Marlene dietrich the joyless street,weight loss after car accident,lose 10 body fat in 4 weeks - For Begninners

02.10.2014
Die freudlose Gasse (The Joyless Street) is a film directed by Georg Wilhelm Pabst, filmed in 1925 in Germany. In 1935, ten years after The Joyless Street was made, a certain Samuel Cummins imported reels of the film to the United States. Asta Nielsen and Hertha von Walther, observe the butcher giving meat to two prostitutes, and Hertha, as a young mother, flounces toward the camera with Nielsen, hand on hip.
Later in the film, we see Hertha begging the swinish butcher, “My child is ill–she must have meat.
Her first great movie success came in 1924 with Der Berg des Schicksals and played for director Georg Wilhelm Pabst in Die freudlose Gasse.
In the sound film era joined many other great movies her filmographie and in the war time she went on tour for troops care. She went back to Germany in 1960 and played at the theater at the present, later she also appeared in movies again.
The author wrote that Dietrich and Garbo met in 1925, had a love affair that ended badly – and spent the next 60 years denying they even knew each other. Marlene, educated and snobbish, had quickly realized that Greta, who grew up dirt poor with little formal education, was shockingly narrow-minded, ignorant and provincial. After all, peace had just been sealed between the deadliest enemies on earth; it had been 20 long years since her own conquest and humiliation of Garbo in Berlin. Most biographers have swallowed whole Marlene's vigorous denial of being in this film, which was shot in her hometown of Berlin in February and March of 1925, even though a film encyclopedia or two touches upon it. Not only was she in the film, in a sizable supporting role, but the scene in which Garbo actually faints into Dietrich's arms proves that Marlene and Greta knew each other, touched each other, and trusted each other completely–at least for a while, in their youth.
Finally, in her old age, Marlene confirmed that, yes, she was indeed in The Joyless Street with Garbo. The worldly twenty-three-year-old Marlene–a bohemian young mama with a notorious and compulsive appetite for the sexual seduction of other beautiful women, particularly backstage–had conquered the simple, sensitive nineteen-year-old Swede during their 1925 filming together. The autor writes that Garbo's best girlfriend told Marlene after her arrival in Hollywood, that if she tattle even the smallest detail about Garbo, she will cut her dead ever after.
Salka's friends, including even Garbo's and Dietrich's shared lovers, like Mercedes de Acosta, had to swear never to mention Marlene's name around Garbo, or vice versa. Thirty years later, Marlene Dietrich would give a most intimate description of Greta Garbo to a group of friends, including the writerproducer Sam Taylor, seated at a table in Monte Carlo's Sporting Club.
Edington laughed off the idea that she was upset about the ‘second Garbo' hullabaloo surrounding Marlene Dietrich's recent Hollywood debut. She must think that I am trying to imitate her, but there is nobody like Garbo,” Marlene said at the time. Edington said Garbo admired Dietrich, though he denied the reports that she played Dietrich's records over and over.
Rumor is that post-retirement, Garbo  engaged a clipping service and read most everything written about her. Garbo's family denies she had a clipping service, but friends say manila envelopes full of articlesinvariably awaited her in the stack of mail upon her return from trips. In the 1948, Marlene did radio shows in America and two of them were Anna Karenina and Grand Hotel.
By her own account, Mercedes de Acosta did not waste any time finding consolation after Greta left her. In one of her last interviews in early 1990, Paris Match asked Marlene who are, beside her, the biggest movie legends of all time. It is known that in the late 1920s and early 1930s, Greta often sang along to her favourite songs. I recall seeing her on Fifth Avenue with Gayelord Hauser at the corner of Fifty-fifth Street. There is a favourite family story from the Reisfields (Garbo's niece and grand nephews) about how a New York shop girl thought she recognized a famous face and thanked 'Ms.
Greta renewed her passport and returned to Cap-d'Ail in June 1957 with flags waving and spirits high – Aristotle Onassis had arranged to have a Hungarian orchestra meet her at the railway station. Being Garbo – not to mention an intimate friend of Onassis's – also got her admitted to an exclusive Monte Carlo casino wearing a “scandalous” pants ensemble amid the formal dress of other women. It is said that Garbo played Marlene's records from The Blue Angel during the filming of Susan Lenox (USA 1931).
Edington (Garbo's agent and business manager in the late 1920s) said Garbo admired Dietrich, though he denied the reports that she played Dietrich's records over and over. Marlene appeared at the Mata Hari premiere in Hollywood on April 29, 1932 and she said that she truly likes Garbo. Filmed in Berlin during 1925, there was for decades this rumour that Marlene Dietrich played a minor role in this film. Marlene Dietrich thought she would benefit by Greta Garbo's absence from Hollywood in 1932.


Later MGM were in  denial that they were in negotiations with Marlene's friend and director Joseph von Sternberg. When MGM announced that GG makes Queen Christina – Paramount started producing the Scarlett Empress (Catherine the great).
When MGM announced Marie Walewska, Paramount planned a film about Josephine (Queen of France and wife of Napoleon) with Marlene. A very funny rumour out of a 1932 German magazine is that Garbo and Dietrich were going to make a film together called Tragödie einer Liebe (Tragedy of Love). They wrote that Garbo will star next to Marlene Dietrich in a film based on the life of Siamese Twins. It featured photographs, letters, costumes, and numerous objects from the Dietrich Estate, but no sign about those mysterious letters. Ivanovaolga честно не знаю, даже стыдно))) Лицо знакомое и в фильмах ее видела, но память отшибло.
A dark-haired woman waiting in the butcher shop line is often mistaken for Marlene but it is actually the German actress Hertha von Walther.
It's the well-known film version of a book by Hugo Bettauer and one of the first films of the movement „New Objectivity“. Then, in close-up, she brushes aside her hair, lights a cigarette, and blows smoke into Nielsen's face. Have mercy!” “I have meat,” retorts the villain, “but not for your sick brats.” When he vanishes within his shop, a marvelous lingering close-up shows fury and madness building upon Marlene's face before she runs to his door, hammers frantically on it, opens it, and storms in. At the age of 17 she ran away from the boarding school and went to an acting school in Leipzig. In the following years she acted under his direction time and again, so in the well-known movies Geheimnisse einer Seele, Die Liebe der Jeanne Ney and Abwege.
But, a few scenes after her maddened entry, we see 'this woman' running insanely from the shop, her arms windmilling crazily in a long tracking shot, with the butcher's dog trotting at her heels. PabstCast includes Werner Krauss, Asta Nielsen, Jaro Furth, Greta Garbo, Valeska GertThe social problems of a family in Vienna following World War I was a grim subject for moviegoers but this film was a huge success (it played in Paris for over 2 years) and Pabst successfully coaxed a credible performance from Garbo in a difficult role. This rumor had its highlight in 2000 when writer Diana McLellan released her book The Girls: Sappho goes to Hollywood. Their affair had ended with such a deeply hurtful betrayal of Garbo, that GG flatly refused to acknowledge Dietrich's existence for the rest of their lives – even when the two women simultaneously shared lovers in Hollywood. Garbo, an agonizingly self-conscious 19-year-old, was here to appear in the film The Joyless Street. And when both performers went to work in Hollywood, a mutual friend, actress Salka Viertel, negotiated a deal between the feuding stars – they agreed not to mention each other's name or spill any secrets.
She admitted it to her British late-life friend and biographer David Bret, an expert on the Berlin nightlife of her era. I had seen her character storm crazily into the butcher shop, and, a little later, the dead butcher, with his bloody head lolling against a window. Their affair had ended with such a deeply hurtful betrayal that Garbo flatly refused to acknowledge Dietrich's existence for the rest of their lives–even when the two simultaneously shared lovers in Hollywood. Marlene, for her part, would have found the young, curious, and stimulated beauty she caught in her arms on the set irresistible. Even at that late date, Marlene refused to say how she knew such details; she was bound by a vow, which she took in deadliest earnest.
That story was started, he said, “after I brought a couple of records of the German girl's songs and played them for Garbo on the set”.
But unlike Marlene Dietrich, who did the same, Garbo did so out of curiosity, not litigiousness.
Riva wrote that her mother told her that she found Mercedes sobbing in the kitchen during a party at the Thalberg's house.
Rumor is that Marlene thought she would benefit by Garbo's absence from Hollywood, but her film Blonde Venus was a flop. A dark-haired woman waiting in the butcher shop line was and still is often mistaken for Marlene.
Sternberg who had often expressed his desire to direct Garbo and had, arguably, modelled Marlene Dietrich after the kind of star he imagined Garbo to be – the director came closest to working with Greta on this, her most personal film.
After she declined, Marlene Dietrich made the film and after seeing the film, she said that she now can see why Garbo didn't make the film.
In late 1937, while their Swedish star prepared for another long sabbatical, Metro initiated talks with Dietrich regarding a contract.
Leisha Hailey, участница лесбийского попдуэта The Murmurs снялась в романтической роли в фильме “Все обо мне” (All over me, 1996). This is the scene popularly believed to feature Marlene Dietrich as one of the extras in line with Garbo and Asta Nielsen. The unnamed character wanders the Joyless Street with Asta Nielsen's murderess heroine (“Why do you insist on looking at this house every night?


The author wrote that, while doing her researches, she found proof of a never-before-reported affair between Garbo and Dietrich and wrote that their lifelong claim to be strangers was a lie. Dietrich, a 23-year-old mother – then black-haired and sexually voracious – had a small part in the movie.
The two enemies shared the most intimate friends and lovers, writer Mercedes de Acosta, actor John Gilbert, actress Dolores Del Rio, and others, without so much as a word passing between them or speaking each other's names in public.
Dietrich proposed a meeting an neutral territory, arranged by Orson Welles at the home of Clifton Webb.
During one of our long talks, David told me that she had even described a scene she had acted in: “Yes, and in the end, I killed the butcher,” she said to him with a small chuckle.
During my long immersion in dozens of biographies, I had tried with all my might to slip under the skins of both Greta and Marlene. If Marlene wanted Salka's silence about her 'secrets' in Berlin, she had to swear never to mention Garbo's name, nor to imply that she had ever met her. There, as the crowd parted to gape, Marlene was revealed performing a ravishing, sexually charged tango.
Her own recent pregnancy, with its attendant toll of fatness, fatigue, and recusal from the sexual seductions she so relished, had taken a severe toll on her amour propre.
Why not kiss and run, drink deep of Berlin's thrilling draft and then–poof–leave it all behind? But she was more than graphic enough to convince those present that she knew precisely what she was talking about. This kitchen meeting had many versions but always ended with the ‘cruet Swede' being replaced by the ‘luminous German aristocrat . GG couldn't do that, but if somebody got close and said something to her politely, she was nice.
The Exhibition was called Marlene und das Dritte Geschlecht: Hommage zu Marlene Dietrichs 100. There is even no proof that those words were written by MD and none of us Garbo fans (and we asked some very well-known  MD experts too) saw original scans of this rumoured letter. When the film was filmed, Dietrich was at home nursing her threemonth - old daughter, Maria.
The film is often described as a morality story in which the 'fallen woman' suffers for her sins, while the more virtuous woman gets the happy end.
In the 1950s, a reconstruction from pieces of French and Italian prints was supervised at the Museum of Modern Art by Marc Sorkin. She went to Max Reinhardt in Berlin one year later and with it she managed her breakthrough on the stage.
Diana McLellan writes that the conclusion is obvious: Marlene had to be in the film to know about that scene. She wrote that they met in Berlin 1925 while Garbo was filming The Joyless Street and Marlene had a little part in the film. She was only too happy to steer Greta around Berlin's gay and lesbian bars, sex circuses and sleazy cabarets.
Finally, in the summer of 1945, Marlene decided it was time to attempt a reconciliation with Garbo.
Hundreds of small details of how they handled their hidden lives, both before and long after their 1925 meeting, had unfolded for me.
What better opportunity to reestablish her transcendent sexuality now, two months after her baby's birth, than to seduce this pale, Hollywood-bound bumpkin beauty?
She'd say, “I must go, you know, I have to leave,” something like that, and then disengage. Because she couldn't earn a fortune at the theater she also took on small well paid parts for movies. Their affair began… and it ended just weeks later, in part because of cruel gossip by Dietrich, fuelled by jealousy of the rising star – one who seemed to gain in mere months what Marlene had struggled years to attain. She paid Garbo extravagant compliments and larded on the flattery – to which all Garbo would say was, Thank you. It is even easier to evoke: One element was cruel and careless chatter by Dietrich, fueled by her jealousy of a rising star–one who seemed to have gained in mere months what Marlene had struggled to attain for years.
A version with English subtitles copyrighted by Raymond Rohaur in 1958 is among the collections of the Library of Congress. Pabst, I finally learned this: The ax murder perpetrated by the woman known to filmographers for years only as “Maria's friend” had been so bloody that it was cut by the German censors. That unbilled black-haired young woman in Pabst's film, to whom others later gave other names, is Marlene Dietrich.



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