Marlene (1984)

Slow pace in the most part of the movie.

one of my absolute favorites!

Good start, but then it gets ruined

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

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?"

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.

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.

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.