There was exactly one international movie star who appealed equally to grunts in German, American, and British uniforms during World Wart II. Born on December 27, 1901 in Berlin at 9:15 PM, Marlene Dietrich spoke English in an accent all her own, with traces of German, schoolgirl British, and a sexy lisp. Acting in movies, performing in clubs, and doing one-woman shows in big West End theaters, she glowed in Der Blaue Engel (Josef von Sternburg, 1930) prior to a long Hollywood career working with von Sternburg again and later with Hitchcock, Welles, Billy Wilder, Stanley Kramer, and other Hollywood professionals. (Of Welles, she told aspiring actresses, "you should cross yourself when you say his name.") She played opposite Gary Cooper, Cary Grant, James Stewart, and Spencer Tracy, and took pride in having slept with three Kennedy men: Joe Sr, Joe Jr, and JFK. She lived to a grand old age and died in Paris on May 6, 1992, spoiling the birthdays of Tony Blair, George Clooney, and Professor Martha Nussbaum.
Garbo and Dietrich were one-two in virtually all international blonde bombshell competitions in the fourth and fifth decades of the twentieth century. Garbo (“I want to be alone”) had the reputation of a recluse and the silence of the lovers on Keats's Grecian urn. Dietrich, on the other hand, never could resist donning a man's top hat and sitting on top of the piano singing a sexy song in her hoarse voice and irresistible lisp. Dietrich sang in three languages (she does Piaf-like French ballads well) with a voice that made up in sheer sexual horsepower what it lacked in vocal range and power. Ich bin von kopf bis fus auf liebe eingestellt is even better in German than in the English version that begins “Falling in love again, / Never wanted to, / What am I to do, / Can’t help it.” She made that song seem autobiographical, the story of the female enchantress who can't help herself, to such an extent that anyone else singing the song sounds like an imitator. Of how many singers and songs can this be said? Not many.
Lorenz Hart rhymed “Dietrich” with “sweet trick” in “The Most Beautiful Girl in the World,” which I believe is a waltz but which I heard Sinatra sing at an incredibly fast tempo in a television concert in the late 1960s. Dietrich had major affairs with Sinatra, Jean Gabin, Yul Brynner, and Edward R. Murrow, and was bi-sexual. There is a rumor that she went down on Tallulah Bankhead at a party. In the dictionary of slang that Oxford University Press published, the phrase that most fascinated her was "cock holster," denoting the mouth in the act of oral sex though she could think of other apt uses for the phrase. In 1930 she measured at 35-24-33.
Marlene's natal chart reveals a lusty Capricorn with Virgo rising. Behind the scenes swift Mercury and blonde Venus play games of cache-cache inspiring all who watch to imitate the frolicking gods of Olympus. Dietrich's Mars, Jupiter, and Saturn are in Capricorn, her moon in Leo. This is consistent with her talent for arousing attention, her ability to communicate desire mixed up with wickedness and danger, and her hard-boiled complexity. She can sound sardonic or melancholy, jaded or contemptuous, and this adds a layer of depth to her poker-faced personality. Her eyes say she's seen it all and a lot of "it" was shitty. :Dressed in a man’s suit, tie, and shirt with French cuffs, she holds an unlighted cigarette between forefinger and thumb, waiting for you to light her with your Lucifer. And you will.
One school of thoujght holds that when your mid-heaven is in Taurus and the constellations are in their proper order, the chances are that you will grow to a height of five feet six inches, if you're a woman, and that is exactly how tall Marlene was, and blonde, with lush lipstick that she needed to renew after every kiss she bestowed, and bedroom eyes. Her cards (the Chariot, the Moon, the Knave of Swords, the Nine of Wands) reinforce the impression of a woman of rare beauty and charm. A palm reading indicates a fluency in languages, an appetite for sex, and a pair of shapely legs. The yin in her chart outweighs the yang by a healthy margin. But there is enough stellar ambiguity to make her the object of desire of males across the sexual spectrum. She is a role model for dominant women and an icon of veneration among the submissive. It is said there are two kinds of men. One kind favors Garbo, the Swedish goddess, who played Anna Karenina; the other goes for Dietrich, who would be terribly miscast as Anna Karenina. But you had to live in the twentieth century to grasp all the implications of this statement.
The greatness achieved in the career of Marlene Dietrich implies what Frankfurt School astrologists call a "fifth house dominant personality." I do not know what this means, but it sounds right. As a young woman Dietrich starred as a sultry seductress, the cabaret singer who turns the starchy professor into a lovesick bum in Blue Angel. She is Circe mixed with Carmen, radiating confidence. She demands at least as much from a man. “Give me the man who does things, does things to my heart, / I love the man who takes things into his hands and gets what he demands.” Ein Mann, ein richtige Mann! The strong and silent type, under a big palm tree. She'll see what the boys in the back room will have and tell them she cried, and tell them she sighed, and tell them she died of the same.
Several notable aphorisms have been attributed to the charming, alarming Blonde Venus: "Most women set out to change a man, and when they have changed him they do not like him." "A country without bordellos is like a house without bathrooms."" In America, sex is an obsession; everywhere else, it's a fact."
Dietrich is the ultimate sex symbol because in any relationship with her the forces of Thanatos are constantly threatening to create a crisis that the forces of Eros must confront. That raspy, intimate, seductive, threatening voice challenged or dared the manliness of any man: you’d pretty much have to be John Wayne to impress her, or Gary Cooper in his prime. Tyrone Power thought he would double-cross her in Witness for the Prosecution. He thought wrong. She could do a “ducky” English accent. During the war she transcended the conflict: Allied and Axis soldiers alike responded to Dietrich’s rendition of “Lilli Marlene.” And she retained her status as a sex symbol well into her 70s. Her appeal is enhanced by her power to do harm or to witness destruction without blinking. In Touch of Evil, she read Orson Welles's palm and knew his future was a blank card. And she kept a straight face while telling him.
Marlene Dietrich added something vital to every movie she was in, from a second tier Hitchcock effort to Judgment at Nuremburg, where, as Spencer Tracy’s confidante, she stands for nothing less than Germany herself, a magnificent blonde who once owned a brothel. -- DL