User reviews

On very few occasions did Marlene Dietrich drop the well-constructed mask of her eternal beauty. She was the daughter of a soldier, and very rarely showed (real) emotions. Max Shell was able to give us a glimpse of the woman behind the facade in this breathtaking documentary (even though Marlene did not allow their conversations to be filmed, a sound-recording is all we get from the 83 year old legend). It is certainly not a flattering portrait. Marlene is rude and impatient, and she tells all kinds of lies. But at the end of the documentary there are a few extremely touching moments: Her sudden joy when she sings songs from her ´Berliner Platte´ (the Berlin album), a film-clip from her last movie ´Just a gigolo´ (1978), and her emotional reaction to the favorite poem of her mother, read by the director. When Shell finally breaks her defence mechanism, we hear an old and tired woman, tired of being perfect for more than six decades. And every time it breaks my heart to think how hard it must have been to keep up the facade that was Marlene Dietrich.

"You won't believe it but the lady is extremely funny" (Maximilian Schell on Marlene Dietrich)

September 1982, the Paris apartment of Marlene Dietrich...contracted for "40 hours of talking," the 81 year-old movie star at last agreed to take part in the documentary about her phenomenon. Mixed feelings, various expectations, surprises or disappointments: contradictory emotions turn up in viewers of this! Ms Dietrich reluctantly talks to Maximilian Schell, the most successful actor of German background in Hollywood. The two know each other thanks to their collaboration in the historic JUDGEMENT OF NUREMBERG 21 years earlier under the direction of Billy Wilder. Both became the expiating conscience for the post war period in motion picture industry. And both Marlene and Maximilian know that. Yet, after all these years, what pays off is getting to know the legendary movie star and encourage her to talk about MARLENE naturally. At this point she is too modest, aging, reclusive, very much to the point in her answers and too practical to praise her own heyday. Just talk. However, it appears that this little may appear too much for a great movie star. If people expect Ms Dietrich to reveal much of herself, they had better put aside this illusion. Nevertheless, among many of the documentaries, MARLENE stands on its own being a must see for her fans. Why?

Because of its wonderfully specific style! As a matter of fact, all the aspects that have been criticized about the movie are its main pluses. Critical viewers are usually too much closed within the world of 'clear, linear presentation.' When something sophisticated comes, they tend to misinterpret. Soon we realize that it is not a conventional documentary about a celebrity but an absorbing chain of interaction, sometimes contradictory, impolite, absurd, quarrelsome interaction seemingly unendurable for an ordinary 'watcher.' It is all like a puzzle of hardly any information and viewers may easily be confused where the talks lead us. But isn't every human being a sort of puzzle which may only be harmed by 'conventions?'

Considering Marlene's undeniably strong personality, along with the director Maximilian Schell, we try to figure out the personality, the phenomenon of the silver screen star who obstinately does not let anyone into her private life which has always been, as she puts it, 'completely separated from her professional life.'

This time, she deliberately fails to do what the director says. The fact we do not see their faces but only hear their voices supplies us with inevitable imagination and empathy. To a greater extent, we are with Mr. Schell whose pursuits and patience influence us and make us look forward to the climactic encounter with the star's personality. Despite its chaotic moments and highly unconventional style of a documentary, the whole puzzle becomes meaningful only with the patience of the director and the patience of the viewers. Therefore, MARLENE meets such radical and extreme impressions. Here Ms Dietrich is hardly clear to understand, a hardly likable creature who smiles at everyone, accepts every view and nods like a politically correct 'parrot' She is not 'exciting' forget it! (that is not what she was contracted to be). She is honest about the hard work that the 'snotty kid' inevitably needed for the success; she is no dreamer with sentimental, 'kitschy' feelings; she is not fond of past; she is no 'amateur improviser' but a very practical woman who seems to have known the business as hardly anyone has. Most importantly, she is herself at the grave of her career and the twilight of her life...still before... revealing to us the timelessly high standards in art and style.

That is why, Schell's MARLENE being least conventional makes it a documentary she truly deserved (paradoxically so reluctant from her side). But let me highlight one more thing that appears of highest importance when you see this documentary. That is Ms Dietrich's striking modesty and practical attitude when she reacts to Schell's 'comments' on her films and certain scenes.

Alfred Hitchcock, having worked with Marlene Dietrich on his STAGE FRIGHT, said a very simple, yet an extremely meaning sentence about her: "She is a professional." Here lies the key to understanding her persona. Although she is sometimes so pretentious while talking to Mr. Schell, her ideas are deeply rooted in her very professional attitude. She is not happy about being shown the things she had done. Consider her notes on certain people she had collaborated with, in particular Orson Welles, Burt Bacharach, Fritz Lang and, foremost, Josef Von Sternberg. Moreover, her 'interpretation' of the scenes she had played, including the ones in MOROCCO, DISHONEST and THE SCARLETT EMPRESS are purely constructive and objective with the healthy distance and criticism. With this true professionalism comes her modesty: "I was an actress. I made films. Period." Elsewhere, she denies her sex appeal and erotic magnetism evoked in certain films. Enigmatic?...Complexed?....Reclusive?....Sad? ....

"...I meant no harm!" We meant no harm! Our curiosity has led us all to a dangerous spot, to the encounter with melancholy and emotions. Nevertheless, Ferdiand Freiligrath's poem allows us all for a genuine tear, something all human beings, no matter if great cinema stars or simple viewers, deserve. A moment of Human Phenomenon for humans who should 'love as long as love they can.'

No 'blind idolatry' but a very realistic glimpse of Marlene who had her significant moment in the cinema history and won world acclaim. 8/10

Today I watched a documentary on Marlene Dietrich titled 'Marlene'. It was produced in 1984 and directed by Dietrich's "Judgment at Nuremberg" co-star Maximilian Schell. I don't know how many of you know this, but Marlene agreed to do the film only if the director was in compliance with her wish not to be photographed, and because of this she does not appear in the film. But her Paris apartment is recreated to give the illusion that the actress is really there. Her voice, however, is used as the narration through the film, which is aided with various clips of her movies, concert performances and newsreel footage.

To begin with, Marlene shows little interest in this whole film -- it's obvious -- and even less interest in the discussion of her movies -- that's, sadly, even more obvious. I'm convinced now more than ever that she never enjoyed working on a movie. Still, it's nice to discover that she is able to remember her experiences with a lot of clarity, sometimes using the German word "kitsch" (worthless) to describe most of her film work; although I may disagree with her on some. Marlene also talks about other things besides her films. Her singing career and personal life are briefly discussed, as well as Jean Gabin, Ernest Hemingway, Josef von Sternberg and her marriage to Rudolph Sieber.

It's a strange documentary that you can't help but like. And not everything you would like to hear (even if you consider them important in her life) is mentioned a whole lot in this; such as the war years, where Marlene's tireless efforts to entertain the allied troops stationed at the front, seemed neglected. I remember hearing Schell saying to Marlene in the beginning of the film that he didn't want this to be a typical A-B-C from childhood to present interview. Well, perhaps it would've worked better had it been that way. Much of it was a mess -- not difficult to follow necessarily -- just may have been easier on Marlene's temper had there been some kind of order to the whole thing. Maybe.

It gets a little heated towards the end of the film. Schell seems to have angered Marlene at one point by pressing her for a comment on one of her movies. I don't know how serious it was after the tape stopped rolling, but she evidently wasn't amused. In the end, it becomes apparent to the viewer how cranky Dietrich is at this point in her life. You could argue that it might have something to do with her age, but I think it has more to do with the fact that she was an incredibly disciplined woman who favored manners and intelligence over such common habits like idle gossip and unpreparedness. In fact, her attitude during this film is so overwhelming to the point where it's just sad. She may sound bitter, but she's a woman worth listening to regardless. Watching this documentary gives Riva's book even more credibility, in my opinion, especially in the final years of Dietrich's life where you wonder if all those incidents you read about were true.

Highlights of this brilliant documentary film must include Deitrich's opinions of directors she worked with. For example Orson Welles was a genius (`Cross yourself before you mention his name'!) She appeared in `Touch of Evil' without a fee when Welles couldn't raise finance. Von Sternberg always made things difficult for her so that she would use her brain and learn something whereas Fritz Lang was a `monster' who had her marks chalked on the floor when she arrived on set but his stride was much longer than hers. Then there's the controversy of Billy Wilder denying Marlene an Oscar opportunity for her superb performance in `Witness for the Prosecution'

`Marlene' includes generous extracts from many of her movies from the silent era in Germany to her final role in `Just a Gigolo' with many gems in between. Deitrich claims never to have watched her own films but director Schell runs excerpts on a video machine and gets her comments.

She also talks about her contribution to the Allied war effort, the desire of the German people for strong leadership and her contempt for Hitler.

Schell & Deitrich, who appeared together in ` Judgement at Nuremberg' often disagree sharply, and listening to Marlene hold her end up in the exchanges it's easy to forget that she was 82 years old when this documentary was made in 1983.

Summing up, `Marlene' is a must-see for anyone interested in older movies and her rendition of `See what the boys in the back-room will have' from `Destry Rides Again' alone is worth the money.

MARLENE (1984) is a documentary of one of the 20th cetury's most alluring women.

As I write this (late Oct, '11), we've just had the passing of APPLE CEO, Steve Jobs, and, these 2 different people have a lot in common:

They both were very controlling of their image.

Marlene was discovered, molded by director Josef von Sternberg. As the world, and media were quite different, Marlene was molded in different ways. Everything - from (supposedly) having her back molars removed, to the way she was lit - EVERYTHING was tightly controlled.

I say this, because when MARLENE's director (and one-time Dietrich co-star) Maximillian Schell approached Dietrich, she said yes (Ms. Dietrich had for the past 20 years, had become a virtual recluse - her only prior screen appearance - JUST A GIGOLO, had featured Ms. Dietrich behind both gauze, and diffusion filters on the lens - he felt he would 'direct.'

However, one of Ms. Dietrich's stipulations, was that she not be filmed - only allowing her voice to be recorded.

I can understand both Mr. Schell's disappointment with this arrangement, but, I also understand Ms. Dietrich's urge to control her image.

She wanted to till be perceived by her fans as she once was.

It's apparent to the viewer that Ms. Dietrich felt that at this point (1984) her life was, in essence - over.

Whether you agree or not, bear in mind that this is the view of a woman, who, from her teen years onward, hab been so controlled, that, as the years had passed, she was at a point in her life where (she felt) she could no longer 'create' the illusion of 'Marlene Dietrich.'

Let me give a quick background;

When film work became scarce, Marlene moved to the stage, where she did her incredible stage shows, but, even then - everything the public saw, was heavily controlled: lighting, the clothing (heavy under-boning, built in, to give Ms. Dietrich a 'va-va-voom' look.

I can't recall who said it, but, someone had seen one of her stage performances, where she appeared (well in to her 60's!) as the eternally gorgeous Marlene Dietrich.

He went backstage, and said he saw an 'old woman - ironing.'

That was Ms. Dietrich, sans the lighting, the makeup, the beautifully constructed gowns.

So, it is with bearing this in mind, that, by '84, Ms. Dietrich had long ago retired, from 'life,' - the artificially created, maintained 'Marlene Dietrich,' only allowing those most intimate to see her.

Having said this, I can understand both Mr. Schell's disappointment with this arrangement, but, I also understand Ms. Dietrich's urge to control her image.

She wanted to till be perceived by her fans as she once was.

What the end result is, is a dialogue between Ms. Dietrich and, Mr.Schell - as the two watch Marlene's films, and comment on them.

'Shhmutz,' (a German word meaning dirt) as well as 'kitsch' (tasteless), are two words that Ms. Dietrich uses to describe many of her best-loved, classic films.

I think a large part of this film is what's NOT seen - NOT heard.

The voice - still strong - is that of a woman, who sees herself, her life, as being one big performance, and, sadly, doesn't see the love, and adulation, but can only view her 'professional' self, and all it's imperfections, with a cold, clinical eye.

Mr. Schell, who is obviously a fan, as well as an actor/director - tries though MARLENE to subtly get Ms. Dietrich to open up, and see the love, but, sadly, that never happens.

As a fan of hers, I could laugh at her jokes, but, I still felt melancholic.

You wish: 'if only she knew.'

If only.

To say that this is a documentary about the life of Marlene Dietrich, as the subtitle suggests, is misleading. It's 90 minutes spent with an elderly and very cantankerous Dietrich listening to her present a very skewed view of her life and career. It is interesting to hear her views at that age, but they shouldn't be mistaken for a real, researched biography of the actress. That is yet to be made, and would no doubt be a lot more interesting than hearing a sour Dietrich put down almost everything and everyone she encountered during her long career.

Yet, HERE! Perhaps the most intimate documentary ever filmed.

An 82-year old legend who refuses to be photographed, yet whose voice alone raises hackles, cackles and longing over a brilliant assemblage of stock and custom footage.

As much as anything, "Marlene" is a film about trying to film somebody: trying to know somebody.

"Nein, nein, nein," it begins. "No, no no," Marlene instantly dismisses us and this documentary.

Its last word, from Dietrich's own lips, finally resigned, crying softly, is, "Maybe." One of the most haunting, heartbreaking films ever made.

Never has there been as deep a glance into any other screen Goddess' life as this.

Ironic. The most private, iconic of early screen actresses, extends her career for nearly sixty years -- including live performances around the world (unlike, say, Greta Garbo) and culminates in one of the more enigmatic yet fulfilling performances of the century with her voice alone in "Marlene." Thanks solely to Maximillian Schell, whose genius as a film maker rose to Dietrich's genius as a tart risen to lady and finally to goddess.

"Maybe." Indeed.

Oscar-nominated documentary feature on former actress and singer Marlene Dietrich, interviewed by actor-turned-director Maximilian Schell under the proviso her voice be recorded but not her present-day image. Schell, speaking in German and English with Marlene about her life and career and great loves, conducted his interviews over the course of several days at her Paris residence in 1982, interspersing their conversation with clips of Dietrich's films and stage appearances. Some of Marlene's hard-as-nails comments will be surprising to fans ("My films don't interest me. Me look at myself? No, no, really! Take "The Blue Angel" for instance. Everyone's sick of it, aren't they? I really can't stand it anymore."). On the other hand, the vulnerability in Dietrich's voice while recalling distant names and experiences is heartbreaking--and reportedly infuriated the star after she was shown the film (she didn't speak to Schell for over a year). All was forgiven, however, once the documentary received praise and nominations upon its release. It's a fine final bow from this once-magnificent screen personality, who went on to live to age 90, passing in 1992. Awarded the Best Documentary prize from the Boston Society of Film Critics, the National Society of Film Critics, and the New York Film Critics Circle. **1/2 from ****

Schell turns Dietrich's refusal to appear on-camera for him from what could have been a disaster to a distinct artistic advantage. Being able only to hear her growl her own commentary over scenes from earlier films, newsreels, etc., gives this picture an amazing power and poignancy that it would not have otherwise. An amazing movie.

Maximilian Schell's documentary portrait of legendary screen siren Marlene Dietrich separates the woman from her myth, but because Dietrich herself refused to appear on camera the director was presented with a dilemma: how to construct the film without its subject? His clever (if desperate) solution was to document, instead, his own frustration in making the film, using Dietrich's disembodied, tape recorded voice to supplement scenes of the director scrambling for cohesive footage.

Surprisingly, the finished film (messy as it often is) creates a remarkably full picture of the reclusive star, despite (and in large part because of) her absence. Dietrich's voice alone – obstinate, caustic, skeptical of Schell's project, scornful of her own allure – says more (with more insight) than any scripted monologue could provide, and her unedited conversations with Schell (an old comrade) are unpredictable and candid, often becoming verbal sparring matches in two languages.

For me it's this simple: the clips from Dietrich's movies are great. They are hard not to love, all of them in different ways. And the clips from documentary footage are moving, too, and make sense in putting her life in order.

But the insinuation of the director, the interviewer, into her life, and into her emotional state, is damaging both to the film and to the subject. Yes, there are little moments when Dietrich says things that seem to be truthful, and seem to actually matter. But there are a very few seconds or minutes of the whole. Much of the film has Schell cajoling and annoying the poor woman.

At first you think Dietrich is just posturing and full of herself, saying how she isn't interested in digging up her past. But as it goes you realize how right she must be, and how appropriate (especially with such an up and down life, with WWII in the middle of it). But Schell just keeps pushing with his hautiness, as if we the viewers appreciate his relentlessness.

I did not. It left a terrible taste in my mouth, and I for one want to be a "dreamer" and enjoy both the real woman, whatever she was willing to show of her, and the star, which we know from her movies. This documentary does little for either side of her life. It's mostly about the ambitions of a comparatively small person, the director Max Schell.

I've seen another documentary on Marlene Dietrich and also read her daughter's book. I was interested in this one for a bizarre reason- I once sat on the New York subway next to someone who had the script of this documentary with him. Being a big fan of Maximilian Schell's, I wanted to see it.

Schell, who appeared with Dietrich in "Judgment at Nuremberg," was able to convince the actress to do this documentary, but she would not permit herself to be shown on camera.

She was last seen in the 1978 film Just a Gigolo, heavily made up and behind a veil, but still looking mighty good to me. But if one reads her daughter's book, it's easy to see that as she aged, she became a little eccentric. She spent the last 11 years of her life bedridden and allowed very few people to see her.

So the famous Dietrich voice supplies a narration of sorts to the glorious film clips, clips of her in newsreels, and film of her doing her one-woman show. It is all glorious, showing how she evolved over the years, her excellent acting in films like "Judgment at Nuremberg," "Witness for the Prosecution," and "Touch of Evil," and the incredible charisma and beauty she shared with the audience in her show.

At one point, Schell offends her and she lays into him. making a remark about him being a "Swiss", and telling him she'd sat at tables with politicians and dignitaries and no one had ever spoken to her like that. She went on for a while. Schell punctuates her words with images of flying film strips and a whizzing, distorted background.

She could be abrupt, but also emotional as she recites a favorite poem of her mother's.

Dietrich talks like she hated making movies, didn't do much to get into a role, her private life was private. It's hard to say now. One thing that wasn't gone into was her passion for Jean Gabin, nor was much of the documentary focused on her war work.

Marlene Dietrich was a magical personality, an exotic beauty, a wonderful actress, and a magnificent performer. This documentary gives us plenty of examples of her magic and, if you don't appreciate her now, you will after seeing this.

She was the kind of star we won't see again - androgynous, earthy, and very much of her time. In her eighties when this was made, her attitude is very much like her final words in Touch of Evil: "What does it matter what you say about people?"

A documentary retrospective on the career of enigmatic screen diva Marlene Dietrich.

I do not really know much about Marlene Dietrich. I have seen a few of her better known films, such as "Blue Angel", but know almost nothing about her personally. This documentary was good for fixing that, really allowing her to tell her story in her own words.

Apparently she did not want to be filmed, but agreed to be recorded. I actually think this makes for a better film. It allows for more footage to be shown, which is great when so many of her earlier works are hard to track down. Also, it serves little purpose to show her as an elderly woman... I mean, especially now that we saw how much better the screen time can be used.

Marlene Dietrich was one of the most iconic actresses of all time. Even if you've seen her in something you might not know much about her. Maximilian Schell's Academy Award-nominated documentary "Marlene" features his interview with the actress. While the documentary obviously has only a limited focus, it becomes clear that Marlene Dietrich was a one-of-a-kind gal. She could express just about any emotion, play any role, and was never afraid to state her opinion. And of course, she helped the fight against fascism in WWII.

It's not the greatest documentary ever, but it's one that every cinephile needs to see. There's so much to know about this icon.

Being a fan of Marlene Dietrich's films, I was very anxious to see this "documentary." I also got sucked in by reading rave review after rave review from the national critics. That should have tipped me off.

The movie is just plain boring and obviously extremely overrated. You don't even see Dietrich. She is heard in the background, discussing her movies and this video. She does almost nothing but complain about everything. What a drag!

The filmmaker, Maximilian Schell, constantly complains himself and pleads with her to be on camera.....all to no avail. She just keeps refusing to cooperate. After awhile, this sort of thing gets really tiring. With her attitude, why would Schell continue with this project? He should have just told the prima donna to "shove it."

Regardless of what you read, do not waste your time with this.

Marlene Dietrich was notorious for her unwillingness to be seen once she retired. Yet, somehow, this very secretive actress and singer was convinced by Maximillian Schell to make a documentary. But, because she was so secretive, she imposed conditions on the film that made making it very, very difficult--practically impossible. They were not allowed to show her at any time nor any of the pictures on the walls. And, while agreeing to being interviewed, it could only be done with a tape recorder--forcing the use of lots of irrelevant footage, old photos and film clips.

Now all this sounds very confusing and difficult for Schell...but it gets worse. As he asks her questions about her old films or her life, she keeps responding by saying cranky things like 'I already spoke about that in my book and don't want to talk about it', 'that film is kitsch and I hate it' and other dismissive comments. Despite this, Schell tried to engage her throughout the film--mostly to be rebuffed. In fact, you learn almost nothing about Marlene other than the fact that she doesn't want you to learn much of anything! It's really a waste of time and fans of this enigmatic actress should just do as she says....READ A BOOK! Very disappointing and I have no idea why this film was nominated for an Oscar, as there is not category for Most Frustrating Picture! My feeling is that folks who love Marlene Dietrich are best served with their memories and should probably just avoid this strange film.

it's quite as though this film never really got down to being made and instead was cobbled together from disparate materials, the subject of the movie is the iron willed actress refusing the meek, submissive filmmaker, and this is about all it amounts to. boring. and it seems only to portray Ms Dietrich as one very enthusiastic to contradict, which is a common enough trait of artists, 'not at all!' 'on the contrary...' etc.

the film isn't without interest, and aside from the fact that no camera is trained on her, what's interesting I suppose about this movie is its grey gardens quality...there is a certain unbridledness. aside from this an interesting aspect is the inclusion of bits of film and sound that would in he course of normal editing undoubtedly wind up on the floor, which is a nice choice to make.