Photoplay (Jan - Jun 1931)

Photoplai M \'.\/.-.i i "i Aran I I ■31 to in>i literary > bam lei u ed lo pro vide ,i 1..1 -it ni i«T the family, i» but even the thought oi reei would have been heresy What an "accomplished" Kirl of a "better" family bad to know, ti . , was musi< s" Marlene itudied .u tin Collect for Musk in Berlin undei the famous I lew li. .uul was then w nl to .1 girls' finishing u Ioh>I .11 Weimar. Here she learned English and French and continued ber musk studies, becoming .111 a. 1 omphshed violin player Also, she began to come out of the shell of the small-town girl and develop into that vital personality that one can now fee] smoldering below the outward calm. Now that she is famous, school friends recall that she was the leader in many ■ n Ihk>I prank. HER actual turn to the theater was largely accidental. Through too much violin practice she strained ber hand and was forbidden to touch a violin for si* months. During that time, too, she and her mother moved back to Berlin. Saving nothing else to do, she decided to try out for the stage I I<r mother didn't think much <»f ber talent, but she argued that either --lit had some talent or she didn't, and the best man to tell her lhal wotdd he Max Keinhardt. So to Bernhardt she went lie accepted her for his stage school at the •■ Deutst be Theater " After -i\ weeks she had her lirst engagement— in Shakespeare's "Taming of the Shrew " lhe movies were going big in Germany and. of course, the girls filmed as well. Thai is. they played extra parts when they got a eh. wire. Joe May gave Marlene her first real rhancc on the screen in "Tragedy of I Then she played on the stage again for Director Bamowsky in "Rubicon," where she was successful enough to win an engagement at the Prussian State Theater in "Duel on the Lido." After that she played for Bernhardt in "It's in the Air." a musical comedy. This was her lirst real -access. Then she stopped for a year and a half. "Why?" I asked "Oh." she answered. "I had married and I was having a baby, a most wonderful baby, and I didn't have any time for anything else." She came luck to the stage again in " Broadway." which she played both in Berlin and Vienna. Then she really broke into the movies. That. also, was an accident. ROBERT LAND had seen her in "It's in the Air " He gave her .1 little part in one of his films and liked her work so well that two weeks later he gave her the leading role opposite Harry I.iedtke in "I Kiss Your Little Hand, Madame." That was in 1928. It became her first movie success. After that she changed off between film and Stage. First she played with Fritz K.ortner in the movie "Three Loves." which ran for six wceksat the "Playhouse" in Xew York, as well. Then again on the stage for Reinhardt in Bernard Shaw's "Misalliance" h Berlin. Then Maurice Toumeur gave her the leading role in the film "The Ship of Lost Souk," and later she played in George Kaiser's revue. "Two Cravats." That proved an extraordinary success and got her a Hollywood contract— again by accident. For Josef Yon Sternberg had just come to Germany to direct "The Blue Angel," Kmil Jannings' first all-talking picture, which was to be made Inith in German and Fnglish. Originally he had hoped to use either Gloria Swanson or Phyllis Haver for the leading feminine role opposite Jannings. but Miss Swanson refused, and Miss Haver had retired to a happy domestic life as the wife of William Seeman, wealthy executive of Seeman Brothers, big American food corporation. So he searched for the type he wanted, but with little success. He dropped into the theater where the "Two Cravats" was playing, weary after a long day of vain searching and a new mystcnous v^Jlovv! into cheeks touched with almost magical Prinoeas Pat rouge, there comes mysterious new t>eauty — color that is vibrant, intense, glorious, yet sutTii.-cd with ti soft, mystical underylow that niake.t brilliancy natural! 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