1934 Broadside
Marlene Dietrich
"The Scarlet Empress"
Unfolded 9 3/4" 12 1/2"
Folded 6 1/2" 9"1 /2"
This One Sheet poster has auctioned for upward of $7,500
Artist is Hans Flato
Original Vintage Broadside

Marlene Dietrich
(Maria Magdalena Von Losch)
Born in 1902, never replaced, much imitated.
An Ikon, they coined SUPERSTAR for her. She had the world at her feet,
from the "Blue Angel" in the 20's until Las Vegas in the 60's with $100,000+ salaries.
In her daughter's biography, Marlene was credited with bedding Hemingway, Picasso,
Jean Gabin, Maurice Chevalier, Greta Garbo, and lover Mercedes Acosta, concurrently!
All while married to Maria's dad, Rudolf, for over 30 years.

Signed Original 8" x 10" Photo

Marlene Dietrich
Original 1952
Rancho Notorious Magazine Ad
Original Mag Ad

Click to enlarge


Biography for
Marlene Dietrich

  Lili Marlene
Mini biography
Born in a small town outside Berlin, her father was a police lieutenant and imbued in her a military attitude to life. Marlene was known in school for 'bedroom eyes' and her first affairs were at this stage in her life - a professor at the school was terminated. She entered the cabaret scene in 1920's Germany, first as a spectator then as a cabaret singer. In 1924 she married, and although she and Rudy lived together only 5 years they remained married until his death. She was in over a dozen silent films in increasingly important roles. In 1929 she was seen in a Berlin cabaret by Josef von Sternberg and after a screen test captured the role of the cabaret singer in Blaue Engel, Der (1930) (and became von Sternberg's lover). With the success of this film, von Sternberg immediately took her to Hollywood, introducing her to the world in Morocco (1930), and signing an agreement to produce all her films. A series of successes followed, and Marlene became the highest paid actress of her time, but her later films in the mid part of the decade were critical and popular failures. She returned to Europe at the end of the decade, with a series of affairs with former leading men (she had a reputation of romancing her co-stars), as well as other prominent artistic figures. In 1939 an offer came to star with James Stewart in a western, and after initial hesitation she accepted. The film was Destry Rides Again (1939) - the siren of film could also be a comedienne and a remarkable comeback was reality. She toured extensively for the allied effort in WW II (she had become a United States citizen), and after the war limited her cinematic life. But a new career as a singer and performer appeared, with reviews and shows in Las Vegas, touring theatricals, and even Broadway. New success was accompanied by a too close acquaintance with alcohol, until falls in performance eventually resulted in a compound fracture of the leg. Although the last 13 years of her life were spent in seclusion in her apartment in Paris, with the last 12 years in bed, she had withdrawn only from public life and maintained active telephone and correspondence contact with friends and associates.
Mini biography
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 when 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.
'Rudolf Sieber' (17 May 1924 - 1976) (his death); 1 child

Earned a Congressional Medal of Honor

Was made a Chevaliere of the Legion by France

Born at 9:15pm-CET

Her estate, consisting of about 300.000 pieces, was bid for 8 mio. German marks by the city of Berlin, Germany.

Interred at Friedhof III, Berlin-Friedenau, Germany.

(1995) Chosen by Empire magazine as one of the 100 Sexiest Stars in film history (#60).
Personal quotes

"My mother believed she had invented love. The world believed it as well." - Maria Riva, her daughter

"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."

"I am not a myth."

"I never enjoyed working in a film."

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."

"In Europe, it doesn't matter if you're a man or a woman - we make love with anyone we find attractive."
Destry Rides Again (1939) $50,000
Knight Without Armour (1937) $450,000
Garden of Allah, The (1936) $200,000
Schöner Gigolo, armer Gigolo (1979) $250,000

Biography from Leonard Maltin's Movie Encyclopedia:
Actress. (b. Dec. 27, 1901, Berlin, as Maria Dietrich; d. May 6, 1992.) 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; when 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.

These Items are FOR SALE to knowledgeable Collectors. Please ask all questions of provenance before purchase. Items are only exchangeable if autographs are not authentic.

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