Interview: Marlene Dietrich – bourgeois, geranium-lover

Betty Best interviewed Marlene Dietrich, backstage at London's Golder's Green Hippodrome, in 1965. Special thanks to the Crees Collection for sharing this material.

Marlene Dietrich in her dressing room.

It had been a month since I'd seen her. A month since she'd held out a delicate, tiny hand and agreed to the idea of a private interview with a brief, "Yes, yes, call me at Claridges" –  and sounded as if she meant it. 

But I'd made at least ten telephone calls every day since then, from Brighton to Birmingham and back to London, without ever once getting through to that inimitable, halting voice. A month of pleading with agents and publicity officers, all of whom sounded terrified at the very thought that I should claim a whole hour of Miss Dietrich's time to myself. 

By then my mental picture of her was becoming a little unsure. Perhaps that brief meeting among a horde of people in the excitement of a first arrival had been misleading. Perhaps the apparent ease and friendliness of the magic Marlene was just an effect, switched on like her magnificent stage personality, for an audience which expected it. 

Police cordons 

In between times I'd heard of the packed schedule of a tour which stopped in each city for only a week, which included intense rehearsals with each orchestra, with her arranger Burt Bacharach (who flew from the U.S.A. especially), an entire one-woman radio play for the BBC somehow jammed into the London week; of fantastic hold-ups every night after each show while fans besieged the stage doors so that Dietrich could not emerge without special police cordons.

Perhaps I was hoping for too much. Then I got word that she was fed up with English reporters asking about nothing but her age, her looks, her clothes, and that most forbidden of all subjects, her family – about whom she will never speak.

All the signs were against my ever getting to see her at all. Yet, throughout I had a curious belief that it would come off – because of the geranium.

Miss Dietrich had, that first night, told an endearing story: ''I've just made a new LP. The songs of old Berlin as I remember them as a child. They are beautiful songs, real songs of the people. And because they always meant so much to me, I wanted to do everything about this record myself. Even to designing the cover. Me, I'm not an artist. But I had my ideas. I always see Berlin as a grey city – grey walls, streets, everything.

"So I got paints and made a beautiful grey pattern. Then, because I'm not an artist, I went to a stationer's and bought those letters children use to scratch with a pencil and that come out on paper.

"Then on the bar of the 'H' at the end of my name I put a lovely little pot of bright red geraniums. When I took it proudly to the publisher, he said, 'Why the geraniums there?' I tried to explain that it is the flag of the little people in grey cities everywhere. The big gesture of the bourgeois toward beauty. And I am a bourgeois and I love geraniums.

"But, of course, he couldn't understand. Never mind, I kept my geranium on the cover – just as I always keep one in my dressing-room wherever I go."

And sure enough, when finally, after many cancellations, I got to her dressing room at Golder's Green Hippodrome on the outskirts of London, there it was. Not a grand florist's specimen,but a simple little scarlet single in a common terracotta pot sitting on the wash basin in the corner. 

Beside it on the wall was a symbol of that very private side of Dietrich's life she seldom mentions, a

large framed and inscribed portrait of Ernest Hemingway, wearing a polo-necked sweater and looking young and adventurous.

On a previous occasion I had once managed to get her to touch on her great friend ship with this man who wrote of her: "I think she knows more about love than anyone. I know that every time I have seen Marlene Dietrich she has done some thing to my heart and made me happy.''

It was when she was railing against the agonies of work on tour: "It is not the performances I mind. They are fine. Once I am in front of people I can recharge my batteries from them.

''It is the terrible chore of packing and unpacking. Of never having a minute to myself or a second for reading."

Then someone asked who was her favourite author and, suddenly, the whole face softened and glowed. She replied with the single word, "Hemingway."

She began to speak of the great respect and love she felt for him; her voice broke, she turned away with a final, "Life is not the same now he has gone."

Dietrich in Vegas: She Glittered And Gleamed So!

“Nescafé society” – as Noel Coward dubbed those who frequented Las Vegas – was introduced to “the most glamorous star in the world – the woman and the legend”, Marlene, when Dietrich made her cabaret début at the Sahara Hotel's Congo Room in December 1953.

“They worked on me for two years and kept upping the salary until I could no longer refuse,” she explained to the press about her record $ 30 000 per week fee (for a three week season: three shows a night).

“I had to come out here to Las Vegas and see the place first. I came here twice before I really decided.

“I was really convinced when I came to see Tallulah Bankhead. She did a serious dramatic bit – a Dorothy Parker piece – and you could hear a pin drop. You could never do a thing like that in a New York night club, or in a night club anywhere else.”

On her opening night, Marlene appeared in a flash of sequins and a waft of fur, purred “hello” to an appreciative audience (including Billy Wilder, Van Heflin, Mercedes McCambridge, Louella Parsons, and Jimmy McHugh) and appropriately crooned “Baubles Bangles and Beads” to Buddy Cole's accompaniment.

The “glitter and gleam” promised in the lyric was supplied by designer Jean Louis, who had gathered some sparkle clusters onto a barely-there foundation – a so-called “nude dress”. Marlene insisted that it lived up to its name: “The only thing underneath” the $ 8 000 “revue costume”, she said, was “a gaiter belt to hold the stockings, period.”

The Dress caused a press sensation when the opening night's photos made it into newspapers. “It's the most daring gown I've ever seen on a stage,” gushed one longtime newspaper man.

That the photos revealed more than even Dietrich professed to have intended, only added additional sizzle.

“These photographs were shot from a low angle, and these rhinestones didn't even register,” Marlene half-heartedly protested, pointing to strategically placed beads at the costume's bust-line. It “wasn't designed to be photographed up close, or to be looked at up close,” she explained. Besides – “this is Las Vegas. If you can't wear it here, you can't wear it anywhere. I have several costumes like this. I will alternate them. I would not want to disappoint any individual audience.”

The show was brief. She sang “The Boys in the Back Room”, “La Vie en Rose”, “You've Got That Look”, “The Laziest Gal in Town”, “Lili Marlene”, “Jonny”, “Lola” and the “inevitable” “Falling in Love Again”.

For the finalé, Marlene changed into her circus ringmaster costume. Max Colpet had written a special lyric for her, “The Beast in Me” (set to “The Entrance of the Gladiators”). With whip in hand, and while show girls in animal costume moved around in and about cages, she sang:

“Lions, tigers, small cats, tall cats
You just name them  – I will tame them …

“There is one beast that was never tamed
And that beast ... that beast is me!

Many men have tried their chance in vain,
One went nuts – two died in France and Spain ...

Do or die, I must discover
My superman, my only lover.
Then I skip my boots and whip
And flip ... and flip ... and flip

Where is that man?”

During the run, Marlene celebrated her (officially, 48^th) birthday with a six-tiered, four-hundred pound birthday cake. There were no candles on the cake, jested the staff of the Sahara Hotel, because they “couldn't afford it after paying her that money”. (Not that they had reason to complain – 1,937 people had seen Dietrich perform the previous evening, which had set a Vegas attendance record.)

Working in Las Vegas was “fun” – “and much easier than making films,” but “different than when I sang for the troops during the war. If there'd been servicemen out there when I sang 'Lili Marlene' they would have brought the house down."

“I'd like to come back to Las Vegas,” she said near the end of her season. “I don't think any other place can pay the money.”

The town was “a funny place”, though: “I always thought that when you're a success, you're held over. Here, the next act is already here, waiting for me to get out. Donald O'Connor has been hanging around for days. I came in here yesterday, and the girls in the line were rehearsing – not for me, but for Donald O'Connor's show.

“It gave me a strange feeling.”

Marlene '59



Marlene Dietrich at the Sahara Hotel, 1959.

 When Marlene opened at the Sahara Hotel's Conga Room in May 1959, she gave 'em legs -- and feathers. Her dress, a beaded Jean Louis number with a thigh-high slit, was topped with extravagant yellow plumage. (The costume also came in sedate black, but photos of Dietrich wearing it in actual performance are hen's teeth).

She sang her usual suspects but included an odd  repertoire choice: Johnny Cash's "Don't Take Your Gun To Town".

In 1959, Marlene also announced her TV debut. Press were told that her upcoming performances in Paris would be filmed in colour, directed by Orson Welles. In the end, the special -- a French-language performance filmed for an American TV audience -- didn't happen, but Marlene  did  make her TV debut that year, without fuss, while on tour in Brazil.

 
  


Marlene makes her TV debut on Brazil's TV Tupi. With host, Jayce Campos (1959).



The show, on the TV-TUPI channel, was presented by Jayce Campos. Dietrich appeared in her top hat and tails to sing "The Boys in the Backroom" and "Falling in Love Again". After some chat, she changed into a dress for a final number.

Although it is a studio recording with overdubbed applause, the LP, Dietrich in Rio gives a good representation of the material Marlene sang on her South American Tour.

South American exuberance gave way to Parisian jubilation when Marlene performed at the Théâtre de l'Étoile in November. Orson Welles came for the opening, as did Jean Cocteau and Noel Coward. Coward thought Marlene too brassy, but liked her rendition of "One For My Baby":



(The entire performance, including Maurice Chevalier's introduction, is available as a digital download on itunes. Although the sound quality is sub-par, it is an interesting historical artifact.)

See Marlene's December 1959 French TV appearance as part of a charity appeal.

Read more about Marlene's 1959 Brazilian tour.

When Baryshnikov & Dietrich Met on Business

Back in 1987, the Council of Fashion Designers of America (CFDA) hosted its 6th annual awards dinner at the Temple of Dendur in the Metropolitan Museum of Art. For $750 a plate, attendees got to watch designers--who paid only $250 for their grub (beat that, AARP cardholders!)--walk like Egyptians to the podium and bask in the recognition of their peers.

Absent from the ceremony was Marlene Dietrich, who had won a lifetime achievement award, which someone less respectful than I might term a sort of "deathbed award" that Dietrich describes under her ABC entry, "Academy Award." On Marlene's behalf, Mikhail Baryshnikov accepted the award. Maria Riva tells us in her book that Dietrich rejected David Riva for this task in favor of the diminutive dancer-turned-actor, who became the object of her mother's unbridled octogenarian lust.

If Baryshnikov never had the chance to visit Dietrich's "nice and tight" nether regions, at least one of her top-shelf impersonators, played by Adele Anderson, flirted with him and Gene Hackman in the 1991 movie, Company Business. This Dietrich may be dressed like The Blue Angel's Lola-Lola, but she's singing "The Boys in the Backroom," the signature song of Destry Rides Again's Frenchy, even jiggling her Adam's apple like the saloon strumpet to whimper with vibrato!

Studies in Light and Dark

The Dress That Jamie Lee Snipped?

Marlene gave Jamie Lee Curtis one of her old evening dresses to wear to the 1983 or 1984 (sources differ) Academy Awards. Curtis was at the time engaged to one of Dietrich's grandsons.

Apparently, the gown had originally been made for Marlene to wear in 1942's The Lady is Willing; for the Oscars, Curtis had the gown altered and shortened.

Is this the dress?

The shortened version of the gown was sold by Christie's in 1999 for $ 9 200. The auction house credited it as a Jean Louis creation. Jean Louis only started to work at Columbia Pictures in 1944.

In the film, Dietrich's gowns are credited to Irene.

Jean Louis Double Take, Part 2

Gown by Jean Louis for Marlene Dietrich, 1957.

Gown by Jean Louis for Marilyn Monroe, 1962.

A Jean Louis Double Take

Gown designed by Jean Louis for Marlene Dietrich in The Montecarlo Story (1956).

Gown designed by Jean Louis for Lana Turner in Imitation of Life (1959).

Sahara Hotel, Las Vegas. 1953.

Marlene Dietrich wears a gown of transparent black net, which veteran show buisiness people called the most revealing they could remember, for her night-club debut at the Sahara hotel, Las Vegas, here last night, Dec. 15, 1953.

The clinging gown, which supplied only a few scattered bangles and beads between Dietrich and her public, was reported to have cost $ 6.000.

Actress Marlene Dietrich holds the $3,000 sequin and lace creation made for her during an appearance at the Hotel Sahara in Las Vegas, Jan. 6, 1954. The revealing dress, designed by Jean Louis Berthauldt, left, which she vowed never to wear again, made a sensation when she wore it in her show.

Legendary, Lovely Marlene

On June 21, 1954, Marlene was introduced thus by Noel Coward before a star-studded audience at London's Café de Paris. It was her first appearance in London, and the show ran at that venue until 18 July that year. While she was in London, she also appeared at the "Night of 100 Stars" where she sang "Land Sea and Air" in duet with Noel.

Luckily for us, that "legendary, lovely" evening was recorded and issued as an album, so that we can easily relive it 53 years on. (Available at amazon.com : http://www.amazon.com/Marlene-Dietrich-Album-Live-Paris/dp/B000026IBN/ref=sr_1_2/104-1521198-1899140?ie=UTF8&s=music&qid=1182289096&sr=1-2 )

Youtube video of the week II

The designer Jean Louis crafted veritable works of art to drape Marlene's slender frame. At $30,000 a piece (in the 1960's!), these bugle-beaded wonders often involved days upon days of fittings, with Marlene standing stock still while Jean Louis's assistants paced around her.

But don't take my word for it:

January 2007 film screenings, continued!

01/27/07
The Blue Angel, Wesleyan (8:00pm)

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Disappointed by this paltry update, I did a Dietrich search on Craigslist. If you have one grand lying around, this item may interest you:


A letter from Dietrich to fashion designer Jean Louis

Jean Louis' nimble fingers, of course, crafted the bugle-beaded gowns that caressed Dietrich's seemingly nude silhouette during her stage shows.