EXHIBITREVIEWS
“
Admirable Marlene et belle exposition en souvenir de ma rencontre
exceptionelle avec Gabin et Marlene pour la premiere projection de
"La Belle et la Bete" au studio de St. Maurice en 1945.”
Besucherbuch, Henri Alekan
“Here in the atrium of the Gropius Bau, the exhibition
captures something of Marlene's aura. The installation and mise en scene
strikes a nerve. From the juxtaposition of banalities and more significant
items from the estate of the obsessive collector a picture emerges: bigger
than life. And to finish with, the floorplan she drew of her Paris
apartment with notes in English, and the telephone. Withdrawal from
the world of images. What remained of Marlene.”
Frankfurter Rundschau, Peter Korte
“Clothing, suitcases, letters, photos, and whatever other flotsam her life washed up:
posterity now profits, dreaming their way with the aid of these objects
into the biography of a star who knew what she had to do to make herself
and her life a perfect work of art.”
Vogue, Michael Althen
“In the atrium of the Martin Gropius Bau one mounts the planks
of ship's deck, symbolising the "Normandie", the ship that once bore
Marlene Dietrich to America. On the upper deck, in shining white,
stands the "Shanghai Express". Exhibition designer Hans Dieter
Schaal has constructed a spectacular entrance to the life world of the
filmstar, a traveller between worlds and sexes.”
Die Woche, Herdis Pabst
“A gigantic wheel towers twelve metres into the air bearing the inscription "Paramount"; a starry sky and two Marlene Dietrich portraits vie
for the attention of the visitor. Below the wheel stands a shining white
railway carriage, the Shanghai Express. It stands on a ship's deck.
>From there the eye reaches out to Hollywood and Paris into a room
with a telephone and the voice that itself has become a myth, to
Marlene Dietrich.”
Westdeutsche All gemeine Zeitung (WAZ), Marie-Louise Schmitt
“To begin with Marlene. A saloon car, baggage. Pictures from "Shanghai
Express", dresses, shoes, furs. Note on the reverse of a photo: "I
can understand why Sternberg was crazy about me". Then a twisting
passage, flashback to childhood, school exercise books, reports, dia-
ries, and, ah, the twelve-year-old Maria Magdalene in ballet togs: baby
doll.”
Die Zeit, Andreas Kilb
“Years ago the architect Hans Dieter Schaal placed the core of the
"Berlin-Berlin" exhibition in the atrium of the Martin Gropius Bau,
presenting a futuristic vision of the metropolis. He has now tried
something similar, distributing the Dietrich collection in expressionistic alleyways,
on the deck of an emigrant steamer, and in the carriage
of the Shanghai Express. The reality of long ago and the myth that
survives meet in a stage setting that gives the visitor no bearings, that
leaves him alone. He moves as in a dream, the dream of the century
called Film.”
Frankfurter Aligemeine Zeitung (FAZ), Wilfried Wieg and
“Kino, Movie, Cinema is by far the most successful movie-history exhibition I have seen. - The effect of walking through the all-white Dietrich installation filling the museum well - one slewed coach of the
Shanghai Express fronting a warren of corridors and topped by a huge
movie camera and diva-icon as far as the glass roof - is of a private life
touchingly preserved, and a public one played out as a great, mocking
game.”
The Observer Review, Michael Ratcliffe
“Cette fois, Marlene n'est pas revenue seule a Berlin. Un wagon entier
pour contenir ses amants et le pont d'un paquebot pour deposer ses
malles le temps d'un voyage entre l'Ancien et le Nouveau Monde trainent au beau
milieu du Martin-Gropius-Bau. Pour les cent ans du
cinema, racontes sur quelque 2.300 metres carres de l'exposition "Kino
Movie Cinema". Berlin honore enfin sa fille, Marlene Dietrich.”
Liberation, Lorraine Millot
“Una mostra che, ancora una volta, attraverso il cinema, presentera lo
spaccato die un'epoca, che nella moda ha trovato uno specchio in cui
riflettersi.”
Amica, Nella Favalli
“In una delle sale piu spettacolari sono espostigli elegantissimi
costumi indossati da Marlene Dietrich e restaurati per l'occasione da Giorgio
Armani. La mostra gli apparira piu che altro come un viaggio nel
mondo del cinema e non come una pedante lezione di storia.”
Il Mattino, Walther Rauhe