NinadeL

It was war time. Let's face it. Back then, more than ever, Europeans were forced to flee to Hollywood instead of worshiping it. One such example is the fate of René Clair, who, though he greeted freedom in his 31st year, did not know in the next decade whether he could manage a false double role for Marlene in a fairy tale story of one-liners. On the other hand, every significant change was a benefit for Marlene, because on such a large surface she could once again show that she can play roles completely different than just various singers. In this film, she actually played just one of the many variations of her own nature, which had fully erupted by the time she became a grandmother, and the audience unknowingly got a kick out of this even before she turned 40. It's not a perfect film, it's quite adorned, but a true Dietrichophile can certainly and unerringly handle it. ;)

Marlene Dietrich's second American career began at Universal in 1939. At the time she made her first appearance as the star of A Warner Brost/First National Picture, followed by Columbia and a return to Universal. The original script was provided by Richard Macaulay and Jerry Wald, whose biggest hit up to that point was The Roaring Twenties. As the title suggests, Manpower is a man's film full of friendship, action, and, of course, the battle for the fateful woman. Edward G. Robinson and George Raft were true friends of Marlene and it was therefore not difficult to succumb to her immortal charms on screen. Although Marlene's main occupation as Fay Duval is surviving in a nightclub as a companion and occasional singer (she is indeed accompanied by Friedrich Hollaendr for "He Lied and I Listened"), the film has no shortage of settings such as a delightful modern kitchen straight out of the latest catalog. In contrast, there is a muddy road under a sizzling powerline, in the structure of which the finale takes place. Indeed, Marlene's proverbial civilian "role" as the cook who won't put down her cigarette even in a perfectly fitting apron is magnificent. How many pages have been written about her famous soups? In this film, however, she bakes American cookies. Yet as it happens, nothing ideal lasts forever and the shadow of a penitentiary, violence, and senseless forgiveness of violent criminals is present everywhere. The similar drama Pittsburgh, which Marlene made the following year, fares a little better in comparison. Marlene's edgy Milo Anderson costumes don't give her body much room to move, and a substantial knee-revealing cape and tasteful beret would have sufficed. Not to mention the excessive bangs, which at least a small hat would have softened. Evening dresses are literally destined to dazzle only the soldiers at the front. Naturally, the slap by Raft that knocks her down is simply unforgivable.

As a soldier's daughter, Marlene never cried. With this film, she was able to capitalize on her first American comeback, joining forces with John Wayne with the wish "Daddy, buy me this." Of the trio of hits "I Can't Give You Anything But Love," "I've Been In Love Before," and "The Man's in the Navy," only the middle one became immortal, even though all of them were excellent. I am most impressed by Marlene's costume as a sailor and her sharp tongue every time I see her. This is one girl I'd sail from port to port for.

Marlene Dietrich's first English film, which she made with great aplomb as Paramount’s original star. The story from revolutionary Russia ends in 1917, giving Marlene a new opportunity for major acting in a completely new setting. Her partner is the charming Robert Donat, with whom Marlene fell in love at first sight, but in the first few weeks, she was overwhelmed because she discovered that his true nature was only that of a simple actor. During the filming, the whole crew was sensationally supported by the press and fans, but times were changing rapidly, so when Marlene returned to America, she was met with a dry reception and, in 1938, complete stagnation when it came to making new films.

Just as different as "Awake in a Dream" and "What I Am Bid For My Apple" are - a delightful smash and an exhilarating hit - so too are Desire and Morocco, starring Marlene and Gary. Yet it's no wonder that both helped Marlene bridge what was always one of the most important periods of her American career. She praised both films herself and I couldn't agree more. :) After getting lost in the desert, I always opt for a ride in the long car that Marlene learned to drive in an hour. I just sometimes regret that John Gilbert didn't make it to the set. The Dietrich/Garbo collaboration would have had another alibi. And of course, I worship Arnošt Lubič's production, Hollaender's music, and the costumes of the divine Travis Banton. There was no other possibility than that Lubič would become the angelic director in the future with the help of divine Marlene's team. "I am driving Bronson 8."

Personally, I see this substance as most appropriate for the constellation Marlene and Joe found themselves in after The Scarlet Empress... and again, as with the vast majority of the films on my list, I gasp at every frame. In this case, literally, because Joe was behind the camera. Concha Perez became the fate not only of Pasqualito but also of my little things.

In the earliest reviews of Marlene Dietrich's work, only The Blue Angel has ever stood out. After that, the attention was focused on all seven films Joe von Sternberg made with her. Today, the landmark film in this work, The Song of Songs, is a forgotten film. It was Marlene's first job in America without her Joe, but she already knew enough from him to direct herself based on his influence, with the subtle approval of Mamoulian, the official director. Mamoulian made plenty of his own films and many of them excelled, but in this case, he couldn't help but give way to his newly borrowed star. There she met Brian Ahern, who very soon played the role of her lifelong friend. Lionel Atwill, who reprised his role as her older partner in The Devil Is a Woman, appeared alongside Marlene for the first time. When Lilly undergoes her transformation and sings "Johnny," I'm always sure Shanghai Lil wouldn't be ashamed of her.

After Cafe Electric and The Art of Love, films that were the result of Marlene's return to film after maternity leave, her first leading role was not long in coming. Laurence Gerard became the first leading lady in a series of four great melodramas that were an excellent culmination of Marlene's work in the silent era. Then she spoke for the first time as Lola Lola. I Kiss Your Hand, Madame was a very popular film in its day. Handsome Harry Liedtke was a proven lover, with Marlene delightfully vacillating between him and the overweight Pierre de Guingand. How could she not, when Harry was hiding the fact that he was merely a chief... From today's point of view, it's rather funny that in 1932 I Kiss Your Hand, Madame was a flop in the US because audiences were too enamored with Sternberg's Marlene, and renaming the main characters from Laurence and Jacques to Lucille and Pierre didn't help either. Today, however, we can appreciate Land's direction (he was the director of The Art of Love and produced I Kiss Your Hand, Madame, so he liked Marlene and it paid off), the singer Richard Tauber from the synchronized version, and the assistant director of photography Fred Zinneman, who has roots in Hollywood.

A fascinating film in which Marlene worked so well for the first time with what would later make her famous - her legs. Those who were more seriously interested in her myth know that she had already played the stimulating femme fatale excellently in many silent films, and sound film only advanced her further and opened the door to America. In the story about the Café Elektric dance company, she represented Erni Göttlinger, who robbed her own father for the love of a gigolo. A local business full of shady existences that attracts all the main characters is the ideal catalyst for all their sorrows and joys. This is no different in the story of the sales girl Hansi (played by the lovely Nina Vanny) and her boyfriend, who exposes Erni as a thief... It's as if Erni is joyfully dancing the Black Bottom one moment and watching her lover's arrest the next. This is also the life offered by Cafe Electric, a superbly realized drama based on Felix Fischer's play and produced by the famous Sascha Filmindustrie, A. G. (and although the entire film has not survived, 90 minutes is certainly not insignificant).

The second part of Barbi's first film makes a bit more sense, given that she has gone back in time to 1959, the year of her birth. The modern Barbie of the 1980s thus inspires herself in the past, everything cycles, and everyone is perfectly happy. However, the current series of films that came out between 2001 and 2017 is incomparably better.