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Maly Delschaft

Biography

Maly Delschaft

Overview

  • Born
    December 4, 1898 · Hamburg, Germany
  • Died
    August 20, 1995 · Berlin, Germany (undisclosed)
  • Birth name
    Martha Amalie Delschaft

Biography

  • Maly Delschaft was born on December 4, 1898 in Hamburg, Germany. She was an actress, known for The Last Laugh (1924), Die drei Portiermädel (1925) and Im weißen Rößl (1926). She died on August 20, 1995 in Berlin, Germany.

Trivia

  • A favorite leading lady of Emil Jannings (with whom she had starred in "Der letzte Mann" and "Varieté") and of the director F.W. Murnau, Delschaft was at one time slated for the role of Lola-Lola in The Blue Angel (1930). However, with Murnau's departure to the U.S., Josef von Sternberg ended up taking over the reigns and installed his own protégé, Marlene Dietrich, in the part. Delschaft was actually considered by many to bear similarities to Dietrich in both appearance and manner.
  • The actress Maly Delschaft belongs to the today forgotten stars, but in 1930 she was actually designated for the role of "Lola Lola" in the movie "Der blaue Engel" (1930). Emil Jannings as well as director F.W. Murnau wanted her for this part. But things had changed. Murnau went to the USA and the moved up director Josef von Sternberg had an other protégé in his sight - Marlene Dietrich. Today Marlene Dietrich is cult, the name Maly Delschaft has only a meaning for a small circle of people interested in film.
  • Because Maly Delschaft lived in the West German part of Berlin her film career came to a abrupt end in 1961 when the construction of the wall began. After that she appeared only rarely in single TV productions.
  • After great success followed only unsatisfactory casting offers which weren't useful for a jump to a world star. But then the opportunity was emerging to play the leading role in the movie "Der blaue Engel". If the destiny were more merciful, Maly Delschaft would have gone down in history as a star like Marlene Dietrich.
  • Delschaft's voice was considered more than adequate to survive the transition to sound. However, by the early 30's, a number of contemporary reviews argued that her performances in silent films had been more effectively suggestive.

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