Word: dietrichs
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Dates: during 1970-1979
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...possible-within two months, farewells from both Rolls-Royce and the stud Marlene Dietrich called "the Mercedes-Benz of men"? Or was the master phraser of pop singing just teasing with another eloquent pause? He had been up and down before, but never out. Born in Hoboken, N.J., the son of an Italian immigrant fireman. Winning on the Major Bowes Amateur Hour. Singing with Harry James and Tommy Dorsey. Becoming "the Voice," playing the Paramount and the Hit Parade to the tune of $1,000,000 a year...
...they didn't go). "How do you treat a star?" asks Alex. "Like a star." That is a little difficult at the Tonys where everyone is a star. He can provide them all with limousines but not private dressing rooms and dressers. (In the 1968 show, Marlene Dietrich was spotted massaging Pearl Bailey's perennially aching feet.) Agents can also be a nuisance, carping just before air time that their client's intro is 37 words of praise shorter than someone else...
...amount to a "last-reel syndrome": you can get away with anything, so long as everything turns out all right in the end. We resist these endings now, just as one feels the people involved in the movie must have resisted their necessity. In a sense, we know better-Dietrich wouldn't have followed Cooper, just as gangsters (Cagney in Public Enemy or Muni in Scarface) don't have to die-and we ignore the insistence of the censors on "just retribution...
...movies of Mae West deny "just retribution" on almost every level-the Production Code was set up in 1933 to counter the popularity of her films. Suffice it to say, Mae got away with murder-sometimes literally. But the main difference between her movies and those of Dietrich is in many ways implied by the difference in their physical charms. I was horrified to hear someone behind me at Currier House exclaiming: "Can you imagine they used to think she was beautiful" What he didn't realize is that no one, except Mae West, considered her a sex goddess. Even...
...suffered from the end of this era; none of the great women stars survived with their strength intact. Mae West's career was finished, and Garbo-after giving in to Melvyn Douglas in Ninotchka -was then reduced to "sex farce" in Two-Faced Woman, and left the screen forever. Dietrich went to comedy somewhat more successfully, and revived her career with Destry Rides Again in 1939. But all the comedy was at the expense of her former screen image-and although funny, it somehow smells of self-exploitation. Katherine Hepburn made her first comedy, Bringing Up Baby...