Marlene was known in school for her "bedroom eyes" and her first affairs were at this stage in her life - a professor at the school was terminated.
Marlene enjoyed music and attended concerts. She was adept at playing the violin and piano. By the time she was in her mid-teens, Marlene had discovered the stage. Acting was to be her vocation. In 1921, Marlene applied for an acting school run by Max Reinhardt. She was accepted. She appeared in several stage productions, but never had more than a couple of spoken lines. In short, she wasn't setting the stage world on fire.
She attempted films for the first time in 1922 Her first film was So sind die Männer (The Little Napoleon) (1923) which was followed by Tragödie der Liebe (Love Tragedy) (1923). On this last project, she met Rudolf Sieber and married him in 1924. The union lasted until his death in 1976 although they didn't live together the whole time.
The remainder of her early film career was generally filled with bit roles. After being seen in the German production of Der blaue Engel (The Blue Angel) (1930) in 1930, Marlene was given a crack at Hollywood. Her first US film was Morocco (1930) with Gary Cooper, which was followed by Dishonored (1931). This latter movie had her cast as a street walker who is appointed a spy. The film was rather boring but was a success because of Marlene's presence. In 1932, Marlene filmed Shanghai Express (1932) which proved to be immensely popular, grossing $3 million. Once again, she was cast as a prostitute. The next film was Blonde Venus (1932) which turned out to be a horrible production. Her co-star was Cary Grant and once again she was cast as a prostitute.
During this period Dietrich had been typecast as a woman of low morals and she wanted different parts. Her chance came in 1939 in Destry Rides Again (1939) when she was cast as "Frenchy", a Western saloon hostess. This began a new direction for Marlene since it shed the previous typecasting. All through the 1940s, she appeared in well-produced, well-directed films such as Manpower (1942), The Spoilers (1942), The Lady Is Willing (1942) and Pittsburgh (1942).
Afterwards the roles came less frequently, perhaps one to two films every year. In 1945, Marlene didn't appear in any. She only made seven productions in the 1950's. Her last role of any substance was Judgment at Nuremberg (1961). Despite the lack of theatrical roles, Marlene still made appearances on the stage. However, by 1979, she was a shell of her former self. After breaking her leg in one performance, she never made a go of it in show business again.
Spending the last 12 years of her life bed-ridden, Marlene died on May 6, 1992 in Paris, France of kidney failure at the age of 90.
Peter
Marlene Dietrich Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Wie beging ich nur den Wahn,
meinen guten Peter einzutauschen,
der mir niemals was getan.
Weckte man ihn nachts aus seinem Bette
laut und roh per Telephon:
Peter, ich hab keine Zigaretten,
was sprach Peter: Bring sie schon.
Peter, Peter, warst mein bestes Stück
Peter, Peter, ich war so gemein
Später, später sieht man erst alles ein
Sprach man: Peter, ich hab dich betrogen,
sagte er: Wenn's dich nur freut.
Nie ist ein Gewitter aufgezogen,
er war zärtlich jederzeit.
Und ganz ohne Grund ging ich zu anderen,
sagte Peter Adieu!
Geb ich mich nun jetzt an all die anderen,
tut mein Herz nach ihm so weh.
Peter, Peter ...
Marlene Dietrich's song "Peter" is a melancholic and introspective tune that features the singer questioning her own actions and regretting the choices she has made concerning a man named Peter. The lyrics start by stating how much the man had intoxicated her, and how she was driven by some kind of obsession to trade him off for someone else, even though Peter had never done anything wrong to her. When she wakes him up in the middle of the night to ask for cigarettes, Peter simply complies with her request, showing his love and devotion for her.
Later in the song, Dietrich acknowledges how wrong she was to betray Peter and leave him for someone else. She admits that Peter was always kind and caring towards her, and how her heart aches now that she has given herself to someone else. The chorus is a lamentation and a plea, begging for Peter to come back, stating how he was the best thing she ever had, and admitting her own meanness.
The song highlights the internal struggles of human relationships and how ego, lust, and desire often blind us to the value of the people we love. The singer regrets her own choices and realizes the error of her ways, but the damage has already been done.
Line by Line Meaning
Wie konnte mich ein Mann nur so berauschen?
How could a man intoxicate me so?
Wie beging ich nur den Wahn, meinen guten Peter einzutauschen, der mir niemals was getan.
How did I commit the folly of trading my good Peter, who never did me wrong?
Weckte man ihn nachts aus seinem Bette laut und roh per Telephon: Peter, ich hab keine Zigaretten, was sprach Peter: Bring sie schon.
If one were to wake him up loudly and harshly at night, on the phone, saying, 'Peter, I have no cigarettes!' what did Peter say? 'Bring them already.'
Peter, Peter, komm zu mir zurück Peter, Peter, warst mein bestes Stück Peter, Peter, ich war so gemein Später, später sieht man erst alles ein
Peter, Peter, come back to me. Peter, Peter, you were my best piece. Peter, Peter, I was so mean. Later, later, one only sees everything clearly.
Sprach man: Peter, ich hab dich betrogen, sagte er: Wenn's dich nur freut. Nie ist ein Gewitter aufgezogen, er war zärtlich jederzeit.
If someone were to say, 'Peter, I cheated on you,' he would say, 'If it makes you happy.' A thunderstorm never arose, he was always tender.
Und ganz ohne Grund ging ich zu anderen, sagte Peter Adieu! Geb ich mich nun jetzt an all die anderen, tut mein Herz nach ihm so weh.
And for no reason, I went to others and said goodbye to Peter. But now that I give myself to all the others, my heart hurts so much for him.
Peter, Peter ...
Peter, Peter...
Contributed by Ava N. Suggest a correction in the comments below.