Marie Magdelene Dietrich von Losch (aka Marlene) was born in Schöneberg bei… Read Full Bio ↴Marie Magdelene Dietrich von Losch (aka Marlene) was born in Schöneberg bei Berlin, Germany on December 27, 1901. Her father was an army officer who had served in the Franco-Prussian War. Because of his constant absences due to his army duties, Marlene and the family had to rely on themselves. After he died, while she was 11, Marlene's mother married Eduard von Losch and he adopted the Dietrich children.

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.

Wenn ich mir was wünschen dürfte
Marlene Dietrich Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Man hat uns nicht gefragt, als wir noch kein Gesicht
Ob wir leben wollten oder lieber nicht
Jetzt gehe ich allein, durch eine große Stadt,
Und ich weiß nicht, ob sie mich lieb hat
Ich schaue in die Stuben durch Tür und Fensterglas,
und ich warte und ich warte auf etwas

Wenn ich mir was wünschen dürfte

Käm ich in Verlegenheit,
Was ich mir denn wünschen sollte,
Eine schlimme oder gute Zeit

Wenn ich mir was wünschen dürfte
Möchte ich etwas glücklich sein
Denn wenn ich gar zu glücklich wär'
Hätt' ich Heimweh nach dem Traurigsein

Wenn ich mir was wünschen dürfte
Käm ich in Verlegenheit,
Was ich mir denn wünschen sollte,
Eine schlimme oder gute Zeit

Wenn ich mir was wünschen dürfte
Möchte ich etwas glücklich sein

Denn wenn ich gar zu glücklich wär'
Hätt' ich Heimweh nach dem Traurigsein

Overall Meaning

The lyrics to Marlene Dietrich's "Wenn ich mir was wünschen dürfte" convey a sense of uncertainty and yearning for something more, something better. The opening lines speak to the idea that we were not given a choice in being alive, and the singer finds themselves wandering through a large city, unsure if it loves them or not. As they peer into windows and wait for something, the chorus repeats the idea of being caught between wanting something good or bad, and wanting to be happy but not too happy for fear of missing the sadness that can make happiness all the more sweet.

The song could be interpreted as a reflection on life itself, and the various experiences and emotions that come with it. The uncertainty of the singer and their desire for something more reflects the universal human experience of grappling with the unknown future and the desire for something better. The chorus's exploration of wanting both good and bad things, and the need for a balance between happiness and sadness, speaks to the idea that life is not always easy, but that it is precisely those difficult moments that make the joys all the more meaningful.

Line by Line Meaning

Man hat uns nicht gefragt, als wir noch kein Gesicht
Nobody asked us before we had a face if we wanted to live or not

Ob wir leben wollten oder lieber nicht
Whether we wanted to live or not

Jetzt gehe ich allein, durch eine große Stadt,
Now I walk alone in a big city,

Und ich weiß nicht, ob sie mich lieb hat
And I don't know if she loves me

Ich schaue in die Stuben durch Tür und Fensterglas,
I look into rooms through doors and windows,

und ich warte und ich warte auf etwas
and I wait and wait for something

Wenn ich mir was wünschen dürfte
If I could make a wish,

Käm ich in Verlegenheit,
I would be in a dilemma,

Was ich mir denn wünschen sollte,
What I should wish for,

Eine schlimme oder gute Zeit
A bad or good time

Möchte ich etwas glücklich sein
I would like to be a little happy