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Marlene Dietrich and Fred MacMurray in “ Gloria is Willing," a satirical comedy of an actress who adopts a baby for publicity purposes. In" Manpower," a strong drama, she sends Edward G. Robinson to suicidal death. This scene from the film shows them with George Raft and Frank McHugh. SHE’S the SAME MARLENE W7hen Marlene Dietrich first went to Hollywood, twelve ” years ago, she became the screen's greatest glamour girl. The Marlene we saw in “ The Blue Angel " had fire and life—but Hollywood transformed her into a glittering mask Marlene’s name became a byword for exoticism—her red-gold hair, powdered with gold dust, her milk-white skin and thickly rouged lips, her long nails, and, particularly, her lovely legs. She dressed outrageously, for studied effect. Her public appearances became events. Her adoption of trousers for wear in public guaranteed gapes and gossip. Yet Marlene, behind the affectations and pose she assumed for her film life, still remained at heart the Marlene who cross the Atlantic to find new fame in 1930. She was proud then of her little daughter Maria—and she is still proud of her. She was proud of her ability to make good cakes and coffee —and she still is. On her days away from the studio Marlene and Maria have a grand time together, Marlene minus all the aids to glamour, including those inch long eyelashes that shade her blue-green eyes in public appearances. She is good-natured, human, jolly, and friendly, generous to an almost embarrassing degree. She is a dynamo of energy—-and accounts for it by saying that she is naturally lazy, and has to be extra energetic to counteract her natural tendency. In the studio Marlene, always popular with the studio workers, became even more popular when she forsook her glamour girl roles and pose. “ Destry Rides Again ” showed a far less artificial Marlene than any of her previous films. And in her later ones she is at last show- ing us that she is not all glamour and legs—she can act! 103