Marlene Dietrich, American Friend of the Hebrew University

L-R Israel Demchick, Marlene Dietrich, Joshua Ellis, Selma Ellis.
The partially obstructed banner behind them reads in full: "American Friends of the Hebrew University," the organization that sponsored the event. Philadelphia hotel. October 2, 1971

During one of my regular Google searches, I stumbled upon a photograph of Marlene Dietrich that led me to the site bio of Joshua Ellis, who has had an illustrious career as a theatre press agent. Curious, I contacted Ellis to learn more about this photograph, and he surprised me with his kind and informative responses. Not only did he provide me with a fuller image, which you can see above, he also recalled the evening when he met Dietrich, which had nothing to do with the theatre at all. Everything italicized in this post comes directly from Ellis, including this anecdote of his enviable encounter:

I was a big fan of Marlene Dietrich and adored her one-woman show on Broadway at the Lunt-Fontanne Theatre in 1967.  I was 18 at the time. 

In 1971 or 1972, Miss Dietrich was given an award by Israel's Hebrew University for her fund-raising efforts on their behalf.  The award was given at a Philadelphia hotel, but I do not remember which one. I was there that night because my grandfather, a Philadelphia-based architect named Israel Demchick, was also being honored for his fund-raising efforts on behalf of the university.

I think many in the audience were intimidated by Marlene Dietrich and she was very much alone during the early meet-and-greet part of the evening.  I decided to go over to her and introduce myself.

First, I explained to her my connection to her fellow award recipient.  It was just the two of them being honored.

Miss Dietrich:  "You are very young.  Are you in school?"
Me:  "Yes, Miss Dietrich."
MD:  "What are you studying?"
Me:  "I'm getting my masters degree in theatre."
MD:  "The theatre?  That's ridiculous!  You should be studying something practical like chemistry or physics.  It's a good thing I'm not your grandmother!"

Could she be any more Dietrich?

Doctor Dietrich's Best Production? Her Daughter.

[In 1971, Jeffrey Archer organised a charity midnight matinee (to benefit MIND) at Theatre Royal, Drury Lane. It was Marlene Dietrich's first  concert appearance in London for several years. This backstage interview – with both Marlene and Maria Riva, preparing for the show –  comes courtesy of the wonderful Crees Collection.]

FRIEND, 

LIVING LEGEND 

AND LIGHTNING TYPIST

by James Green

September 1971: Marlene at Heathrow.

There are many ways of saying Darling. But Marlene Dietrich's way is unique. A mixture of warning, invitation, seduction, plus a mocking suggestion that the men are about to be separated from the boys. But “Dar-ling” she says silkily by way of greeting. And crosses to plant a kiss on my five o'clock shadow. Not at all a bad start backstage at the Drury Lane theatre where tonight at midnight she will hold the football pitch size stage alone for one hour, 45 minutes. It is a charity concert and the audience will be paying up to £50-a-seat to hear her sing 25 songs and turn on the living legend magic.

At the moment she is wearing a navy blue coat with matching trousers, and a floppy-brimmed hat in the same colour pulled down over one eye.

As she checks on songs, running order, lighting, I have a word with her daughter, Maria.

Earl Wilson's Vintage Gossip Bites: The Great Granny

Excerpts from syndicated gossip columnist, Earl Wilson's 1970s items about Marlene. (Also see his earlier Broadway Bytes!)

• Marlene Dietrich was enthusiastic about Katharine Hepburn's performance in Coco. "She's lengthening the career of all us ingenues,"  Marlene laughed... (11 March 1970)


• Marlene Dietrich now anticipates becoming a great-grandmother... (3 August 1970)


• Marlene Dietrich, opening at the Playboy Plaza Hotel in Miami Beach, noticed the young people in the audience and cracked, "I wish I'd memorized a medley from Hair". (22 February 1971)


• Marlene Dietrich's slenderizing lunch at Inn of the Clock: Asparagus in vinegar, plus a vitamin pill. (21 March 1971)


• Marlene Dietrich is reported receptive of offers to do TV commercials. Agent Ken Greengrass says everybody wants her. (5 June 1972)


• Marlene Dietrich and the Richard Burtons are angeling Alexander Cohen's Broadway play 6 Rms Riv Vu... (16 August 1972)
  


• Marlene Dietrich and Rudolf Sieber will celebrate their golden wedding anniversary May 13 (that's 50, honey). (17 April 1974)


• Marlene Dietrich goes into court in England this month in the big legal entanglement with producer Alexander H. Cohen over their TV special. Cohen asks big damages from the glamorous grandmother over things she allegedly said. If Marlene arrives in court looking ill from a recent fall, it could be a scene from Camille and a field day for the press. (2 April 1976)


• Marlene Dietrich's doctor said she's ill and she got a postponement in the lawsuit brought by producer Alexander H. Cohen in London against remarks attributed to her about her TV show he produced. (26 April 1976)

Shine On! Marlene Dietrich, Interviewed at Grosvenor House. London, 1974.

(Thank you to the Crees Collection for sharing yet another gem: this interview with Marlene, preparing for her performances at London's Grosvenor House in 1974.)

by Roger Falk

The omens were not promising. At midnight she had railed at photographers who ambushed her at London Airport. “Why aren’t you all home in your beds?” she snapped, and then, rather than be photographed in a wheelchair, had endured the painful long walk to the terminal building from the aircraft. The next day a surprised radio reporter was bundled away from her suite at the Grosvenor House Hotel in Park Lane. His crime: asking silly questions. A national newspaper writer, awaiting audience, was being softened up by her publicity man. “Now you won’t ask her about her age, her family or her leg ?” he implored. “Don’t be so bloody wet,” came the robust retort. “‘If I don’t ask her about her leg, it’ll be like interviewing Nelson and not  mentioning the eye and the arm.”

Marlene Dietrich Live at New Wimbledon Theatre, June 1973

What The Dresser Saw

Marlene’s dresser, Gene Lovelle (married to the star’s guitarist, Chic Lovelle) first joined the Dietrich troupe  during its 1966 Warsaw season .

“There was no question of payment. Marlene would be paying my fares and hotels, and I would be together with my husband,” Gene later recalled. “With the enthusiasm of ignorance, I convinced myself that after years as a dresser helping little girls in and out of ballet costumes, I could cope with an international star.” Marlene had dismissed the Polish dresser that had been supplied – “I don’t want a strange dresser round me,  they stare so” – and proceeded to show Gene what would be expected of her.

In 1985, she shared memories of life on the road:

·         New York, 1967: ... at rehearsals she was very demanding and kept everyone on their toes. A violinist was ticked off for wearing short socks ... ‘ they come to see my legs, not yours.’

·         San Francisco, 1968: She liked her dressing room to be functional and sparsely furnished, but in San Francisco, it had been furnished and bedecked with beautiful antiques and rich brocades. She took one look and said to me: ‘Let’s move in next door,  honey,  who needs all this!’

·         Paris, 1973: Marlene excelled herself before one of the most exquisitely-dressed and sophisticated audiences we had ever seen. Among the celebrities ... who came backstage after the performance, was a very well-known female singer who, overcome and in tears at Marlene’s performance, embraced her. Marlene seemed equally moved. A moment later she turned to me and whispered,  ‘Who was that,  honey?’

Rudi Polt's The Ultimate Marlene Dietrich Souvenir & Memorabilia Book: A Review

Several months ago, I discovered The Ultimate Marlene Dietrich Souvenir & Memorabilia Blog, run by Rudolf "Rudi" Polt, which astounded me because a) I was certain that I knew every blog about Marlene Dietrich and b) I was sure that I had already seen Polt's name somewhere. Although I proved myself wrong about my omniscience, I was right about my observant eye. Indeed, Polt is cited and acknowledged by Steven Bach in Marlene Dietrich: Life and Legend. Also, I've seen his generous contributions on YouTube.

After browsing Polt's blog, I learned that he had published a book through Lulu.com, The Ultimate Marlene Dietrich Souvenir & Memorabilia Book. To be frank, when I first visited the link, I balked at the price (currently US$118.75) of a self-published book with a typo on its cover, but we all know the adage, "Don't judge a book by its cover." After corresponding a bit with Polt, I realized that this man is a tireless wealth of information about Marlene as well as a keen Dietrich researcher, and I decided that I would buy his book.

Well, now it's in my hands, where I wish it had been sooner because it's a helpful pictorial bibliography of Dietrichiana (or Marlenebilia, if you will). Not only do I consider the scans (often in color) more impressive than the plates of photograph reproductions in most trade publications (ahem, Donald Spoto!), I also contend that the succinct captions are more informative than most Dietrich biographies (*cough* Charlotte Chandler! cough*). If you know about the Major Arcana in a Tarot deck, you may be aware that it tells the story of a Fool's journey toward knowledge. Let me cast myself as that fool and reveal what I've learned from Polt's book:

In a captioned photo below the table of contents, I learned that the ubiquitous German photographer credited as "v. Gudenberg" on postcards (see Fabrice's collection at Marlene Dietrich Collection), "W. von Gudenberg" in Marlene Dietrich: Portraits 1926-1960, and "Baron Wolff von Gudenberg" on auction sites had a given name--Walter! On IMDB, a Walter von Gudenberg is credited as a cinematographer for one of Dietrich's first films--The Little Napoleon. Is that accurate? I don't know, but it does lead me to wonder how much influence von Gudenberg had on Marlene's image during the '20s. Like others, he saw the glory of her gams, even though I've never seen them in such a greased-up and girlish pose. If anyone knows where I can read a substantial biography on von Gudenberg, please direct me to it.

We've seen images of Marlene playing singing saws, violins, and pianos, but what about ukuleles? There are many magazine images that I never saw before communicating with Polt, such as the Das Magazin ones featured prominently in his book. Speaking of images new to me and Hawaiian accoutrements, Polt presents a photo of Marlene and Maria Riva in hula skirts, which is one of the most charming photos of the two from the early '30s--far more than the ones circulating online. Also available are scans of entire film programs! Polt isn't merely showing off his extensive collection--he's sharing it! With an emphasis on sheet music illustrated with Dietrich's image, featuring songs from Dietrich's movies, or containing compositions inspired by Marlene, Polt's book covers a "genre" of Marlenebilia that others have yet to explore thoroughly.

If I have any concerns about Polt's book, it's this: were any of these photos retrieved online? A Manpower publicity shot looks identical to one I saw at Profiles in History, right down to its crooked scanned edges. Then, it occurred to me that perhaps these auction items were consigned by Polt himself. As for criticisms, I must admit that some scans look too heavily pixelated, especially the ones from the January 30, 1951 issue of the miniature People Today, which shouldn't have been enlarged. In these digitized magazine and newspaper photos, the halftone Marlene instead looks like she was caught in a fishing net. Quibble as I may, I can't but praise the many clear color photos of Dietrich during the 1960s, and the breadth of Dietrich-related images in this book will help guide me--a relative neophyte--in collecting Dietrichiana.

Why Is Maria Riva Still A Punching Bag?

I haven't heard of Richard "Bugs" Burnett, a columnist at Montreal Gazette's blogs whose bio touts him as a maple-flavored Michael Musto. I don't know of John Banks either, one of Dietrich's boys during the '60s and '70s--figuratively and literally, apparently beginning his service to Dietrich at the tender age of 15. Burnett, however, gave me a thorough introduction to Banks in an article just published called "How one night in Montreal changed the life of Marlene Dietrich." Clearly, the presumptuous title should have been "How one night in Montreal changed the life of John Banks," but Dietrich's name naturally has more SEO clout.

Misleading title aside, Burnett extracts a lot of details from Banks, including a beautiful photo of Dietrich and Banks together, who remind me of Catherine Deneuve and Pierre Clementi in Belle de jour. More intriguing are Burnett's choice of authoritative biographers, Charlotte Chandler and David Bret. I've covered Chandler a bit after having read her Dietrich bio and still have yet to read Bret's, who has at least made his presence known, but I'm well aware that both biographers are of ill-repute if you take Marlene Dietrich Collection Berlin's newsletters as gospel (Bret here; Chandler here). Of course, those who read enough of my shtick must know that I enjoy the apocrypha as much as the torah and welcome all. In fact, I still have hopes of writing about Dean Goodman and Erik Hanut's books, which I read many months ago.

Back to Burnett, while I find his favored biographers a surprising choice, his silence on Maria Riva's book--the Song of Songs as far as Dietrich tomes are concerned--strikes me as strange. Instead of citing Maria's book, Burnett quotes Banks' recollection of Maria enabling Dietrich's alcoholism. Maria admitted to being Dietrich's handmaiden but never her Hebe! Sometimes, I wonder whether some Dietrich fans still have it out for Maria. Burnett expresses his fandom throughout his article--especially the introduction--and in an earlier article he wrote that mentioned Banks. I've been meaning to post a lengthy look at all the times Dietrich fanboy Steven Bach poked fun of Maria's weight in his book, and I have been keeping my eye on the vitriol that some (or one?) DataLounge poster(s) spew(s) Maria's way, too. Do any of you still have these kinds of feelings about Maria? Feel free to air them out here!

I'll just request that if any of you know more about John Banks, please educate us in the comments section in between your rants. So far, I've learned that he was a bartender at Le Mystique, the oldest gay bar in Montreal until it closed in 2009. As least its Angelfire site remains, which may very well be the last Angelfire site standing. Seriously, I hope someone salvaged its NOSTALGAY exhibit. Establishments like Le Mystique remind me of the Hollywood gay dive that I never had a chance to visit--Spotlight, which looked like Skid Row on poppers from the street but must have been brimming with history within its doors.

Streets of Paris

Dietrich filming her cameo for "Paris When It Sizzles" (1962)

In Paris c. 1973, around the time of her performances at Espace Cardin.

Marlene Dietrich, The Love Doctor

Dietrich recording her Monitor segments
(Note: The earliest date stamp is Oct. 24, 1958--
NOT May 1964 as stated on the Wikipedia page)

Happy New Year, all! For my own amusement, I'm going to change the tone of my blog entries from time to time. If that rubs you the wrong way, go read Proust with Maximilian Schell. Or--better yet--join us in blogging about Dietrich! In particular, I'd like to see a woman blogger in our crew. If you're interested, email us at lastgoddessblog@gmail.com or comment on this post. Now, I'll return you to our irregularly scheduled entry. . . .

Back in the 1950s, Marlene Dietrich dispensed relationship advice on the NBC radio program, Monitor. Then, the public didn't know that they were tuning in to the wisdom of a grandmother who pined for the married Yul Brynner, but Dietrich's private adolescent woes could have made her public views all the more insightful. It's like having a shrink who plays with the dolls before she doles them out.

Of course, I jest. It just so happened that folks had been soliciting Dear Dietrich's guidance since World War II, and Dietrich aptly employed her approachability when less movie roles were coming her way.

Many of you may be asking where you can find recordings of Dietrich's segments. Well, I have the same question! All that Steven Bach told us was that Dietrich "purred," but he may have been at a loss for words because that's how he described most of Dietrich's radio contributions. If you know where we can hear Dietrich's love doctor routine, don't keep them to yourself! In the meantime, I'll just have to settle for the notion that Dietrich responded to every query by purring the words: "Use Heinz vinegar."

At the very least, I can direct you to audio on The Monitor Tribute Pages. Click here and listen to the clip called "John Bartholomew Tucker hosts Monitor '75 -- Saturday, January 25, 10-11 a.m. ET," which features a brief interview with Dietrich at about 11:15. What do you think about Dietrich's views regarding television? I respectfully disagree because I could never imagine anything as ethereal as the creatures that I've recently seen on T.V.:

Get More: TV Shows, Full Episode Video, Reality TV Shows

Marlene Dietrich Stoops To Conquer The Press

from: Sydney Morning Herald,
22 September 1975


Marlene Dietrich turned the tables on the press at the weekend by giving a press conference.
In recent years Miss Dietrich has been as loath to talk to the press as her 1930s rival, Greta Garbo.

On Saturday she spent 40 minutes sitting in the sunlight at the Loft at the top of the Boulevarde Hotel talking and talking.

She talked, rather than answered questions, on almost everything from photographers - "I hate them" - to relaxing - "I don't."

Miss Dietrich put everyone at ease. She was asked: "Will you ever make another film?"
She would not.

Not even a film about her own life? "Oh dear, I'd be bored stiff!" she said.

According to Dr Roger Manvell's Encyclopaedia of Film, she is probably 74 years old. Whatever her age, she certainly did not look a day older.

she wore a stylish but simple brown pants suit with a matching peaked cap. She wore a modest amount of makeup, with or without which, the mildly mocking Dietrich eyes were as recognisable as ever.

"Why was she talking to the press?"

"It's him, Mr Smith persuaded me," she said indicating Cyril Smith, the promoter of her show which opens at Her Majesty's Theatre tonight.

Why had she avoided talking to the press before?

"I haven't given any interviews since 1972. In 1972 someone wrote a very misquoting article about me.

"Anything you can ever read in the papers you can never believe. You are newspapermen, you know how they make it up," she said with a look which suggested there was a hint of something more in her jest.

Questions about her films prompted no nostalgia.

"Let's get one thing straight, don't mix me up with my movies. On stage, in my show, I am myself but not in films.

"When I was young I played a tart in a red light district. I would not have chosen it for myself.
"I was supposed to be the Blue Angel but it was nothing to do with me. They said can you play a tart in a harbour town? I said yes, I suppose I can, I went to theatre school. When they said can you speak with a deep voice? I said sure."

Why did she still sing her old songs?

"I have to sing them otherwise they won't go home," she said with the Dietrich huskiness of her films coming through.

Why did she still tour?

"To be a performer you have got to be disciplined, you have got to know that you are not very important. Young people tell you what they think and if they do something wrong it is not their fault - it is because they had an unhappy childhood, they say. It was not like that for us.
"My sister died the day I opened in Birmingham on my last tour. No one knew and I could not say 'I can't perform today.'

"We stand out there with a high fever and perform. We have been taught not to allow little personal things to get in the way."

Rory MacLean Remembers Marlene Dietrich

At the Goethe-Institut's "Meet the Germans" blog, Rory MacLean reminisced about his work on the film Just a Gigolo, naturally focusing on Marlene Dietrich. Although MacLean's name was expunged from the film's credits, he revealed that he had assisted the film's director, David Hemmings, and posted a photo of Dietrich with the production crew, pointing himself out in the back row. Read MacLean's memories of Dietrich:

PART ONE   |   PART TWO

If you know of other blogs, sites, etc. with people's memories of Dietrich, please share them.

Jim Brochu Remembers Marlene Dietrich

Circle Star Theater, 1973 (Courtesy Jim Brochu)

The extraordinarily talented Jim Brochu has kindly granted me permission to reprint a photograph he took of Marlene Dietrich at San Mateo, California's Circle Star Theater in 1973. Additionally, Brochu has allowed me to reprint this text, in which he shares his charming and amusing memories of joining Dietrich and her entourage for a post-show supper. A friend of Dietrich's then-composer and wock of Gibwaltaw, Stan Freeman, Brochu had an insider's perspective that should be included in any Dietrich biography.

Before I copy-and-paste Brochu's account, I would like you all to know that you can order tickets here for his highly-acclaimed, Drama Desk Award-winning show, Zero Hour, at Pittsfield, Massachusetts' Barrington Stage Company from May 18-June 5, 2011. Brochu's show pays tribute to Zero Mostel, an illustrious actor who played Tevye in the original Broadway production AND first Broadway revival of Fiddler on the Roof. You may read more about Zero Hour here.

And now for Brochu's encounter with Dietrich:

Marlene Dietrich: The First Cougar?

This chapter from Luke Yankee's 2006 memoir, Just Outside the Spotlight: Growing Up with Eileen Heckart, salutes Marlene Dietrich the neat freak perfectionist and Marlene Dietrich the naughty cougar. It's a droll account that proves you can't quote Dietrich without italics:

Dietrich's Producer Cancels Their Friendship

by Earl Wilson, 22 January 1973

NEW YORK, N.Y - Marlene Dietrich's biggest booster in this part of the world, Producer Alexander Cohen, has broken off their very luctrative friendship. He has dropped the glamorous but tempramental grandma from his list of pals.

"I have no time for her whatever," he told me quite bluntly.

He was angry because she made uncomplimentary remarks in advance about his TV special starring her, for which she got $250,000. He was also heated up because she tiffed with the press, alienating most of those who wrote about her.

"Over the six years when she did two one-woman performances in New York and went on tour, I showed up in every city to be of help," Cohen said. "The way that she treated me was no way to treat a friend.

"I have no defense for the things she said to the press," Cohen added. "I have no quarrel with the press - it is only with her highness." Cohen had thought of bringing her back for a third Broadway run but that's dead now. He said, "She's too much trouble."

While her TV show got some excellent reviews, Cohen said her slighting remarks about it cost him some big sales in Europe. "Does Miss Dietrich know your feelings about her?" I asked. Cohen, who sent her champagne, flowers and caviar just a few weeks ago, said: "She certainly does!"

A Million Grains of Golden Caviar

That's what Diana Vreeland called this breathtaking, beaded gown when she exhibited it at the Metropolitan Museum in 1974 as part their Costume Institute's "Romantic and Glamorous Hollywood Design" retrospective.

The dress, designed by Travis Banton for Marlene to wear in Angel, was reportedly inspired by the mastery of Fabergé. It cost $8 000 to produce in 1937 -- too expensive for Paramount executives to allow Marlene to add this one to her personal collection, as was her usual custom. Altered, it appeared in several Paramount movies long after its original model had vacated her dressing room on the lot. By the 1990s, the gown was in such fragile condition that it required extensive restoration. It is said that the gown is now preserved in a private collection.

When Vreeland first contacted Marlene about the latter's old movie costumes, the star seemed less interested in golden caviar than in exactly who had told the ex-editor in which hotel she was currently staying:

UPDATE: To see a sketch of this costume, look here!

Noel and Marlene, 1973

Marlene accompanied Noel Coward to the New York premiere of "Oh Coward" in January 1973. It was Coward's final public appearance. Earl Wilson's column reporting the event is reproduced below.

DIETRICH PLAYS NURSE TO DISABLED NOEL COWARD

Earl Wilson, 18 January 1973

NEW YORK, N.Y – Marlene Dietrich’s greatest performance as a modern Florence Nightingale is one that only a few of us saw.

Thare are many sharpshooters out after the glamorous grandma or great-grandma-to-be but when she assisted an aging, stooped, arthritic Si r Noel Coward, now 73 to her reported 71, up and down difficult stairs at the “Oh Coward” night at the New Theater and party at the Trattoria, we had to admit that Marlene was at her best and not seeking publicity.

In fact, at the Trattoria, she told one press lady, "I’m not speaking to you anymore." The press lady said, “You’ve just done me a big favor."

But there was Marlene in a pinkish lame gown (Chanel) actually helping hoist Sir Noel to his seat and saying to him, “It’s all going to be all right, we have made it this far, dear love”.

Sir Noel smoked his cigaret and fanned his flowing pocket handkerchief. Marlene backed away into brick wall and allowed busty Arlene Dahl, wearing something new in bosoms, to get into the pictures. Arlene said that her long dress became entangled on the seat and she told Sir Noel, “I may be on your lap.” H replied, “Don’t worry. I’m very broad-minded.”

As Sir Noel kissed and otherwise saluted the stars who came to the show in his honor, and to the party, one got to wondering whether he was arthritic or just liked to be petted by Anita Loos, Helen Hayes, Ethel Merman, Joan Sutherland, Glynis Johns, Celeste Holm, Phyllis Newman, Myrna Loy, and some others.

A fan came up and said to Marlene, “I saw you on TV. You were beautiful.”

“I hope so,” Marlene said. “But you should see me on the stage.” A shrug said that the real Marlene could only be seen in person.

Theatre Royal, Drury Lane (1971)

We remember Marlene's 1971 visit to London, where she appeared at a midnight matinee charity event at Theatre Royal, Drury Lane.

News footage of Marlene arriving at Heathrow.

Interview: Marlene's opinion on women's lib (click to enlarge)

Review of the performance from the Evening Standard (click to enlarge)


Post performance meet and greet.

993 Park Avenue: Marlene Dietrich's New York Apartment

Marlene Dietrich settled in Manhattan's swanky Upper East Side after the end of World War II, when the world's most glamorous grandmother relocated to New York to be close to her daughter Maria Riva and her grandchildren.

993 Park Avenue went co-op in the late fifties and Dietrich bought an apartment in the building. The full service, thirteen storey Italianite block had been built in the teens by Bing & Bing. Dietrich decorated her modest apartment, number 12E (a two bed / two bath unit of 1600 square feet), in a mixture of styles: Louis XIV furniture was offset against glizy mirrored walls befitting a movie star.

Dietrich photographed in her living room for Life Magazine (1952).

When she wasn't travelling the world with her spectacular one-woman show, Dietrich divided her time between her New York home and a Paris rental on the Avenue Montaigne. Visting Dietrich in Paris in the late 70s, her friend Leo Lerman noted "[t]he podge of the [Parisian] flat, which I find touching and that Gray [Foy] says is so unlike her New York controlled elegance. I like both and find both very much the way she is."

After a stage fall in Australia in 1975 Dietrich went into semi-retirement in Paris, becoming increasingly reclusive. Her grandson, J. Michael Riva lived at the Park Avenue apartment during the early 80s with his then-fiance, Jamie Lee Curtis, when the latter was filming "Trading Places" (1983).

Dietrich died in 1992.

Her heirs sold the apartment in 1998 for $615 000. "I walked in and the place was empty and disgusting and old," commented the buyer, who intended to redecorate. ""I have these dumb mirrors, too ... Because she had smoked-glass mirrors all over the place, including in the bedroom, which I am taking off."

993 Park Ave #12E reappeared on the market in 2010. Without its famous previous owner's "dumb mirrors" and shag carpeting, the genteel refurbished unit was listed by Sotheby's Real Estate for $ 2 250 000. It has now been sold.

Refurbished kitchen (2010).

Master bedroom (2010).

Living Room (2010).

Dietrich in Wales!

Anthony Brockway has an interesting post about Marlene's June 1973 visit to Cardiff at his blog, Babylon Wales.

(Photo from The Times, 5 June 1973)