Elle MacPherson
11. Cameron Diaz 12. Princess Diana 13. Kate Moss 14. Charlize Theron 15.
Scarlett Johansson 16. Isabella Rossellini 17. Nigella Lawson 18. Beyonce
Knowles 19. Madonna 20. Jamelia 21. Nicole Kidman 22. Monica Bellucci 23.
Audrey Tatou 24. Vanessa Paradis 25. Julianne Moore 26. Jennifer Lopez 27.
Marilyn Monroe 28. Julia Roberts 29. Beyonce Knowles 30. Kylie Minogue
31. Estelle Warren 32. Gisele 33. Gwyneth Paltrow 34. Kate Winslet 35.
Katherine Hepburn 36. Marilyn Monroe 37. Kiera Knightley 38. Iman 39. Jerry
Hall 40. Heidi Klum
41. Ursula Andress 42. Virginie Ledoyen 43. Sophie Dahl 44. Michelle
Pfeiffer 45. Uma Thurman 46. Kim Catrell 47. Jennifer Aniston 48. Eva
Herzigova 49. Brigitte Bardot 50. Felicity Kendal
51. Claudia Schiffer 52. Jacqueline Kennedy 53. Marlene Dietrich 54. Milla
Jovovitch 55. Lucy Liu 56. Penelope Cruz 57. Neve Campbell 58. Sharon Stone
59. Vivien Leigh 60. Sophie Marceau
61. Linda Evangelista 62. Dido 63. Catherine Zeta Jones 64. Jessica Lange
65. Ingrid Bergman 66. Greta Garbo 67. Jodie Kidd 68. Vanessa Paradis 69.
Princess Caroline of Monaco 70. Kathleen Turner
71. Rachel Weisz 72. Naomi Campbell 73. Grace Jones 74. Christie Turlington
75. Famke Jensen 76. Catherine Deneuve 77. Cindy Crawford 78. Heather Graham
79. Judy Garland 80. Ginger Rogers
81. Sophia Loren 82. Yasmin Le Bon 83. Kirsten Dunst 84. Sandra Bullock 85.
Melanie Sykes 86. Cleopatra 87. Lisa Snowdon 88. Rita Hayworth 89. Katie
Holmes 90. Honor Blackman
91. Joely Richardson 92. Joanna Lumley 93. Andie MacDowell 94. Alicia
Silverstone 95. Cat Deeley 96. Rene Russo 97. Sienna Miller 98. Rachel
Hunter 99. Jade Jagger 100. Kelly Brook
-
"Jamo" wrote in
news:q3qtc.13606$be.4487@newsread2.news.pas.earthlink.net:
> news:e5ptc.325$7B1.8823@nnrp1.ozemail.com.au...
> before
> Oh, God, nooooo. How can GP--or film producers--think she can reflect
> Dietrich's appeal? Ghastly.
Gwyneth's pretty damn appealing if you ask me. No Marlene Dietrich, but
as close as we get nowadays I suppose.
Not a bad choice considering the competition IMHO.
-
http://www.itv.com/news/1702695.html
Gwyneth in line for Marlene biopic
2.50PM, Thu May 27 2004
New mum Gwyneth Paltrow has reportedly snapped up the lead role in a new
biopic of Marlene Dietrich.
It will be based on a memoir of Dietrich written by her daughter, Maria
Riva. Dietrich's estate has also pledged its cooperation, according to
reports.
Marlene's grandson, Peter Riva, said he believes Gwyneth is one of the few
contemporary actresses who could do justice to his grandmother.
Dietrich, who died in 1992, was one of Hollywood's highest-paid stars before
the Second World War.
She shot to fame as the cabaret singer Lola-Lola in The Blue Angel, then
took Hollywood by storm.
From Sunny Oz, Rick :)
Proud Keeper of the talented & beautiful Halle Berry.
-
"Rick" wrote in message news:310520041201091096%rickjm@nyc.rr.com...
: In article , Rick in Oz
: wrote:
:
: > Film legend Audrey Hepburn was today named the most naturally beautiful
: > woman of all time by a panel of experts.
:
: I have no problem at all with Audrey Hepburn ranking #1. But how does
: Marilyn Monroe rank both #27 and #36? And Ginger Rogers more beautiful
: than Sophia Loren???? Pshaw!
:
: --
: Rick
And Liv Tyler number 2? I wouldn't put Audrey Hepburn as number one, I've
always thought of her more as cute than beautiful. And Catherine Deneuve
is 76 while Jerry Hall is number 40!! And Elizabeth Taylor is a no-show, wow!
The full list is:
1. Audrey Hepburn 2. Liv Tyler 3. Cate Blanchett 4. Angelina Jolie 5. Grace
Kelly 6. Natalie Imbruglia 7. Juliette Binoche 8. Halle Berry 9. Helena
Christensen 10. Elle MacPherson
11. Cameron Diaz 12. Princess Diana 13. Kate Moss 14. Charlize Theron 15.
Scarlett Johansson 16. Isabella Rossellini 17. Nigella Lawson 18. Beyonce
Knowles 19. Madonna 20. Jamelia 21. Nicole Kidman 22. Monica Bellucci 23.
Audrey Tatou 24. Vanessa Paradis 25. Julianne Moore 26. Jennifer Lopez 27.
Marilyn Monroe 28. Julia Roberts 29. Beyonce Knowles 30. Kylie Minogue
31. Estelle Warren 32. Gisele 33. Gwyneth Paltrow 34. Kate Winslet 35.
Katherine Hepburn 36. Marilyn Monroe 37. Kiera Knightley 38. Iman 39. Jerry
Hall 40. Heidi Klum
41. Ursula Andress 42. Virginie Ledoyen 43. Sophie Dahl 44. Michelle
Pfeiffer 45. Uma Thurman 46. Kim Catrell 47. Jennifer Aniston 48. Eva
Herzigova 49. Brigitte Bardot 50. Felicity Kendal
51. Claudia Schiffer 52. Jacqueline Kennedy 53. Marlene Dietrich 54. Milla
Jovovitch 55. Lucy Liu 56. Penelope Cruz 57. Neve Campbell 58. Sharon Stone
59. Vivien Leigh 60. Sophie Marceau
61. Linda Evangelista 62. Dido 63. Catherine Zeta Jones 64. Jessica Lange
65. Ingrid Bergman 66. Greta Garbo 67. Jodie Kidd 68. Vanessa Paradis 69.
Princess Caroline of Monaco 70. Kathleen Turner
71. Rachel Weisz 72. Naomi Campbell 73. Grace Jones 74. Christie Turlington
75. Famke Jensen 76. Catherine Deneuve 77. Cindy Crawford 78. Heather Graham
79. Judy Garland 80. Ginger Rogers
81. Sophia Loren 82. Yasmin Le Bon 83. Kirsten Dunst 84. Sandra Bullock 85.
Melanie Sykes 86. Cleopatra 87. Lisa Snowdon 88. Rita Hayworth 89. Katie
Holmes 90. Honor Blackman
91. Joely Richardson 92. Joanna Lumley 93. Andie MacDowell 94. Alicia
Silverstone 95. Cat Deeley 96. Rene Russo 97. Sienna Miller 98. Rachel
Hunter 99. Jade Jagger 100. Kelly Brook
-
"Thanatos" wrote in message
news:atropos-5602CE.21455318032008@news.giganews.com...
> In article
> ,
> TranslucentAmoebae wrote:
possession"http://www.tmz.com/2008/03/11/mary-ann-busted-with-mary-jane/
responsibility"http://www.tmz.com/2008/03/12/it-wasnt-mary-anns-mary-jane/
> difference?
He can't tell you...too drunk.
-
Lili2 wrote:
> LOS ANGELES (Reuters) - Actress Gwyneth Paltrow will produce and star in a
> feature film about German screen siren Marlene Dietrich, Hollywood trade paper
> Daily Variety reported in its Thursday edition.
So much for her plans to be a better mother than other attention-starved
actresses.
--
jfred~*~*~*~*~*~Habent Abdenda Omnes Praeter Me ac Simiam Meam~*~*~*~*~
~You can sent email to me if you change the 3 zeros to lower case "o"s~
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
How's YOUR linewrap? If using OE, you need http://flash.to/oe-quotefix/
-
>The idea of that pasty-faced meat dumpling portraying Dietrich makes
>me retch.
Are we talking about Gwyneth now or Gary?
-
On Mon, 13 Dec 2004 08:49:43 -0500, Lulu wrote:
>Rick in Oz wrote:
>I can think of few people LESS suited to portray Marlene Dietrich than
>Gwyneth Paltrow. Gary Coleman, maybe.
The idea of that pasty-faced meat dumpling portraying Dietrich makes
me retch.
Leigh
--
Consequences, shmonsequences, as long as I'm rich. - D. Duck
-
Rick in Oz wrote:
> http://www.imdb.com/news/wenn/#1
> planned Marlene Dietrich biopic to arrive before she researches the part.
I can think of few people LESS suited to portray Marlene Dietrich than
Gwyneth Paltrow. Gary Coleman, maybe.
Shades of Jennifer Love-Hewitt playing Audrey Hepburn...
-Lulu
-
http://www.imdb.com/news/wenn/#1
Paltrow Waiting for Dietrich Script
Hollywood star Gwyneth Paltrow is waiting for the finished of a
planned Marlene Dietrich biopic to arrive before she researches the part.
The Shakespeare In Love beauty is so enthused about starring as the late
German icon, she wants to start the project afresh without any preconceived
ideas about her role. The 32-year-old says of the project, "That is
something that I got involved with a long time ago, before I got pregnant.
So we've been developing it and it's being written now. It's based on a
couple of biographies, I think. Her life was so incredible. I mean, all of
the things that she did and all of the lovers and the boys and the girls and
the wars and the singing and the activism. It's just incredible. But I mean,
I had never thought of it and then I was approached with the project and I
started to understand it, because I didn't really know anything about her; I
still don't know very much about her because I haven't done all the research
yet. I want to see when the comes in how it is as a , as
opposed to, 'Oh, this detail wasn't in there.' I don't want to be an expert
on her life until the is right."
From Sunny Oz, Rick :)
Proud Keeper of the talented & beautiful Halle Berry.
-
Funniest story of the week!
I think Wagner blew it when he said a "five year" affair with old
Barbara.
Btw, this story had been around for a few years, it's not new. Wagner
used it before to prove...? I have no idea.
Barbara Stanwyck was a lesbian, people, deal with it. Very old news,
and the Stanwyck bio by Axel Madsen a few years ago was very timid.
There's a new bio being written even more timid if that's possible.
Homophobes need not worry or be so scared:
Victoria Wilson, who has been working for several years on the
biography of legendary movie star Barbara Stanwyck (Annie Oakley, The
Cattle Queen of Montana), told The Village Voice's Michael Musto that
"Stanwyck wasn't a lesbian. Most biographies have invented the fact
that she was gay based on nothing. It was a persona. She was maybe in
love with two women, but I don't think anything ever happened."
(Although Stanwyck was married twice, rumors have persisted that those
were just marriages of convenience to conceal her homosexuality;
Marlene Dietrich, Greta Garbo, and Tallulah Bankhead are among the
women who claimed to have had affairs with Stanwyck).
When Musto asked if "maybe being in love with two women" didn't make
Stanwyck a lesbian, Wilson replied, "No. Women sometimes fall in love
with other women."
SURE.
> they both kept secret for decades. Wagner, 74, reveals that when he was just
> 22 years old, he embarked on a five-year romance with Stanwyck when she was
> 45. But because of the stigma attached to such a relationship at the time,
> they both decided it was best kept a secret. He says, "At that time, it
> could never have been (revealed). It was not public, it was hidden. It just
> couldn't come out. Today, it wouldn't have made any difference. Then it made
> a difference and it made a big difference for her. I never really ever
> mentioned it before, particularly, but... there's a book being written about
> her and they came to me and it was gonna come out. She was an absolutely
> wonderful, wonderful woman and it was so great for me. It was a wonderful
> time. It was really great and I loved her very much. She was a wonderful
> lady and for me it terrific because I was just starting in the picture
> business." Stanwyck died in 1990 at the age of 82.
> Proud Keeper of the talented & beautiful Halle Berry.
- Celebrity Gossip
- She entranced moviegoers for more than three decades, and was every bit as enigmatic offscreen as the leggy femmes fatales she essayed on-screen. She had a carefully developed skill for anticipating how her every move would photograph, and she took great pains not only with her makeup and costuming, but also with her lighting and the staging of her scenes. Her numerous affairs with both men and women were ill-kept secrets, yet she managed to avoid scandal with more success than most, and was content to have her private persona shaped by her public one. A gifted child whose talent with the violin was rendered useless by a wrist injury, she studied acting with the distinguished stage impresario Max Reinhardt. In 1923 she landed her first screen role, as a maid, in The Little Napoleon (aka Men Are Like This She next played the monocled mistress of Emil Jannings in Tragedy of Love (also 1923), striking a defiant note already. Over the next few years she worked in both plays and films; among the latter were The Joyless Street, Manon Lescaut (both 1926), A Modern Du Barry, The Imaginary Baron (both 1927), Cafe Electric and I Kiss Your Hand, Madame (both 1928), and The Ship of Lost Souls (1929). Then Jannings, who had returned to Germany from a sojourn in Hollywood, convinced director Josef von Sternberg (himself a Hollywood émigré) to make another film with him. The director saw Dietrich on-stage and was entranced; he subsequently cast her as Lola-Lola, the seductive singer who brings ruin to an aging teacher (Jannings) in The Blue Angel (1930)-which, filmed in both German- and English-language versions, was an international smash. Her husky-voiced rendition of the song "Falling in Love Again" became a Dietrich trademark.
When von Sternberg returned to Paramount later that year he brought Dietrich with him; they collaborated on six more films that virtually defined exotic romanticism on-screen: Morocco (1930) Dishonored (1931), Shanghai Express, Blonde Venus (both 1932), The Scarlet Empress (1934), and The Devil Is a Woman (1935). Mysterious and alluring, Dietrich mesmerized audiences even as she shocked them by wearing men's clothing, doing nude swimming scenes, performing in a gorilla suit (in the "Hot Voodoo" number in Blonde Venus a Dietrich classic), and suggesting various and sundry sexual excesses. (During this time she also appeared in 1933's Song of Songs directed by Rouben Mamoulian, which featured a rather detailed nude statue of the actress.) Eventually the von Sternberg-Dietrich relationship ran its course, both personally and professionally, but she continued to play exotic roles in Desire, The Garden of Allah (both 1936), Angel and Knight Without Armour (both 1937), albeit to diminishing returns. She made a "comeback" of sorts in a comedic Western, Destry Rides Again (1939), in which, playing the saloon girl Frenchy, she successfully kidded her own image (and made a hit out of the song "See What the Boys in the Back Room Will Have").
Dietrich made several costume and action films over the next few years, occasionally opposite John Wayne, with whom she was once linked; among them were Seven Sinners (1940), The Flame of New Orleans, Manpower (both 1941), The Spoilers, Pittsburgh (both 1942, both costarring her with Wayne and Randolph Scott), and Kismet (1944, in the latter performing a seductive dance in harem garb and gold paint). When Hitler importuned her to come back to Germany and make pro-Nazi films, she not only refused but went back to Europe, entertaining American troops with the USO! Her postwar work was sporadic, but its high points included a gypsy in Golden Earrings (1947), an ex-Nazi entertainer in A Foreign Affair (1948), aging stars in Stage Fright (1950, in which she sang "La Vie en Rose") and No Highway in the Sky (1951), another saloon singer in Rancho Notorious (1952, the performance later spoofed by Madeline Kahn in Blazing Saddles the wife of a murder suspect in Witness for the Prosecution (1957), a gypsy fortune-teller in Touch of Evil (1958), and a German aristocrat in Judgment at Nuremberg (1961). During this time, conscious about her advancing age, Dietrich was more prominent as a cabaret entertainer, often performing songs in an unusual spoken/singing style. Her final film appearances were cameos in Paris When It Sizzles (1964) and Just a Gigolo (1979).
In 1984 her old friend Maximilian Schell made a superb documentary of her life, Marlene she agreed to provide commentary but refused to appear on camera. She spent the last years of her life in Paris; W_hen she died, her request to be buried in her native Germany was resisted by huffy bureaucrats who'd never forgiven her anti-Nazi stance, but they eventually relented. Even in death, Dietrich ruffled feathers as almost no other movie personality could. Almost immediately following her death several biographers prepared lengthy, revealing portraits of this fascinating woman; perhaps the definitive (and most shocking) was the one written by her daughter, Maria Riva. Her son, incidentally, is production designer J. Michael Riva.
- "I'm not an actress -- I'm a personality."
- "Careful grooming may take twenty years off a woman's age, but you can't fool a flight of stairs."
- "When you're dead, you're dead. That's it" "If there is a supreme being, he's crazy." "In America, sex is an obsession, in other parts of the world it's a fact." "Once a woman has forgiven a man, she must not reheat his sins for breakfast." "The diaphragm is the greatest invention since Pan-Cake makeup"
- "I am at heart, a gentleman"
- "Think twice before burdening a friend with a secret."
- "The weak are more likely to make the strong weak than the strong are likely to make the weak strong."
- "To be completely a 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."
- "A country without bordellos is like a house without bathrooms."
- "In Europe, it doesn't matter if you're a man or a woman - we make love with anyone we find attractive."
- In 1964: "I had no desire to be a film actress, to always play somebody else, to be beautiful with somebody constantly straightening out your every eyelash. It was always a big bother to me."
- "I never enjoyed working in a film."
- "I am not a myth."
- "On The Blue Angel (1930), I thought everything we were doing was awful. They kept a camera pointed here [groin]. I was so young and dumb."
- Measurements: 35-24-33 (in 1930), 36 1/2-26-33 (mid-1950s), (Source: Celebrity Sleuth magazine)
- Appears on sleeve of The Beatles' "Sgt Pepper's Lonely Hearts Club
- Ten years after her death, Berlin - the city of Dietrich's birth which she shunned for most of her life - declared her an honorary citizen. On April 18, 2002, the city's legislature bestowed honor on her as "an ambassador for a democratic, freedom-loving and humane Germany." The declaration hoped this "would symbolize the city of Berlin's reconciliation with her."
- Became an American citizen on March 6, 1937.
- Fell and broke her left leg at her last ever last stage appearance in Sydney, Australia, September 1975.
- Marlene suffered from bacilophobia, the fear of germs.
- Marlene prided herself on the fact that she had slept with three men of the Kennedy clan - Joseph P. Kennedy (JFK's father), Joe Kennedy Jr. and JFK as well.
- She demanded that Max Factor sprinkle half an ounce of real gold dust into her wigs to add glitter to her tresses during filming.
- In a posthumous gift of forgiveness, she left her vast collection of memorabilia to the city of Berlin.
- Dietrich's make-up man said she kissed so hard, she needed a new coat of lipstick after every kiss.
- Never worked without a mirror on the set so she could constantly check her makeup and hair.
- She sucked lemon wedges between takes to keep her mouth muscles tight.
- Her father died after he fell off a horse W_hen Marlene was ten years old.
- Marlene's father was Lt. Louis Erich Otto Dietrich, who died W_hen she was very young. Her mother remarried to Colonel Eduard von Losch, who was killed in WWI.
- Mother of Maria Riva.
- Chosen by Empire magazine as one of the 100 Sexiest Stars in film history (#60). [1995]
- Interred at Friedhof III, Berlin-Friedenau, Germany.
- Her estate, consisting of about 300.000 pieces, was bid for 8 mio. German marks by the city of Berlin, Germany.
- Born at 9:15pm-CET
- Was made a Chevaliere of the Legion by France.
- Received the U.S. War Department's 'Medal of Freedom', in 1947, for entertaining American troops in WWII and her strong stand against Naziism.
- Marie Magdelene Dietrich von Losch (aka Marlene) was born in Berlin, Germany on December 27, 1901. Her father was an army officer who had served in the Franco-Prussian War. Because of his constant absences from the family due to his army duties, Marlene and the rest had to rely on themselves. When he was died, while she was 11, Marlene's mother married Eduard von Losch and he adopted the Dietrich children. Marlene enjoyed music and attended concerts. She was adept at playing the violin and piano. By the time she was in her mid-teens, Marlene had discovered the stage. Acting was to be her vocation. In 1921, Marlene applied for an acting school run by Max Reinhardt. She was accepted. She appeared in several stage production, but never had more than a couple of spoken lines. In short, she wasn't setting the stage world on fire. She attempted films for the first time in 1922 Her first film was NAPOLEON'S YOUNGER BROTHER which was followed by TRAGEDY OF LOVE. On this last project, she met Rudolf Sieber and married him in 1924. The union lasted until his death in 1976 although they didn't live together that whole time. The remainder of her early film career was generally filled with bit roles that never amounted to a whole lot. After being seen in the German production of BLUE ANGEL in 1930, Marlene was given a crack at Hollywood. Her first US film was MOROCCO with Gary Cooper later that year followed by DISHONORED in 1931. This latter movie had her cast as a street walker who is appointed a spy. The film was a rather boring affair but was a success because of Marlene's presence. Movie goers were simply attracted to her. In 1932, Marlene filmed SHANGHAI EXPRESS which proved to be immensely popular raking in $3 million. Once again she was cast as a prostitute. The next film was BLONDE VENUS which turned out to be a horrible production. Her co-star was Cary Grant and once again she was cast as a prostitute. Marlene seemed to be typecast as a woman of low morals and she wanted different parts. Some films such as DESIRE in 1936 didn't do that but she wanted to expand. Her chance came in 1939 in DESTRY RIDES AGAIN W_hen she was cast as Frenchy, a Western saloon hostess. This began a new direction for Marlene since it shed the typecasting which she was forced to endure during her career. All through the 1940's she appeared in well produced, well directed films such as MANPOWER, THE SPOILERS, THE LADY IS WILLING, and PITTSBURGH all in 1942. Afterwards the roles came fewer, perhaps one to two films every year. In 1945, Marlene didn't appear in any. She only made seven productions in the 1950's. Her last role of any substance was JUDGMENT AT NUREMBERG in 1961. Despite the lack of theatrical roles, Marlene still made appearances on the stage. However, by 1979, she was a shell of her former self. After breaking her leg in one performance, she never made a go of it in show business again. Spending the last 12 years of her life bed-ridden, Marlene died on May 6, 1992 in Paris, France of natural causes at the age of 90.
-
ImagineContact.com is an online service provider which offers a convenient web gateway to freely available binary content, including but not limited to images of Marlene Dietrich, as well as other content associated with celebrities posted within Usenet newsgroups. Users can join instantly online and have access to gigabytes of new images, updated daily. Every night, ImagineContact.com automatically crawls, sorts, converts, thumbnails and indexes these files from the Usenet for access by users on the website. Every day there are hundreds of new images posted to the Usenet.
-
The binary content on ImagineContact.com, including but not limited to any and all images of Marlene Dietrich, is directly obtained from the Usenet, and as such, reflects the uploaded files of millions of people worldwide. As an online service provider, ImagineContact.com does not and cannot editorialize the content posted on Usenet.
-
Some Usenet postings may contain nudity, otherwise be of an adult nature or will simply be objectionable to some people. Users who object to such content are advised to not use this service.
-
Pics Info
-
- 1032 x 1082
- nozz_classic_0002_mdietrich.jpg
- Mar 28th, 2009
- alt.binaries.pictures.celebrities.caps
-
- 1068 x 1018
- nozz_classics_0002_mdietrich.jpg
- Mar 25th, 2009
- alt.binaries.celebrities
-
- 934 x 1024
- bfd-MDietrich-onset-SongOfSongs-1933.jpg
- Mar 30th, 2007
- alt.binaries.celebrities.diva
-
- 887 x 1024
- bfd-MDietrich-onset-DevilIsAWoman-1935.j
pg
- Mar 30th, 2007
- alt.binaries.celebrities.alist
-
Pics Info
-
- 1024 x 851
- bfd-MDietrich-Morocco-1930.jpg
- Mar 30th, 2007
- alt.binaries.pictures.fan.television
-
- 1024 x 724
- bfd-MDietrich-publicity-Morocco-1930.jpg
- Mar 30th, 2007
- alt.binaries.pictures.celebrities
-
- 1024 x 902
- bfd-MDietrich-Dishonored-1931-02.jpg
- Mar 30th, 2007
- alt.binaries.pictures.celebrities
-
- 754 x 1024
- bfd-MDietrich-Dishonored-1931-01.jpg
- Mar 30th, 2007
- alt.binaries.nude.celebrities
-
Pics Info
-
- 490 x 1024
- 2nd
- bfd-MDietrich-publicity-ca1932.jpg
- Mar 30th, 2007
- alt.binaries.nude.celebrities
-
- 815 x 1024
- bfd-MDietrich-TheScarletEmpress-1934-02.
jpg
- Mar 30th, 2007
- alt.binaries.celebrities
-
- 744 x 1024
- bfd-MDietrich-TheScarletEmpress-1934-01.
jpg
- Mar 30th, 2007
- alt.binaries.pictures.celebrities.repost
-
- 745 x 1024
- bfd-MDietrich-portraitstill-ca1930.jpg
- Mar 30th, 2007
- alt.binaries.nude.celebrities
-
Pics Info
-
- 1024 x 756
- bfd-MDietrich-publicity-1935.jpg
- Mar 30th, 2007
- alt.binaries.pictures.celebrities
-
- 754 x 1024
- bfd-MDietrich-onset-ShanghaiExpress-1932
.jpg
- Mar 30th, 2007
- alt.binaries.celebrities.alist
-
- 1024 x 625
- bfd-MDietrich-inBerlinRevueBroadway-1927
.jpg
- Mar 30th, 2007
- alt.binaries.celebrities.diva
-
- 1024 x 913
- bfd-MDietrich-TheBlueAngel-1929.jpg
- Mar 30th, 2007
- alt.binaries.celebrities.piccaps
-
Pics Info
-
- 1024 x 1010
- bfd-MDietrich-onset-Angel-1937.jpg
- Mar 30th, 2007
- alt.binaries.celebrities
-
- 791 x 824
- bfd-MDietrich-makeup-Kismet-1944.jpg
- Mar 30th, 2007
- alt.binaries.celebrities.diva
-
- 1024 x 976
- bfd-MDietrich-Kismet-1944-02.jpg
- Mar 30th, 2007
- alt.binaries.celebrities
-
- 1024 x 958
- bfd-MDietrich-Kismet-1944-01.jpg
- Mar 30th, 2007
- alt.binaries.pictures.celebrities.portra
its.large
-
1
2
3
4
5
6
7
Next
