Marlene Dietrich – Live At The Cafe De Paris (1954)
The most exotic actress of the 1930s and ’40s, Marlene Dietrich performed her cabaret act around the world and recorded for Decca, Columbia and Capitol in the post-war period, after her film career had slowed. A thick German accent and her odd sung-spoken vocal style proved no barrier to international popular success and adoration. (allmusic.com)
– Look Me Over Closely
– I’ve Grown Accustomed To Her Face
– Lili Marlene
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German song popular during World War II among both German and Allied soldiers. Hans Leip (1893–1983) began writing the lyrics in 1914 or 1915, reputedly while standing guard duty one night under a lamppost (“Vor der Kaserne vor dem grossen Tor stand eine Laterne”; “Underneath the lantern by the barrack gate”). “Lili Marleen” was a composite of his own girlfriend Lili and a comrade’s girlfriend Marleen. Leip did not finish the verses for publication until 1937, when, as a poem, it appeared in his collection Die Kleine Hafenorgel (“A Little Harbour Organ”); a year later, music for it was composed by Norbert Schultze (b. 1911). The song did not become popular until after Aug. 18, 1941, when it was first broadcast to Allied troops in North Africa on Nazi propaganda radio. The song, first sung by a German cabaret singer, Lale Andersen, became especially famous in the version recorded by the German-American movie star Marlene Dietrich. (Britannica)
Dietrich, Marlène (1901-1992)
Marlene Dietrich (original name Marie Magdalene Dietrich , also called Marie Magdalene von Losch: born December 27, 1901, Schöneberg – now in Berlin – Germany; died May 6, 1992, Paris, France)
German American motion-picture actress whose beauty, voice, aura of sophistication, and languid sensuality made her one of the world’s most glamorous film stars.
Dietrich’s father, Ludwig Dietrich, a Royal Prussian police officer, died when she was very young, and her mother remarried a cavalry officer, Edouard von Losch. Marlene, who as a girl adopted the compressed form of her first and middle names, studied at a private school and learned both English and French by age 12. As a teenager she studied to be a concert violinist, but her initiation into the nightlife of Weimar Berlin—with its cabarets and notorious demimonde—made the life of a classical musician unappealing to her. She pretended to have injured her wrist and was forced to seek other jobs acting and modeling to help make ends meet.
In 1921 Dietrich enrolled in Max Reinhardt’s Deutsche Theaterschule, and she eventually joined Reinhardt’s theatre company. In 1923 she attracted the attention of Rudolf Sieber, a casting director at UFA film studios, who began casting her in small film roles. She and Sieber married the following year, and, after the birth of their daughter, Maria, Dietrich returned to work on the stage and in films. Although they did not divorce for decades, the couple separated in 1929.
That same year, director Josef von Sternberg first laid eyes on Dietrich and cast her as Lola-Lola, the sultry and world-weary female lead in Der blaue Engel (1930; The Blue Angel), Germany’s first talking film. The film’s success catapulted Dietrich to stardom. Von Sternberg took her to the United States and signed her with Paramount Pictures. With von Sternberg’s help, Dietrich began to develop her legend by cultivating a femme fatale film persona in several von Sternberg vehicles that followed—Morocco (1930), Dishonored (1931), Shanghai Express (1932), Blonde Venus (1932), The Scarlet Empress (1934), and The Devil Is a Woman (1935). She showed a lighter side in Desire (1936), directed by Frank Borzage, and Destry Rides Again (1939).
During the Third Reich and despite Adolf Hitler’s personal requests, Dietrich refused to work in Germany, and her films were temporarily banned there. Renouncing Nazism (“Hitler is an idiot,” she stated in one wartime interview), Dietrich was branded a traitor in Germany; she was spat upon by Nazi supporters carrying banners that read “Go home Marlene” during her visit to Berlin in 1960. (In 2001, on the 100th anniversary of her birth, the city issued a formal apology for the incident.) Having become a U.S. citizen in 1937, she made more than 500 personal appearances before Allied troops from 1943 to 1946. She later said “America took me into her bosom when I no longer had a native country worthy of the name, but in my heart I am German—German in my soul.”
After the war, Dietrich continued to make successful films, such as (…) Witness for the Prosecution (1957), Touch of Evil (1958) (…). She was also a popular nightclub performer and gave her last stage performance in 1974. After a period of retirement from the screen, she appeared in the film Just a Gigolo (1978) (…) (Britannica)
1. Introduction by Noel Coward
2. Vie en Rose
3. Boys in the Backroom
4. Lazy Afternoon
6. Look Me Over Closely
7. No Love, No Nothin’
8. Laziest Gal in Town
10. Lili Marlene
11. Falling in Love Again
12. Too Old to Cut the Mustard
13. Baubles, Bangles and Beads
14. Guy What Takes His Time
16. Dot’s Nice, Donna Fight
17. Makin’ Whoopee
18. I’ve Grown Accustomed to Her Face
19. One for My Baby (And One More for the Road)
20. Lied Ist Aus (Frag’ Nicht Warum Ich Gehe)
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