Nowadays, the utterance of a ‘sex-symbol’ term invokes the images of a number of socially prominent and yet beautiful women. This, however, was not always the case – throughout thirties, forties and fifties, the title ‘sex-symbol’ has been solely reserved for only one woman. The name of this woman was Marlene Dietrich. In this paper, we will aim to provide readers with biographical insight into Dietrich’s professional career, while exposing what we believe accounted for her greatness as particularly progressive individual and supremely talented actress. In order for a woman to eventually qualify for the title of queen, she would have to be at least born as princess. And yet, this kind of requirement did not apply to Dietrich – throughout most of her life, this remarkable woman never ceased to be referred to as the ‘queen of the world’, even though she was born to the family of Prussian policeman in 1901. Apparently, there were a number of objective reasons for Dietrich to attain fame, which is why it would be wrong to think of her cinematographic and social prominence as being solely incidental. For example, by the age of thirteen, Dietrich did not only master English and French languages, but she had also proven herself as a skilful horse-rider and musician. Nevertheless, it was namely Dietrich’s unwavering persistence in reaching her cinematic aspirations, which we believe had helped this woman to overcome a number of existential challenges that she has been facing, throughout most of her life. The particulars of how Dietrich had gone about becoming actress, substantiate the validity of an earlier claim, as they point out to the fact that she can be the least referred to as someone who was born with the silver spoon in her mouth. For example, even though in 1922 Dietrich had failed at trying to qualify to take courses in Max Reinhardt’s School of Dramaturgy in Berlin, she nevertheless was provided with an opportunity to be assisting actors in Deutsches Theater , which had eventually led her to be allowed to periodically perform small roles on the stage. In 1923, Dietrich was selected to play small roles in silent films The Little Napoleon, Man by the Wayside and Love Tragedy , which marked the beginning of Dietrich’s cinematographic career. In the same year, Dietrich met a movie director Rudolf Sieber, who will later become her husband. What is especially interesting about the specifics of Dietrich’s acting career, throughout twenties, is that during the course of this period, she had not only proven the sheer strength of her goal-orientedness but also ingenuity. For example, while applying for the role in Love Tragedy , Dietrich was perfectly aware of the fact that there would be hundreds of other young women applying for the same role. Therefore, in order to be singled out by the director among the rest of applicants, Dietrich came to the interview with a small Chihuahua dog on the leash. Such Dietrich’s trick really did work. Dietrich’s appearance in Ucicky’s 1928 film Cafe Elektric accounted for the initial phase of this German actress becoming ‘franchised’, because it was namely after Cafe Elektric was released to the theaters that Dietrich’s on-stage uniq