Articles on this Page
- 12/16/13--23:00: _Gillian Hills
- 12/17/13--23:00: _Aino Taube
- 12/18/13--23:00: _Gracie Fields
- 12/19/13--23:00: _Julio Iglesias
- 12/20/13--23:00: _J'accuse! (1919)
- 12/21/13--23:00: _Charlotte Gainsbourg
- 12/22/13--23:00: _Matthias Fuchs
- 12/23/13--23:00: _Merry Christmas!
- 12/24/13--15:02: _C. Aubrey Smith
- 12/25/13--23:00: _Julie Andrews
- 12/26/13--23:00: _Totò
- 12/27/13--16:00: _Márta Eggerth (1912...
- 12/28/13--23:00: _Sissi (1955)
- 12/29/13--23:00: _Lewis Waller
- 12/30/13--23:00: _Margit Bara
- 12/31/13--14:59: _Happy New Year!
- 12/31/13--23:00: _Happy birthday, Ant...
- 01/01/14--23:00: _Viveca Lindfors
- 01/02/14--23:00: _Gretl Theimer
- 01/03/14--23:00: _La nouvelle mission...
- 12/16/13--23:00: Gillian Hills
- 12/17/13--23:00: Aino Taube
- 12/18/13--23:00: Gracie Fields
- 12/19/13--23:00: Julio Iglesias
- 12/20/13--23:00: J'accuse! (1919)
- 12/21/13--23:00: Charlotte Gainsbourg
- 12/22/13--23:00: Matthias Fuchs
- 12/23/13--23:00: Merry Christmas!
- 12/24/13--15:02: C. Aubrey Smith
- 12/25/13--23:00: Julie Andrews
- 12/26/13--23:00: Totò
- 12/27/13--16:00: Márta Eggerth (1912-2013)
- 12/28/13--23:00: Sissi (1955)
- 12/29/13--23:00: Lewis Waller
- 12/30/13--23:00: Margit Bara
- 12/31/13--14:59: Happy New Year!
- 12/31/13--23:00: Happy birthday, Antonio Banderas!
- 01/01/14--23:00: Viveca Lindfors
- 01/02/14--23:00: Gretl Theimer
- 01/03/14--23:00: La nouvelle mission de Judex (1917-1918)
French postcard by Publistar, Marseille, offered by Corvisart, no. 1125. Photo: Patrick Bertrand.
Gillian Hills was born in Cairo, Egypt in 1944. Her parents were author and adventurer Denis Hills and Dunia Leśmian, daughter of Polish symbolist poet Bolesław Leśmian. She spent her early years in France.
Only 14, she was discovered by Roger Vadim. He saw her as the new Brigitte Bardot and cast her in his Les Liaisons dangereuses//Dangerous Liaisons 1960 (Roger Vadim, 1959), starringJeanne Moreau and Gérard Philipe. Vadim updated the 1892 novel by Pierre Choderlos de Laclos to a late-1950s French bourgeois milieu. Her small part prompted an appearance on the cover of Paris Match magazine.
In Great Britain, she played teen terror Jennifer Linden in the juvenile delinquent film Beat Girl (Edmond T. Gréville, 1960), a cult classic about the London beatnik scene. Among her co-stars were David Farrar, Christopher Lee, Adam Faith in his first film role and Oliver Reed, with whom Hills danced the hippy-hippy-shake. The soundtrack was composed by John Barry, known for his later James Bond scores.
Bruce Eder at AllMovie does not like the film: “Apart from the rock & roll music that is woven into the action, provided by Adam Faith and the John Barry Seven, and some good location shots around London's Soho circa 1959-1960, there never was much to recommend this unconvincing drama, whose plot, dialogue, and acting all seem totally artificial. Even the so-called ‘beatniks’ were more juvenile delinquents than non-conformists, and had little (if any) resemblance to the real beats (mostly would-be artists and poets) who lived in Soho.
Gillian Hills, who would make a much bigger splash in Blow-Up a little more than a half-decade later, gives a horrendous performance as the troubled teen whose frustration with her family life (which includes a luxurious home with servants) leads her to disaster.”
French postcard by E.D.U.G., no. 312, presented by Corvisart, Epinal. Photo: Sam Lévin.
French postcard by Editions P.I., no. 1087, presented by Corvisart, Epinal. Photo: Ektachrome Anders.
French postcard by PDG, no. 1205, presented by Corvisart, Epinal. Photo: Dalmas / Disc AZ.
Gillian Hills then signed with the Paris-based Barclay Records label and released her first EP entitled Allo Brigitte..ne coupez pas! (1960). The song Cou-couche panier proved the most popular track and became a top ten hit in January 1961.
With Eddie Constantine she recorded the duets Spécialisation and Aimons-nous, both originally Marilyn Monroe songs from the film Let’s make love.
In 1961, the new yé-yé star performed at the prestigious Olympia Theatre in Paris on a bill with Johnny Hallyday.
She also appeared with Catherine Deneuve and Hallyday in a segment of the anthology film Les Parisiennes/Tales of Paris (Marc Allégret, 1962). She released the track C’est bien mieux comme ça from the film, backed by rock group Les Chaussettes Noires. The song gave her another hit, reaching the top 20.
Her next EP included the songs, En dansant le twist– a version of The Shirelles’ Mama said and Helen Shapiro covers, Je reviens vers le bonheur (Walkin’ back to happiness) and Mon cœur est prêt (Don’t treat me like a child).
Yé-yé girls were all the rage, and Gillian’s next release, Tu mens, was a slab of Sylvie Vartan-styled yé-yé. One of the chief differences between the two singers, however, was that Gillian had begun writing most of her songs herself, but the EP was not a commercial success.
In Germany she played a white jungle goddess opposite Pierre Brice in the adventure film Die goldene Göttin vom Rio Beni/Golden Goddess of Rio Beni (Franz Eichhorn, Eugenio Martín, 1964).
She appeared on French TV screen with Serge Gainsbourg, performing Une tasse d’anxiété, although the pair never issued the song on vinyl.
In 1965, she signed to the AZ record label and issued an EP which included a cover of the ZombiesLeave Me Be and her self-written Rien n’est changé (1965). Sadly, it proved to be her last French release.
French postcard by E.D.U.G., no. 292. Photo: Roland Carre / Barclay.
German postcard by Krüger, no. 902/204. Photo: Pierre Spitzer.
At the close of her recording career, Gillian Hills returned to England and to the cinema. She appeared as a Brunette in Michelangelo Antonioni's first English language film, the classic Blowup (1966), starring David Hemmings as a fashion photographer. With Hemmings and Jane Birkin (credited as The Blonde!), Hills shared a brief, energetic scene in which all their clothes were gradually removed. Blowup won the Grand Prix at the Cannes Film Festival and was nominated for several other awards.
Next Hills played in Inadmissible Evidence (Anthony Page, 1968), based on the play by John Osborne, and in the mystery romance Three (James Salter, 1969) starring Charlotte Rampling.
On TV, she starred in the classic eight-part series The Owl Service (Peter Plummer, 1969) adapted of Alan Garner's fantasy novel.
In France she was seen with Francis Huster in La faute de l'abbé Mouret/The Sin of Father Mouret (Georges Franju 1970), based on a novel by Émile Zola, and with Anna Gaël in a Swedish-French film version of Zola’s Nana (Mac Ahlberg, 1970).
Hills also did a cameo in A Clockwork Orange (Stanley Kubrick, 1971) as one of the two girls picked up by Alex (Malcolm McDowell) in a record shop. She then appeared in the Hammer horror film Demons of the Mind (Peter Sykes, 1972).
In Spain, she made the thriller La muerte llama a las 10/The Killer Wore Gloves (Juan Bosch, 1974) and the Western Dallas (Juan Bosch, 1975) with Anthony Steffen.
In 1975, Hills decided to stop making films and moved to New York to work as an illustrator for books and magazines.
Gillian Hills is married to Stewart Young, the manager for such artists as AC/DC, Emerson, Lake & Palmer, Cyndi Lauper, and Zucchero. She now lives in England.
Clip of Zou bisou bisou (1962). Source: MrNonosse1 (YouTube).
Gillian Hills sings Rien n’est changé (1965). Source: noma35 (YouTube).
Sources: Bruce Eder (AllMovie), Paul Gallagher (Dangerous Minds), Ready Steady Girls!, GillianHills.com, Wikipedia and IMDb.
Dutch postcard by M. Bonnist & Zonen, Amsterdam, Z., no. 1225. Photo: Fan Film. Publicity still for Laila (George Schnéevoigt, 1937).
Aino Taube was born in Espergærde, Denmark, in 1912. She was the daughter of actor Mattias Taube.
She was trained at the Dramatens elevskola, the drama school in Stockholm, from 1930 till 1932, and she would later also teach there from 1955 till 1988.
In 1931 she made her film debut in the comedy Skepparkärlek/Ship of Love (Ivar Johansson, 1931).
In the 1930s and 1940s she would appear in 28 films, including Sången om den eldröda blomman/Man's Way with Women (Per-Axel Branner, 1934), Familjen som var en karusell/The Family That Was a Carousel (Schamyl Bauman, 1936), and Sara lär sig folkvett/Sara Learns Manners (Gustaf Molander, 1937).
Her breakthrough was her title role in Laila (George Schneevoigt, 1937). Laila tells the story of Lap herders who rescue a baby from a herd of wolves, name her Laila and their struggles and trials over the years. Aino Taube played the orphan as an adult.
Director George Schneevoigt was praised for the rugged beauty of Lapland. The pictorial beauty of the country - and of Taube - plus the sweeping action shots of wolves attacking the herder's reindeer while moving across the tundra made the film an international success.
Dutch postcard by M. Bonnist & Zonen, Amsterdam, Z., no. 1224. Photo: Fan Film. Publicity still for Laila (George Schnéevoigt, 1937).
Secrets of Women
In the following years Aino Taube made films like Gubben kommer/Gubben is Coming (Per Lindberg, 1939) with Victor Sjöström, En enda natt/One Single Night (Gustaf Molander, 1939) with Ingrid Bergman, and Med livet som insats/They Staked Their Lives (Thor L. Brooks, Alf Sjöberg, 1940).
From 1950 on, Taube worked for the theatre ensemble of the Swedish television. Between 1954 and 1982 she was also a permanent actress of the Kungliga Dramatiska Teatern (Royal Dramatic Theatre), the national stage of Sweden.
Among her later films were Ingmar Bergman’s Kvinnors väntan/Secrets of Women (1952) with Anita Björk, För min heta ungdoms skull/For the Sake of My Intemperate Youth (Arne Mattsson, 1952), Fadern/The Father (Alf Sjöberg, 1969), and The Touch (Ingmar Bergman, 1971), Bergman's first English-language film.
In the psychological drama Ansikte mot ansikte/Face to Face (Ingmar Bergman, 1976), she played the grandmother who haunts Liv Ullmann's character in her visions.
In 1981 Taube was honored with the O’Neill stipendium, a prestigious Swedish theatre award. Her last film role was in Friends (Kjell-Åke Andersson, 1988) with Stellan Skarsgård and Lena Olin.
Aino Taube died in 1990 in Stockholm. She was married to actor and film director Anders Henrikson, in whose films she often appeared. Their son is actor Mathias Henrikson.
Scene from Ansikte mot ansikte/Face to Face (1976). Source: Lilitesen (YouTube).
Sources: AllMovie, Wikipedia and IMDb.
British postcard by Valentine's Postcard, no. 7121.
British postcard by Real Photograph, London, in the Picturegoer series, no. 439.
Wildly Popular Music-Hall Singer
Gracie Fields was born as Grace Stansfield over a chip shop owned by her grandmother in Rochdale, Lancashire, in 1898. She started as a child actor in 1905. Her two sisters and brother were all pushed by their mother on stage too, but Gracie proved to be the most successful.
In 1910 she had her professional debut in variety in Rochdale. Five years later Fields met struggling comedian Archie Pitt and joined forces.
Pitt became her manager, and he built a show around her, Tower of London, which toured the provinces for four years. The two married in 1923. With Mr Tower of London, Fields reached the West End in 1924.
She started also a dramatic career and began recording her songs too. Fields became a wildly popular Music-Hall singer with her particular style of “a mixture of self-deprecating jokes, comic songs and monologues, as well as cheerful 'depression-era' songs all presented in a "no-airs-and-graces Northern, working class style”, as Wikipedia writes.
Because of her strong interaction with her audiences, Fields played to sold out theatres all over Britain and she became one of the highest paid performers.
British postcard, no. 51.
British postcard, no. 30. Photo: Radio Pictures.
250,000 Get-Well Cards
In the 1930s Gracie Fields reached the peak of her career and was awarded various honours. Her most famous song was Sally. This was the title song of her first sound film, the First World War drama Sally in Our Alley (Maurice Elvey, 1931), which was an enormous success.
Fields continued to make various films in the UK and the US, though she always preferred to perform in front of a live audience.
After Sally in Our Alley, she continued to make films for the Ealing studios such as This Week of Grace (Maurice Elvey, 1933) with Henry Kendall, Look Up and Laugh (Basil Dean, 1935), and Queen of Hearts (Monty Banks, 1936) with John Loder.
In 1938 she played in a musical comedy set in Australia in the 1880s: We’re Going to Be Rich (Monty Banks, 1938), with Victor McLaglen as Fields’ partner.
Next came two more Banks films, the first still made in the UK, Keep Smiling (Monty Banks, 1938), and the second in the US, Shipyard Sally (Monty Banks, 1939).
After her marriage with Archie Pitt ended, she donated her London house to a maternal hospital.
When she fell ill with cancer in 1939 and retired to her villa in Capri, she was covered in over 250,000 get-well cards. After her recovery she recorded the song Gracie’s Thanks to thank her fans for sending the mail.
British postcard by Photogravure. Photo: ATP Studios, London.
British collector's card.
In 1940 Gracie Fields married Italian-born film director Monty Banks (Mario Bianco). Because Banks remained an Italian citizen and would have been interned in the United Kingdom, she was forced to leave Britain for America.
The British press and public hooted bitterly. She entertained the Allied troops all over the world.
During the war she played in two American musical comedies with Monty Woolley: Holy Matrimony (John M. Stahl, 1943) and Molly and Me (Lewis Seiler, 1945). She also appeared in the war drama Paris Underground (Gregory Ratoff, 1945) with Constance Bennett.
After the war she returned to Britain in 1948 to perform, but she never regained the heights of her popularity in the 1930s.
Though Fields stopped playing in films, she continued making records. Her last recording, The Golden Years of Gracie Fields, was made in 1975 at age 77.
Between 1956 and 1963, she played for television, including as Agatha Christie's Miss Marple in the American TV-film A Murder is Announced (1956), part of the Goodyear Playhouse Television series.
Fields was also a regular guest in TV shows, including the religiously themed variety show Stars on Sunday (1971).
After the death of Monty Banks in 1950, she married Boris Alperovici, a Romanian radio repairman. In February 1979, Gracie Fields was invested as a Dame Commander of the Order of the British Empire seven months before her death in her villa on Capri, Italy, aged 81.
In 2009, Jane Horrocks portrayed her in the BBC TV production Gracie!, a drama portraying the life of Fields just before and during World War II and her relationship with Monty Banks.
Gracie Fields sings Oh Danny Boy in Shipyard Sally (Monty Banks, 1939). Source: Smoojah (YouTube).
Gracie Fields in the final scene of Sing As We Go! (Basil Dean, 1934). Source: Smoojah (YouTube).
Sources: David Absalom (British Pictures), Steve Crook (IMDb), Wikipedia, and IMDb.
For this Postcard Friendship Friday, I have chosen postcards of Spanish singer and songwriter Julio Iglesias (1943), who sold over 300 million records worldwide. The handsome singer with the powerful voice also starred in a few Spanish feature films.
Spanish card by Promotore des Artes Graficas, Barcelona, no. J.I.-5. Sent by mail in 1985. Photo: Julio Iglesias Difusión / P.A.G.S.A., 1982.
Spanish card by Promotore des Artes Graficas, Barcelona, no. J.I.-7. Photo: Julio Iglesias Difusión / P.A.G.S.A., 1982.
Life Goes On
Julio Iglesias was born Julio José Iglesias de la Cueva in Madrid in 1943. His parents were Julio Iglesias, Sr., a gynecologist, and Maria del Rosario de la Cueva y Perignat.
As a teenager he achieved one of his great dreams when he was recruited to play goalkeeper for his favourite soccer team, Real Madrid. He alternated playing professional soccer with law studies at the Colegio Mayor Universitario San Pablo in Madrid.
He was due just one course to finish his study when he had a serious car accident in 1962. He was unable to walk for two years, and the car crash finished his professional football career. During his two year hospitalization after the accident, a nurse gave him a guitar to have something to do with his hands. In learning to play, he discovered his musical talent and began writing songs.
In 1968, he won the Benidorm International Song Festival, an annual songwriter's event in Spain, with the song La vida sigue igual (Life Goes On). The song became a number one hit in Spain and he sang it also in the film La vida sigue igual/Life Goes On (Eugenio Martín, 1969), about his own life.
Iglesias signed a deal with Discos Columbia, the Spanish branch of Columbia Records. In 1970, he represented Spain at the Eurovision Song Contest, finishing in fourth place, behind Ireland's winning entry performed by Dana. His entry was the song Gwendolyne.
Shortly after he had a number one hit in many European countries with Un Canto A Galicia. That single sold 1 million copies in Germany.
Soon he was one of the most popular musical performers throughout Europe, performing for tens of thousands of fans in most of the world's capitals. In 1975 he found success in the Italian market by recording a song exclusively in Italian called Se mi lasci non vale (If You Leave Me, It Can't Be).
He also sang in French. One of his popular songs is Je n'ai pas change (I have not changed). In 1976, Iglesias played a sold-out concert at Madison Square Garden in New York City.
Notable albums from this decade are Soy (1973), A Flor de Piel (1974, with the European hit Manuela), and El Amor (1975). He also starred in another film, Me olvidé de vivir/I forgot to live (Orlando Jiménez Leal, 1980) with Carol Lynley.
Spanish card. Photo: publicity still for La vida sigue igual/Life Goes On (Eugenio Martín, 1969).
German collector's card by Philips.
A Man Alone
Following the annulment of his first marriage to TV host Isabel Preysler in 1979, Julio Iglesias set his sights on conquering the English-language markets.
He signed a deal with CBS International, and released the album De Niña a Mujer (From Girl To Woman) (1981), dedicated to his daughter. It contained his first English-language hit, Begin the Beguine which became number 1 in the United Kingdom.
In 1984, he released 1100 Bel Air Place, the hit album which gave him publicity in the English-speaking entertainment industry. It sold four million albums in the United States. The first single To All the Girls I've Loved Before, a duet with Willie Nelson, earned a fifth place spot in the Billboard Hot 100. The album also featured All of You, with Diana Ross.
In 1985, after Basque terrorists had kidnapped his father, Iglesias moved to Miami, Florida. At the 1988 Grammy Awards, he won a Grammy for Best Latin Pop Album for the album Un Hombre Solo (A Man Alone). He recorded a duet with Stevie Wonder on My Love for his Non Stop album, a crossover success in 1988.
His songs were used on the soundtracks of several films, including the comedy Moon Over Parador (Paul Mazursky, 1988) with Richard Dreyfuss, and the Spanish comedy-drama Huevos de oro/Golden Balls (Bigas Luna, 1993) starring Javier Bardem.
Iglesias made a cameo appearance as himself on the TV series The Golden Girls as Sophia Petrillo's date on St. Valentine's Day 1989.
In the 1990s, Iglesias returned to his Latin roots with the album Tango (1996), nominated for Best Latin Pop Album at the 1998 Grammy Awards.
His youngest son from his first marriage, Enrique Iglesias, also was nominated for the Vivir album, but both lost to singer Luis Miguel. Julio Iglesias went on to win the World Music Award for Tango in Monaco later that year where he was up against Luis Miguel and Enrique for the second time.
Spanish card by Promotore des Artes Graficas, Barcelona, no. J.I.-16. Photo: Julio Iglesias Difusión / P.A.G.S.A., 1982.
Spanish card by Promotore des Artes Graficas, Barcelona, no. J.I.-8. Sent by mail in 1984. Photo: Julio Iglesias Difusión / P.A.G.S.A., 1982.
In 2001, Julio Iglesias finished his law degree at the Complutense University in Madrid. He had promised his old father that he would eventually graduate after dropping out 35 years earlier to pursue his music career.
In 2003, Iglesias released his album Divorcio (Divorce). In its first day of sales, Divorcio sold a record 350,000 albums in Spain, and reached the number 1 spot on the charts in Spain, Portugal, France, Italy, and Russia.
In 2003 and 2004, he was featured on a ten month world tour. In 2006, a new English album titled Romantic Classics was released. In March 2011, the artist launched a new studio album called Numero 1. Iglesias' performance of the song La Mer (The Sea) was featured on the soundtrack of the film Tinker Tailor Soldier Spy (Tomas Alfredson, 2011) starring Gary Oldman and Colin Firth.
Julio Iglesias married twice. From 1971 till 1979, he was married to Isabel Preysler with whom he has a daughter, Chabeli Iglesias and two sons, Julio Iglesias Jr. and Enrique Iglesias. All three are singers and actors in their own right.
In 2010, he married his girlfriend of 20 years, Miranda Rijnsburger, in a traditional Catholic Wedding. They have five children. Iglesias has one granddaughter named Sofia Iglesias who is his daughter Chabeli's child.
Mark Deming at AllMusic: “While he maintained a busy performing schedule, Iglesias seemed to be slowing down his recording commitments after the release of 2006's Romance Classics, but in 2011, declaring his voice to be as strong as it had been in his youth, he re-recorded a number of his best-known songs for a new collection, titled Vol. 1, which was a major commercial success.”
In a career that has spanned six decades now, the international superstar has sold over 300 million albums worldwide.
Julio Iglesias sings the title song of Me olvidé de vivir/I forgot to live (Orlando Jiménez Leal, 1980).
Sources: Mark Deming (AllMusic), JulioIglesias.com, Wikipedia and IMDb.
The pacifist First World War drama J'accuse!/I Accuse (1919) is one of the silent masterpieces by French film director Abel Gance. Work on the film began in 1918 and some scenes were filmed on real battlefields.
French postcard by Cinémagazine, no. 59. Photo: Film Abel Gance. Still for J'accuse (Abel Gance, 1919) with Séverin-Mars.
French postcard by Sadag de France Imp., Paris, no. 109. Still for J'accuse (Abel Gance, 1919) with Romuald Joubé.
French postcard by Sadag de France Imp., Paris, no. 109. Still for J'accuse (Abel Gance, 1919) with Séverin-Mars
Experiencing the Horrors of the War
In J'accuse!Séverin-Mars plays the stubborn brute François Laurin, who lives in a Provençal village in the south of France. He maltreats his wife Edith (Maryse Dauvray), while she feels more for the gentle poet Jean Diaz (Romuald Joubé).
When the war breaks out in 1914, the villagers welcome the declaration of war with Germany and flock to enlist. The threesome seems to explode.
The two men meet again in the trenches and experience the horrors of the war. Laurin saves Diaz’ life and sacrifices himself for the benefit of the other two.
Edith is raped by a German soldier. She returns to the village with the fruit of this encounter. She raises the child despite hostility.
Maddened, Diaz returns from the trenches, despises his art and asks the village inhabitants: was it worthwhile, all the sacrifices, while the ghosts of the killed soldiers march up to them.
This sequence of the 'return of the dead' was shot in the south of France, using 2000 soldiers who had come back on leave.
The technical quality of the film was impressive, especially the cinematography of Léonce-Henry Burel with its subtle use of lighting effects and a mobile camera. For the battle scenes in the last section of the film Gance also introduced some of the techniques of rapid editing which he would develop much further in his later films La Roue (1923) and Napoléon (1927).
J’accuse!/I Accuse was released in France in April 1919, only a few months after the Armistice. The film was a great success with the public, whose mood in the aftermath of the war it seemed to capture.
French postcard by Sadag de France Imp., Paris, no. 109. Photo: publicity still for J'accuse (Abel Gance, 1919) with Romuald Joubé and Maryse Dauvray.
French postcard by Sadag de France, Imp., Paris, no. 109.f Photo: publicity still for J'accuse (Abel Gance 1919), starring Séverin-Mars. Here he is one of the ghosts of the dead soldiers who resurrect at the end of the film, and come to the survivors, asking them whether the war was worth fighting for.
French postcard by Sadag de France, Paris, no. 109. The resurrection of the dead soldiers in J'accuse (1919).
French postcard by Sadag de France, Paris, no. 109. Photo: Edith (Marise Dauvray), Jean Diaz (Romuald Joubé) and little Angele (Angèle Guys) towards the end of J'accuse (1919).
Sources: Wikipedia and IMDb.
French postcard by Edition F. Nugeron, no. 11. Photo: Publicity still for Charlotte for Ever (Serge Gainsbourg, 1986).
Charlotte Lucy Gainsbourg was born in London in 1971. She is the daughter of English actress Jane Birkin and French singer and songwriter Serge Gainsbourg. Her maternal grandmother was actress Judy Campbell and her uncle is the screenwriter Andrew Birkin, who directed her in The Cement Garden.
Gainsbourg grew up Paris where she attended the École Active Bilingue Jeannine Manuel. Later she studied at the Collège Alpin International Beau Soleil in Switzerland.
At 13, Gainsbourg made her musical debut with her father on the song Lemon Incest in 1984. The music video featured the two cuddling on a bed surrounded by feathers. Not unexpectedly, the song raised a lot of controversy in France.
Gainsbourg made her film debut the next year playingCatherine Deneuve's daughter in Paroles et musique/Love Songs (Élie Chouraqui, 1984) with Christophe Lambert. More roles soon followed.
Successful was L'effronté/An Impudent Girl (Claude Miller, 1985), a free adaptation of the novel The Member of the Wedding by Carson McCullers. James Travers at French Film Guide: “In her first substantial film role, Gainsbourg is magnificent. Her sensitive portrayal of a thirteen year old girl captures the harrowing insecurity and irrational behaviour of adolescence, without resorting to the kind of manipulative sentimentality or loud-mouthed histrionics which most cinema audiences have come to expect of teenage actors.”
L'effronté won the Louis Delluc Prize, and received in 1986 César nominations for Best Film, Best Director, Most Promising Actor, Best Writing, Best Costume Design and Best Sound. Gainsbourg won the César for Most Promising Actress. Charlotte was fifteen at the time.
In 1986 she also released her debut album Charlotte for Ever, which was produced by her father. They also played together in his poorly received film Charlotte for Ever (Serge Gainsbourg, 1986) in which Stan (Serge Gainsbourg) depressed over his wife's death turns his affection over to his daughter Charlotte (Charlotte Gainsbourg).
With her mother and her half-sister Lou Doillon, she appeared in the drama Kung Fu Master/Le Petit Amour (Agnès Varda, 1988).
A box office hit was the drama La Petite Voleuse/The Little Thief (Claude Miller, 1988), as a sullen teenager experimenting with sex and various illegal pursuits. The film was based upon an unfinished script by François Truffaut, who died before being able to direct the film himself.
With her father Serge Gainsbourg. French postcard.
With her father Serge Gainsbourg. French postcard, no. A197. Sent by mail in 1995.
What It Feels Like For A Girl
In 1990 Charlotte Gainsbourg co-starred with Julian Sands in the Italian film Il sole anche di notte/The Sun Also Shines at Night (Paolo and Vittorio Taviani, 1990).
It was followed by the French black comedy Merci la vie (Bertrand Blier, 1991), in which she and Anouk Grinberg played two young women on a rampage against men and just about whomever else crosses their path. Merci la vie was nominated for the César for Best Film, Best Actress, Best Supporting Actress, Best Director, Best Writing and Best Editing.
She made her English speaking debut in The Cement Garden (1993), written and directed by her uncle, Andrew Birkin. The film based on the novel by Ian McEwan, was entered into the 43rd Berlin International Film Festival, where Birkin won the Silver Bear for Best Director.
Gainsbourg made her stage debut in 1994 in David Mamet's Oleanna at the Théâtre de la Gaîté-Montparnasse.
In 1996, she starred opposite William Hurt as the title character in Jane Eyre (Franco Zeffirelli, 1996), a film adaption of Charlotte Brontë's 1847 novel.
In Love Etc. (Marion Vernoux, 1996), she co-starred with French-Israeli actor/director Yvan Attal. The two fell in love a few years earlier and in 1997 their son Ben was born. Together they also have a daughter Alice (2002) and another son Joe (2011).
In 2000, Gainsbourg won the Cesar for Best Supporting Actress for the film La Bûche/Season's Beatings (Danièle Thompson, 1999).
Gainsbourg was also featured on the Madonna album Music (2000) on the track What It Feels Like For A Girl. There is a lengthy spoken intro by Gainsbourg, taken from the film The Cement Garden, which inspired the title of the song.
In the romantic comedy-drama Ma Femme est une actrice/My Wife is an Actress (Yvan Attal, 2001), she co-starred with her partner Yvan Attal. Attal plays a journalist who becomes obsessively jealous when his actress wife gets a part in a film with an attractive co-star (Terence Stamp). Attal also wrote the script.
In a popular French TV series of Les Miserables (Josée Dayan, 2002), she played Fantine opposite Gérard Depardieu and John Malkovich.
Gainsbourg made her Hollywood debut with the successful drama 21 Grams (2003) directed by Mexican director Alejandro González Iñárritu. It also stars Sean Penn, Naomi Watts, and Benicio del Toro.
With Attal she appeared again in a romantic comedy, Ils se marièrent et eurent beaucoup d'enfants/Happily Ever After (Yvan Attal, 2004), with a lengthy cameo appearance of Johnny Depp, who speaks fluent French.
French postcard, no. 1175.
French postcard, no. 207.
Exuberant Sense Of Fun
In 2004, Charlotte Gainsbourg sang a duet with French pop star Étienne Daho on his single If. It lead to more. In 2006, more than twenty years, after the release of her debut album Charlotte for Ever, she released the album 5:55, to commercial and critical success. It reached the top spot on the French charts and achieved platinum status.
That year, Gainsbourg also appeared alongside Gael García Bernal in Michel Gondry's surrealistic science fantasy comedy La Science des rêves/The Science of Sleep (2006). James Travers at French Film Guide:“it is hard not to be seduced by its naïve poetry, romanticism and exuberant sense of fun. A cinematic oddity it may be, but La Science des rêves is also probably one of the cutest and most authentic French rom-coms you will ever see.”
In 2007, Gainsbourg appeared as Claire in the Todd Haynes-directed Bob Dylan biopic I'm Not There, also contributing a cover of the Dylan song Just Like a Woman to the film soundtrack.
On 5 September 2007, Gainsbourg was rushed to a Paris hospital where she underwent surgery for a cerebral haemorrhage. She had been experiencing headaches since a minor water-skiing accident in the United States several weeks earlier.
She returned in grand style to the screen in the Danish art film Antichrist (2009), written and directed by Lars von Trier, co-starring Willem Dafoe. It follows horror film conventions and tells the story of a couple who, after the death of their child, retreat to a cabin in the woods where the man experiences strange visions and the woman manifests increasingly violent sexual behaviour.
After premiering at the 2009 Cannes Film Festival, where Gainsbourg won the festival's award for Best Actress, the film immediately caused controversy, with critics generally praising the film's artistic execution but strongly divided regarding its substantive merit. Other awards won by the film include the Robert Award for best Danish film, The Nordic Council Film Prize for best Nordic film and the European Film Award for best cinematography.
In late 2009, Gainsbourg released her third studio album, IRM, which was produced by Beck. One of the influential factors in the album's creative process was her time spent filming Antichrist. Gainsbourg's head injury in 2007 influenced the title of the album. IRM is an abbreviation for the French translation of ‘magnetic resonance imaging’. While receiving a brain scan, she began to think about music.
She co-starred with Romain Duris and Jean-Hugues Anglade in the romantic drama Persécution (Patrice Chéreau, 2009) which was nominated for a Golden Lion at the 66th Venice International Film Festival.
Gainsbourg starred in the French/Australian production The Tree (Julie Bertuccelli, 2010), for which she got another César nomination, and in Lars von Trier's apocalyptic drama, Melancholia (2011), with Kirsten Dunst and Alexander Skarsgård.
Dimitri Ehrlich in Interview magazine: “she has managed to avoid all of the ego-trappings of movie stardom, instead working with a seriousness and purity that seem to belong to a different era. Onscreen, she can radiate emotions like a filament about to erupt, with a tenderness and honesty that give her work its gravitational pull.”
Next, she will star in the upcoming Nymphomaniac (Lars von Trier, 2013), with Stellan Skarsgård, and in the German 3D drama Every Thing Will Be Fine (Wim Wenders, 2014) with James Franco.
Charlotte Gainsbourg resides in the elegant 7th arrondissement of Paris, France, her father's birthplace.
Trailer Ils se marièrent et eurent beaucoup d'enfants/Happily Ever After (Yvan Attal, 2004). Source: Turuina (YouTube).
Official trailer Antichrist (Lars von Trier, 2009). Source: Viso Trailers (YouTube).
Sources: James Travers (French Film Guide), Dimitri Ehrlich (Interview), Rebecca Flint Marx (AllMovie), Wikipedia and IMDb.
German postcard by Kolibri-Verlag, Minden/Westf., no. 1159. Photo: Ultra Film / Lilo. Publicity still for Mit 17 weint man nicht/17 Year Olds Don't Cry (Alfred Vohrer, 1960).
Matthias Fuchs was born in Hannover, Germany, in 1939.
He became known in the role of Ethelbert in the Heimat comedies about the Immenhof farm, at the side of Angelika Meissner and Heidi Brühl.
He made his film debut in the first part of the series, Die Mädels vom Immenhof/The Girls from Immenhof (Wolfgang Schleif, 1955) and also appeared in the sequels Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956) and Ferien auf Immenhof/Holiday at Immenhof (Hermann Leitner, 1957).
Other films in which he appeared were Der erste Frühlingstag/The First day of Spring (Helmut Weiss, 1956) with Luise Ullrich, the historically unaccurate war film U47 - Kapitänleutnant Prien/ U-47 Lt. Commander Prien (Harald Reinl, 1958), the comedy-fantasy Der Engel, der seine Harfe versetzte/The Angel Who Pawned Her Harp (Kurt Hoffmann, 1959) and the Thomas Mann adaptation Buddenbrooks - 2. Teil/Buddenbrooks, part 2 (Alfred Weidenmann, 1959) starring Liselotte Pulver.
German postcard by Rüdel Verlag (Franz Josef Rüdel Filmpostkartenverlag, Hamburg-Bergedorf), no. 3213. Photo: Erwin Schneider.
German postcard by Ufa, Berlin, no. FK 1750. Photo: Spörr / Arca-Film / NF.
Death Is My Trade
After attending drama school Matthias Fuchs evolved into one of the most respected character actors of the German theatre.
Throughout his life he was closely associated with the Deutsches Schauspielhaus in Hamburg. Famous became his work with director Peter Zadek.
During the 1960s and 1970s he also appeared in TV films and he played supporting parts in films like Das Mädchen und der Staatsanwalt/The Girl and the District Attorney (Jürgen Goslar, 1962) with Elke Sommer, The Cardinal (Otto Preminger, 1963), and Mutter Küsters' Fahrt zum Himmel/Mother Kusters Goes to Heaven (Rainer Werner Fassbinder, 1975) with Brigitte Mira.
He also appeared in Aus einem deutschen Leben/Death Is My Trade (Theodor Kotulla, 1977), a disturbing biography of Rudolph Höss, the commandant of Auschwitz II-Birkenau, played by Götz George.
German postcard by Rüdel Verlag (Franz Josef Rüdel Filmpostkartenverlag, Hamburg-Bergedorf), no. 1723. Photo: A. Grimm / CCC / Deutsche London. Publicity still for Der erste Frühlingstag/The First Spring Day (Helmut Weiss, 1956).
German postcard by Ufa, Berlin-Tempelhof, no. FK 4810. Retail price: 25 Pfg. Photo: Lilo-Publicity / Ultra-Europa. Publicity still for Mit 17 weint Mann nicht/17 Year Olds Don't Cry (Alfred Vohrer, 1960).
Jurassic Park Spoof
Matthias Fuchs worked several times with director Rainer Werner Fassbinder, including the TV mini-series Berlin Alexanderplatz (1980) and the second chapter of Fassbinder's BRD Trilogy, Lola (1981) starring Barbara Sukowa.
Other interesting films were Die flambierte Frau/A Woman in Flames (Robert van Ackeren, 1983) starring Gudrun Landgrebe, Decoder (Muscha, 1983), and the Sci-Fi film Das Arche Noah Prinzip/The Noah’s Ark Principle (Roland Emmerich, 1984).
The latter was the most expensive (about 1.2 million DM) student film ever made in Germany. On TV he guest-starred in popular Krimi series like Der Fahnder/The Investigator (1988), Der Alte/The Old Fox (1989) and Derrick (1990).
He regularly appeared in films such as the comedy Rotwang muß weg!/Rotwang Must Go (Hans-Christoph Blumenberg, 1994), a spoof of Jurassic Park with Udo Kier, and the creepy thriller Der Totmacher/Deathmaker (Romuald Karmakar, 1995), starring Götz George.
Also interesting is Beim nächsten Kuß knall ich ihn nieder/At the Next Kiss I'll Shoot Him (1996), a biography of German film director Reinhold Schünzel, who had to emigrate from Germany in the 1930s, and went to Hollywood.
After the death of Peter Pasetti, Fuchs represented from 1995 until his death in 2001, the role of the narrator in 39 episodes of the radio drama series, Die drei????/the three???? (Episode 65 to 103). He was also a narrator of television documentaries and the animation series Max und Moritz/Max and Moritz (Veit Vollmer, 1999).
Matthias Fuchs died of lung cancer in 2001 in Hamburg, Germany. His final film was Prüfstand VII/Test Stand VII (Robert Bramkamp, 2002) with Robert Forster.
Trailer of Lola (1981). Source: Railto Film (YouTube).
Sources: Wikipedia, and IMDb.
Jayne Mansfield. French postcard by Edition a la carte. Photo: Filmhistorisches Bildarchiv Peter W. Engelmeier.
Lien Deyers. German postcard by Ross Verlag, no. 7058/1, 1932-1933. Photo: Atelier Balász, Berlin.
Marta Eggerth. Dutch postcard by JosPe, no. 593.
Marta Toren. Dutch postcard, no. 3374. Photo: Universal International / Fotoarchief Film en Toneel.
Dany Robin. French postcard by Editions P.I., Paris, no. 1004. Photo: Sam Lévin.
Romy Schneider& Horst Buchholz. Dutch postcard by Uitg. Takken, Utrecht, no. 3572.
. Heintje Simons. German postcard by Modern Times. Photo: Interfoto. Caption: Alles schlampen, ausser mama (All bitches, except mama).
British postcard in the Picturegoer Series, London, no. 790A. Photo: Walter Wanger.
Lurid, Sensationalist and Distasteful
Sir Charles Aubrey Smith CBE was born in London, England in 1863. He was educated at Charterhouse School and St John's College, Cambridge.
He played cricket for Cambridge University 1882-85 and for Sussex at various times between 1882 and 1892. He settled in South Africa to prospect for gold in 1888-89. He developed pneumonia and was wrongly pronounced dead by doctors. While in South Africa he captained the Johannesburg English XI. He captained England to victory in his only cricket Test match, against South Africa at Port Elizabeth in 1888-1889.
Aubrey Smith began acting on the London stage in 1895. He was 30 then. His first major role was in The Prisoner of Zenda the following year, playing the dual lead roles of king and look-alike. He married Isabella Wood in 1896.
Despite the theatrical community's disdainful attitude towards the cinema, Smith enthusiastically launched his film career in 1914. He appeared in silent dramas as The Builder of Bridges (George Irving, 1915), The Witching Hour (George Irving, 1916), and Red Pottage (Meyrick Milton, 1918), co-starring Mary Dibley and Gerald Ames. He was already in his forties at the time.
Other British silent films were the drama Castles in (Horace Lisle Lucoque, 1920) with Lilian Braithwaite, the crime film The Face at the Window (Wilfred Noy, 1920) with Gladys Jennings, and The Shuttle of Life (D. J. Williams, 1920) starring Evelyn Brent.
In 1922 he co-starred in the romance The Bohemian Girl (Harley Knoles, 1922), starring Gladys Cooperand Ivor Novello. It was inspired by the opera The Bohemian Girl by Michael William Balfe and Alfred Bunn which was in turn based on a novel by Cervantes.
In the drama Flames of Passion (Graham Cutts, 1922) his co-star was Hollywood actress Mae Marsh. The film was made by the newly formed Graham-Wilcox Productions company, a joint venture between Cutts and producer Herbert Wilcox. The entrepreneurial Wilcox tempted American star Marsh to England with a high salary offer, believing this would improve the film's marketability in the US. The gamble paid off as it became the first post-war British film to be sold to the US, where it was shown under the title A Woman's Secret.
The final reel of the film was filmed in the Prizmacolor process. Flames of Passion proved controversial with critics, many of whom found the subject matter lurid, sensationalist and distasteful. Cinemagoers had no such qualms, and turned the film into a big box-office hit.
Aubrey Smith made his Broadway debut in a revival of George Bernard Shaw's Pygmalion in the starring role of Henry Higgins.
In Hollywood, he played a supporting part in the silent drama The Rejected Woman (Albert Parker, 1924), featuring Alma Rubens in the title role and Béla Lugosi in a supporting role.
He returned to England to the theatre and it was his 1928 stage hit Bachelor Father that led to Smith's phenomenally successful career in talking pictures.
British postcard by J. Beagles & Co. Ltd., London, no. 184E. Photo: Dover St. Studios. Publicity still for the play The Flag Lieutenant with Cyril Maude as Lieutenant Richard Lascelles and C. Aubrey Smith as Major Thesiger at The Playhouse, 1908.
British postcard in the Rotary Photographic Series, no. 4208D. Photo: Foulsham & Banfield, London. Publicity still for the play Inconstant George with Charles Hawtrey as Georges Bullin and C. Aubrey Smith as Luciene de Versannes. The play written by Gladys B. Unger and directed by Charles Hawtrey was performed during the 1910-1911 season at the Prince of Wales Theatre in London.
The Hollywood Raj
First C. Aubrey Smith appeared in the early British sound film Such Is the Law (Sinclair Hill, 1930). A year later, he was back in America to co-star with Marion Davies and Ralph Forbes in the MGM drama The Bachelor Father (Robert Z. Leonard, 1931).
In Hollywood, Smith would have a successful career as a character actor playing military officers, successful business men, ministers of the cloth and ministers of government in films like the romantic comedy Just a Gigolo (Jack Conway, 1931) with William Haines, the romance Son of India (Jacques Feyder, 1931), and the magnificent comedy Trouble in Paradise (Ernst Lubitsch, 1932).
In the classic jungle adventure Tarzan the Ape Man (W. S. Van Dyke, 1932), featuring Johnny Weissmuller, he played Jane’s (Maureen O’Sullivan) father.
Smith was also regarded as being the unofficial leader of the British film industry colony in Hollywood, the Hollywood Raj. Other British actors who were considered to be ‘members’ of this select group were David Niven (whom Smith treated like a son), Ronald Colman, Rex Harrison, Robert Coote, Basil Rathbone, Nigel Bruce, Leslie Howard and Patric Knowles.
In 1932, he founded the Hollywood Cricket Club and created a pitch with imported English grass. He attracted fellow expatriates such as David Niven, Laurence Olivier, Nigel Bruce (who served as captain), Leslie Howard and Boris Karloff to the club as well as local American players.
His films include such classics as The Scarlet Empress (Josef von Sternberg, 1934) starring Marlene Dietrich, The Prisoner of Zenda (John Cromwell, 1937), as the wise old advisor opposite Douglas Fairbanks, Jr., and The Four Feathers (Zoltan Korda, 1939).
Smith became infamous for expecting his fellow countrymen to report for regular duty at his Hollywood Cricket Club, and anyone who refused was known to "incur his displeasure".
He was appointed a Commander of the Order of the British Empire (CBE) in 1938, and knighted by King George VI in 1944 for services to Anglo-American amity. Fiercely patriotic, Smith became openly critical of the British actors of enlistment age who did not return to fight after the outbreak of World War II in 1939.
His later films include Rebecca (Alfred Hitchcock, 1940), Dr. Jekyll and Mr. Hyde (Victor Fleming, 1941), and the Agatha Christie adaptation And Then There Were None/Ten Little Indians (René Clair, 1945) in which he played General Mandrake.
Smith died from pneumonia in Beverly Hills in 1948, aged 85. His body was cremated and nine months later, in accordance with his wishes, his ashes were returned to England and interred in his mother's grave at St Leonard's churchyard in Hove, Sussex. With Isabella Wood, he had one child. His last film appearance as Mr. Lawrence in Little Women (Mervyn LeRoy, 1949) was released posthumously.
Sources: Hal Erickson (AllMovie), Tony Fontana (IMDb), Wikipedia and IMDb.
Vintage postcard. Photo: still from Mary Poppins (1964).
Vintage postcard made in Hong Kong.
Italian postcard by Rotalcolor, Milano, no. 299.
Julie Andrews was born Julia Elizabeth Wells in Walton-on-Thames, England, in 1935. Her mother, music hall performer Barbara Wells (née Morris), was married to Edward C. ‘Ted’ Wells, a teacher of metal and woodworking, but Andrews was conceived as a result of an affair her mother had with a family friend.
With the outbreak of World War II, Barbara and Ted Wells went their separate ways. Ted Wells assisted with evacuating children to Surrey during the Blitz, while Barbara joined Ted Andrews in entertaining the troops. Barbara and Ted Wells were soon divorced and Barbara remarried to Ted Andrews in 1939.
Julie had lessons at the Cone-Ripman School, an independent arts educational school in London, and with the famous concert soprano and voice instructor Lilian Stiles-Allen. She continued her academic education at the Woodbrook School, a local state school in Beckenham. Julie performed spontaneously and unbilled on stage with her parents for about two years beginning in 1945.
She got her big break when her stepfather introduced her to Val Parnell, whose Moss Empires controlled prominent venues in London. Andrews made her professional solo debut at the London Hippodrome singing the difficult aria Je Suis Titania from Mignon as part of a musical revue called Starlight Roof in 1947. She played the Hippodrome for one year.
In 1948 she became the youngest solo performer ever to be seen in a Royal Command Variety Performance. Julie followed her parents into radio and television and reportedly made her television debut on the BBC program RadiOlympia Showtime in 1949. She garnered considerable fame throughout the United Kingdom for her work on the BBC radio comedy show Educating Archie (1950- 1952).
In 1954 on the eve of her 19th birthday, Julie Andrews made her Broadway debut portraying 1920s flapper Polly Browne in the already highly successful London musical The Boy Friend. To the critics, Andrews was the stand-out performer in the show. In November 1955 Andrews was signed to appear with Bing Crosby in what is regarded as the first made-for-television movie, High Tor.
French postcard by Les Presses de Belleville, no. 107. Photo: Walt Disney Productions. Still from Mary Poppins (1964).
Spanish postcard by EdicionesTarje Fher/Ediciones Mandolina, 1964. Photo: Walt Disney Productions. Still from Mary Poppins (1964).
Spanish postcard by EdicionesTarje Fher/Ediciones Mandolina, 1964. Photo: Walt Disney Productions. Still from Mary Poppins (1964) with Dick van Dyke.
Oscars and Golden Globes
In 1956 Julie Andrews appeared in the Frederick Loewe and Alan Jay Lerner musical My Fair Lady as Eliza Doolittle to Rex Harrison's Henry Higgins. Producer Moss Hart had mercilessly drilled her for 48 hours to help her get her lines, songs and dialect in proper working order.
Richard Rodgers was so impressed with her talent that concurrent with her run in My Fair Lady she was featured in the Rodgers and Hammerstein television musical, Cinderella (Ralph Nelson, 1957). Cinderella was broadcast live and attracted an estimated 107 million viewers.
She married set designer Tony Walton in 1959 in Weybridge, Surrey. They had first met in 1948 when Andrews was appearing at the London Casino in the show Humpty Dumpty. The couple filed for a divorce in 1967.
Alan Jay Lerner and Frederick Loewe - also the composers of My Fair Lady - developed the role of Queen Guinevere in their musical Camelot (1960) with Andrews in mind. The result, Camelot, with Richard Burton, was another Broadway triumph.
However, studio head Jack Warner decided Andrews lacked sufficient name recognition for her casting in the film version of My Fair Lady; Eliza was played by the established film actress Audrey Hepburn instead. As Warner later recalled, the decision was easy, "In my business I have to know who brings people and their money to a movie theatre box office. Audrey Hepburn had never made a financial flop."
Andrews played the title role in Disney's Mary Poppins (Robert Stevenson, 1964), a lavish musical fantasy that combined live-action and animation. Walt Disney had seen a performance of Camelot and thought Andrews would be perfect for the role of the British nanny who is "practically perfect in every way!"
Andrews initially declined because of pregnancy. With her husband, she headed back to the United Kingdom in 1962 for the birth of daughter Emma Katherine Walton. But Disney politely insisted. As a result of her performance in Mary Poppins, Andrews won the 1964 Academy Award for Best Actress and the 1965 Golden Globe Award.
She and her Mary Poppins co-stars also won the 1965 Grammy Award for Best Album for Children. As a measure of ‘sweet revenge’, as Poppins songwriter Richard M. Sherman put it, Andrews closed her acceptance speech at the Golden Globes by saying, "And, finally, my thanks to a man who made a wonderful movie and who made all this possible in the first place, Mr. Jack Warner."
Next she appeared opposite James Garner in The Americanization of Emily (Arthur Hiller, 1964), which she has described as her favourite film.
Trailer Cinderella (1957). Source: Dylles (YouTube).
Original 1964 Mary Poppins Theatrical Trailer. Source: ThreeDogShampoo (YouTube).
Original Trailer of The Americanization of Emily (1964). Source: SupportingActor (YouTube).
The Sound of Music
Now, Julie Andrews was a real star, and it was her star power that helped make her third film, The Sound of Music (Robert Wise, 1965), the highest-grossing film of its day and one of the highest-grossing of all time. For her role as Maria von Trapp, she won her second Golden Globe Award in 1966 and was nominated for the 1965 Academy Award.
After completing The Sound Of Music, Andrews appeared as a guest star on the NBC-TV variety series The Andy Williams Show, which gained her an Emmy nomination. She followed this with an Emmy Award-winning color special, The Julie Andrews Show in 1965.
By the end of 1967, Andrews had appeared in the television special Cinderella; the biggest Broadway musical of its time, My Fair Lady; the largest-selling long-playing album, the original cast recording of My Fair Lady; the biggest hit in Disney's history, Mary Poppins; the highest grossing movie of 1966, Hawaii (George Roy Hill, 1966); the biggest and second biggest hits in Universal's history, Thoroughly Modern Millie (George Roy Hill, 1967) and the espionage thriller Torn Curtain (Alfred Hitchcock, 1967); and the biggest hit in 20th Century Fox's history The Sound of Music.
Then Andrews, appeared in Star! (Robert Wise, 1968), a biopic of Gertrude Lawrence, and Darling Lili (Blake Edwards, 1970), co-starring Rock Hudson, but both films bombed at the box office. The problem was that audiences identified her with singing, sugary-sweet nannies and governesses, and could not accept her in dramatic roles.
She married American director Blake Edwards in 1969. Hal Erickson at AllMovie: "By marrying Edwards and aligning herself with him creatively, then, Andrews was also consciously or unconsciously bucking to change her image." They adopted two children from Vietnam: Amy in 1974 and Joanna in 1975.
Italian photo by Rotograph, Roma. Photo: 20th Century Fox. Publicity still for Star! (Robert Wise, 1968).
Italian photo by Rotograph, Roma. Photo: 20th Century Fox. Publicity still for Star! (Robert Wise, 1968) with Daniel Massey.
Italian photo by Rotograph, Roma. Photo: 20th Century Fox. Publicity still for Star! (Robert Wise, 1968) with Richard Crenna.
Julie Andrews continued working in television. In 1969 she shared the spotlight with singer Harry Belafonte for an NBC-TV special, An Evening with Julie Andrews and Harry Belafonte. In 1971 she appeared as a guest for the Grand Opening Special ofWalt Disney World, and that same year she and Carol Burnett headlined a CBS special, Julie and Carol At Lincoln Center.
In 1972–73, Julie Andrews starred in her own television variety series, The Julie Andrews Hour, on the ABC network. The show won seven Emmy Awards, but was cancelled after one season. Between 1973 and 1975, Andrews continued her association with ABC by headlining five variety specials for the network. She guest-starred on The Muppet Show in 1977 and appeared again with the Muppets on a CBS-TV special, Julie Andrews: One Step Into Spring, which aired in 1978.
Then, she returned to the cinema with an appearance in 10 (1979), directed by husband Blake Edwards. He helped to keep her on the rise by directing her in subsequent roles that were entirely different from anything she had been seen in before.
There was the film star Sally Miles who bared her breasts on-screen in S.O.B. (1981), and the woman (Victoria Grant) playing a man (Count Victor Grezhinski) playing a woman in Victor Victoria (1982).
At IMDb, Tommy Peter writes: “the sheer novelty of seeing Julie Andrews in these roles, not to mention her brilliant performances in both of them, undoubtedly helped make them successes”. Her roles in Victor/Victoria earned Andrews the 1983 Golden Globe Award for Best Actress, as well as a nomination for the 1982 Academy Award for Best Actress, her third Oscar nomination.
Victor/Victoria was followed by Edwards's François Truffaut remake, The Man Who Loved Women (Blake Edwards, 1983) with Andrews as the lover of sculptor Burt Reynolds and the excellent mid-life crisis comedy-drama That's Life! (Blake Edwards, 1986), starring Andrews and Jack Lemmon.
In 1987, she starred in an ABC Christmas special, Julie Andrews: The Sound Of Christmas, which went on to win five Emmy Awards. Two years later she was reunited for the third time with Carol Burnett for a variety special which aired on ABC in 1989.
Trailer of Torn Curtain (1966). Source: MovieTrailersGuy (YouTube).
Trailer of Thoroughly Modern Millie (1967). Source: modernmillie (YouTube).
Trailer of Star! (1968). Source: S7ilver (YouTube).
In 1991 Julie Andrews made her television dramatic debut in the ABC made-for-TV movie, Our Sons (John Erman, 1991), co-starring Ann-Margret. The following year she starred in her first television sitcom, Julie (1992), which co-starred James Farentino.
In 1995 she starred in the stage musical version of Victor/Victoria, her first appearance in a Broadway show in 35 years. She was forced to quit the show towards the end of the Broadway run in 1997 when she developed vocal problems. She subsequently underwent surgery to remove non-cancerous nodules from her throat and was left unable to sing.
In 1999 she was reunited with James Garner for the TV film, One Special Night (Roger Young, 1999). In the 2000 New Year's Honours, Andrews was made a Dame Commander of the Order of the British Empire (DBE).
She had a career revival when she appeared in The Princess Diaries (Garry Marshall, 2001), her first Disney film since Mary Poppins (1964). She starred as Queen Clarisse Marie Renaldi and reprised the role in a sequel, The Princess Diaries 2: Royal Engagement (Garry Marshall, 2004). In The Princess Diaries 2, Andrews sang on film for the first time since having throat surgery.
Andrews continued her association with Disney when she appeared as the nanny in two 2003 made-for-television movies based on the Eloise books, a series of children's books by Kay Thompson about a child who lives in the Plaza Hotel in New York City.
The same year she made her debut as a theatre director, directing a revival of The Boy Friend, the musical in which she made her 1954 Broadway debut. In 2004 Andrews performed the voice of Queen Lillian in the animated blockbuster Shrek 2 (2004), reprising the role for its sequels, Shrek the Third (2007) and Shrek Forever After (2010).
She narrated Enchanted (2007, Kevin Lima), a live-action Disney musical comedy that both poked fun and paid homage to classic Disney films such as Mary Poppins. In 2007 Andrews was honoured with the Lifetime Achievement Award at the Screen Actors Guild's awards and stated that her goals included continuing to direct for the stage and possibly to produce her own Broadway musical.
Austrian postcard by MM-Verlag, Salzburg, no. FS 3000. Photo: publicity still for The Sound of Music (Robert Wise, 1965).
German postcard by Krüger, no. 902/410.
Romanian postcard by Filmului Acin, no. 43078.
Julie Andrews published Home: A Memoir of My Early Years (2008), which she characterised as 'part one' of her autobiography. Home chronicles her early years in UK's music hall circuit and ends in 1962 with her winning the role of Mary Poppins.
For a Walt Disney video release she again portrayed Mary Poppins and narrated the story of The Cat That Looked at a King in 2004. In 2010, Andrews made her London come-back after a 21 year absence (her last performance there was a Christmas concert at the Royal Festival Hall in 1989).
She also maintained her status as a family-film icon by voicing Gru's mother in the animated Despicable Me (Pierre Coffin, Chris Renaud, 2010), and playing opposite The Rock in Tooth Fairy (Michael Lembeck, 2010).
Her husband Blake Edwards passed away in 2010 at the age of 88.
In 2011, Andrews received a Grammy Lifetime Achievement Award and, with her daughter Emma, a Grammy for best spoken word album for children (for A Collection of Poems, Songs and Lullabies).
At the age of 77, Andrews undertook her first tour of Australia and New Zealand in 2013. The tour was hosted by Nicholas Hammond who was a boy of 14 when they appeared together in The Sound of Music. In place of singing, she planned a series of speaking engagements in the five mainland state capitals.
Julie Andrews has long had something of a dual image, being both a family-friendly star and an icon for gays and lesbians. Andrews herself has acknowledged her strange status, commenting that "I'm that odd mixture of, on the one hand, being a gay icon and, on the other, having grandmas and parents grateful I'm around to be a babysitter for their kids."
Julie Andrews guest stars on The Muppet Show (1977-1978) and sings The Lonely Goatherd. Source: Sparklesinbrum (YouTube).
Trailer SOB (1981). Source: JLEPSS96 (YouTube).
Trailer of Victor/Victoria (1982). Source: GayMovieReviews (YouTube).
Sources: Hal Erickson (AllMovie), Tommy Peter (IMDb), Wikipedia, and IMDb.
Totò (1898–1967) was one of the most popular Italian film stars ever, nicknamed il principe della risata (the prince of laughter). He starred in about 100 films, many of which are still frequently broadcast on Italian television. Totò is an heir of the Commedia dell'Arte tradition, and can be compared to Buster Keaton and Charlie Chaplin. His style and some of his recurring jokes and gestures are universally known in Italy.
Small Italian collectors card, no. 291. Photo: Ivo Meldones.
His Imperial Highness
Totò was born Antonio Clemente in the Rione Sanità, a poor district of Naples, in 1898. Totò is a typical pet name for Antonio in Naples and it most properly comes from the Neapolitan dialect variant Totonno. He was the illegitimate son of Anna Clemente from Sicily and the penniless Marquis Giuseppe De Curtis from Naples, who did not legally recognize him until 1937.
The young Totò preferred sports to studying, and in an incident with either a football or in the boxing ring, part of his nose became paralyzed. It gave him that look which later became his trademark.
Totò much regretted growing up without a father, to the point that at the age of 35, when he was already very popular, managed to have Marquis Francesco Maria Gagliardi Focas adopt him in exchange for a life annuity. As a consequence, when Marquis de Curtis recognized him, Totò had become an heir of two noble families, hence claiming an impressive slew of titles.
In 1946, when the Consulta Araldica—the body that advised the Kingdom of Italy on matters of nobility—ceased operations, the Tribunal of Naples recognized his numerous titles, so his complete name was changed from Antonio Clemente to Antonio Griffo Focas Flavio Ducas Komnenos Gagliardi de Curtis of Byzantium, His Imperial Highness, Palatine Count, Knight of the Holy Roman Empire, Exarch of Ravenna, Duke of Macedonia and Illyria, Prince of Constantinople, Cilicia, Thessaly, Pontus, Moldavia, Dardania, Peloponnesus, Count of Cyprus and Epirus, Count and Duke of Drivasto and Durazzo.
For someone born and raised in one of the poorest Neapolitan neighbourhoods this must have been quite an achievement, but in claiming the titles (at the time they had become meaningless) the comedian also mocked them for their intrinsic worthlessness. In fact, when he was not using his stage name Totò, he mostly referred to himself simply as Antonio De Curtis.
Totò's mother wanted him to become a priest, but as soon as 1913, at the age of 15, he was already acting as a comedian in small theatres, under pseudonym Clerment. In the minor venues where he performed, Totò had the chance to meet artists like Eduardo De Filippo, Peppino De Filippo and Carlo Scarpetta.
He served in the army during World War I and then went back to acting. He learned the art of the Guitti, the Neapolitan scriptless comedians, heirs to the tradition of the Commedia dell'Arte, and began developing the trademarks of his style, including a puppet-like, disjointed gesticulation, emphasized facial expressions, and an extreme, sometimes surrealistic, sense of humour.
In 1922, Totò moved to Rome to perform in bigger theatres. He performed in the genre of Avanspettacolo, a vaudevillian mixture of music, ballet and comedy preceding the main act. He became adept at these revues and in the 1930s he had his own company, with which he travelled across Italy.
Italian postcard by Il Piùlibri. Photo: youth portrait of Antonio De Curtis (Totò) with dedication.
Italy's Favourite Comedian
In 1937, Totò appeared in his first film Fermo con le mani/Hands Off Me! (Gero Zambuto, 1937). His debut contains some classic scenes, like the one in which he tries to give a haircut to a bald man. Another scene where he fishes from the fishmonger's counter was repeated in later films like Guardie e ladri/Cops and Robbers (Mario Monicelli, Steno, 1951) and Totò a Parigi/Totò in Paris (Camillo Mastrocinque, 1958).
As middle aged orphan Gaspare in I due orfanelli/The Two Orphans (Mario Mattoli, 1947) he had his big breakthrough. The majority of his films were essentially meant to showcase his performances, and contain his name Totò in the title.
Often they were parodies of established film genres. Fine examples are Totò al Giro d'Italia/Totò at the Tour of Italy (Mario Mattoli, 1948) with a cameo of famous cyclist Fausto Coppi, Totò Sceicco/Totò the Sheik (Mario Mattoli, 1950), Totò Tarzan/Tototarzan (Mario Mattoli, 1950), Totò terzo uomo/Totò the Third Man (Mario Mattoli, 1951), and Totò a colori/Totò in Color (Tonino Delli Colli, Steno, 1952).
Totò a colori, filmed in Ferraniacolor, was the first Italian colour film. It is widely regarded as Totò's masterpiece. He appears in a chase scene where he hides from his pursuers by disguising himself as a wooden marionette on stage. Once the show is over, his body collapses just like a dead puppet.
Another masterpiece is Guardie e ladri/Cops and Robbers (Mario Monicelli, Steno, 1951) with Aldo Fabrizi. The style of the film, produced by Dino De Laurentiis and Carlo Ponti, is close to Italian neorealism. For his part Totò won the Nastro d'Argento (Silver ribbon award), and the film was a huge success with the public and was also liked by the critics. For Totò, Guardie e ladri represented a real turning point, for the first time his film got exclusively positive reviews, and his interpretation is still considered one of the best of his career.
Totò had the opportunity to act side by side with virtually all major Italian actors of the time. In Fifa e arena/Fright in the Arena (Mario Mattoli, 1948) and several other comedies his co-star was the beautiful Isa Barzizza. His co-star in 47 morto che parla/47 dead speak (Carlo Ludovico Bragaglia, 1950) was another film beauty, Silvana Pampanini. And Sophia Loren was the beauty in Miseria e nobiltà/Poverty and Nobility (Mario Mattoli, 1954).
He co-starred with Orson Welles in L'uomo, la bestia e la virtù/Man, Beast and Virtue (Steno, 1953). The most renowned and successful team which Totò formed was with Peppino De Filippo. De Filippo was one of the few actors to have his name appear in film titles along with that of Totò, for example in Totò, Peppino e la malafemmina/Toto, Peppino, and the Hussy (Camillo Mastrocinque, 1956) and Totò, Peppino e i fuorilegge/Totò, Peppino and the outlaws (Camillo Mastrocinque, 1956), for which Peppino De Filippo was awarded with a Nastro d'Argento (Silver ribbon award) for best supporting actor.
During a tour in 1956 Totò lost most of his eyesight due to an eye infection that he had ignored to avoid canceling his show and disappointing his fans. The handicap however almost never affected his schedule and acting abilities.
Among Totò’s best-known films are also the anthology film L'Oro di Napoli/The Gold of Naples (Vittorio De Sica, 1954), the classic crime comedy I soliti ignoti/Big Deal on Madonna Street (Mario Monicelli, 1958) with Marcello Mastroianni and Vittorio Gassman as a pair of thieves who head a group of criminals in a break-in attempt, and the French-Italian comedy La Loi C'est la Loi/La legge è legge/The Law Is the Law (Christian-Jacque, 1958) with Fernandelas a French customs sergeant who conducts an on-going war of nerves with Italian smuggler Totò on the Franco-Italian border. The publicity attending the long-anticipated teaming of France's favourite comedian and his Italian counterpart helped to make The Law Is the Law one of the most successful films in both comedians' careers.
Controversial, Spicy Gags
Totò's unmistakable figure, with his peculiarly irregular ‘stone-face’, and his unique ability to disarticulate his body like a marionette, were very popular and his comic gags are now part of the Italian culture. Wikipedia notes that his typical character is uneducated, poor, vain, snobbish, selfish, naïve, opportunist, hedonist, lascivious and generally immoral, although fundamentally good-hearted.
Partly because of the radical, naïve immorality of his roles, some of his most spicy gags raised much controversy in Italian society. Che fine ha fatto Totò Baby?/Whatever happened to Totò Baby? (Ottavio Alessi, 1964) a parody of What Ever Happened to Baby Jane? (Robert Aldrich, 1962), included a cheeky and gross celebration of cannabis, in an era when drugs were generally perceived as depraved and dangerous. Nevertheless, such controversies never affected the love of the Italian public for him.
In Pasolini's Uccellacci e uccellini/The Hawks and the Sparrows (Pier Paolo Pasolini, 1966) with Ninetto Davoli as Totò’s son, the episode La Terra vista dalla Luna/The Earth As Seen From The Moon from Le streghe/The Witches (Pier Paolo Pasolini a.o., 1965-1967) with Silvana Mangano, and the episode Che cosa sono le nuvole/What are clouds? from Capriccio all'italiana/Caprice Italian Style (Steno, Pier Paolo Pasolini a.o., 1968 - released after his death), he displayed his dramatic skills. These roles gave him the artistic acknowledgment that had eluded him so far by more stringent critics, who only began to recognize his talent after his death.
Despite his physical appearance Totò had a reputation as a playboy. He had for example a relationship with gorgeous film star Silvana Pampanini in the 1940s. One of his lovers, the cafe-concert singer Liliana Castagnola, committed suicide in 1930 after their relationship ended. This tragedy marked his life. He buried Liliana in his family's chapel, and named his only daughter Liliana De Curtis. She was born in 1933 to his first wife Diana Bandini Rogliani, whom he had married in 1932 (according to IMDb in 1935). He dedicated his most famous song Malafemmena (Wayward Woman) to Diana after they separated in 1939.
From 1951 on he lived with Franca Faldini and they married in 1954. A personal tragedy was the premature birth of their son Massenzio in 1954. The boy died a few hours later.
In 1967, Totò passed away at the age of 69 in Rome, after a series of heart attacks. Wikipedia: “Even in death he was unique — due to overwhelming popular request there were three funeral services: the first in Rome, a second in his birth city Naples — and a few days later, in a third one by the local Camorra boss, an empty casket was carried along the packed streets of the popular Rione Sanità quarter where he was born. Totò's birth home has been recently opened to the public as a museum, and his tombstone is frequently visited by fans, some of whom pray to him for help, as if he were a saint.”
Trailer Totò a Parigi/Totò in Paris (Camillo Mastrocinque, 1958). Source: Unidisjollyfilm (YouTube).
Trailer Uccellacci e uccellini/The Hawks and the Sparrows (Pier Paolo Pasolini, 1966). Source: The Cine Lady (YouTube).
Sources: Hal Erickson (AllMovie), Volker Boehm (IMDb), AllMovie, Wikipedia and IMDb.
German postcard by Ross Verlag, no. 8356/2, 1933-1934. Photo: Atelier Binder, Berlin.
Latvian postcard by JUR, Riga, no. 2734. Photo: Ars.
German postcard by Ross Verlag, no. 6799/1, 1931-1932. Photo: Freiherr v. Gudenberg.
German postcard by Ross Verlag, no. 7875/1, 1932-1933. Photo: Atelier Binder, Berlin.
Márta (or Martha) Eggerth's was born in Budapest in 1912. Her mother, a dramatic coloratura soprano, dedicated herself to her daughter, who was called a 'Wunderkind'.
At the age of 11 she made her theatrical debut in the operetta Mannequins. Marta began singing the demanding coloratura repertoire by composers including Rossini, Meyerbeer, Offenbach, and Johann Strauss II.
Soon she was hailed as Hungary's 'national idol'. She performed at the Hungarian state operain Budapest. Eggerth made her film debut in Budapest in such silent films as Csak egy kislány van a világon/There Is Only One Girl in the World (Belá Gaál, 1929).
While still a teenager, Márta Eggerth embarked on a tour of Denmark, Holland and Sweden before arriving in Vienna at the invitation of Emmerich Kalman. Kalman had invited her to understudy Adele Kern, the famous coloratura of the Vienna State Opera, in his operetta Das Veilchen von Montmarte (The Violet of Montmarte). Eventually she took over the title role to great critical acclaim after Kern suddenly became indisposed.
Next she performed the role of Adele in Max Reinhardt's famous 1929 Hamburg production of Die Fledermaus (The Bat). At the age of 17, she was perhaps the youngest singer ever to undertake this part. Her silvery soprano voice made her in the following years a popular star of the operetta.
Dutch postcard by JosPe, no. 593.
Dutch postcard by Filma, no. 664.
Dutch postcard by JosPe, no. 547.
Marta Eggerth's film career really career took off with the German sound film Bräutigamswitwe/Let's Love and Laugh (Richard Eichberg, 1931) co-starring Georg Alexander.
The success of the film resulted in international fame.
Her German film debut was soon followed by more film operettas like Trara um Liebe/Trumpet Call of Love (Richard Eichberg, 1931) and Moderne Mitgift/Modern Dowry (E.W. Emo, 1932).
Franz Léhar composed the music for Es war einmal ein Walzer/Once There Was a Waltz (Victor Janson, 1932), especially for Eggerth.
Dutch postcard by Filma, no. 450. Photo: publicity still for Die Blume von Hawaï/The Flower of Hawaii (Richard Oswald, 1933), an adaptation of the operetta The Flower of Hawaii by Paul Abraham.
Latvian postcard, no. 2284. Photo: J. Rolin (?), Riga. With Hans Söhnker.
Dutch postcard by JosPe, no. 468. With Richard Tauber.
Cheeky, Captivating Girl
In the silver age of the operetta Márta Eggerth starred in numerous successful film operettas and musical comedies as the cheeky, captivating girl, but she also played more tragic roles.
To her great successes belong Das Blaue vom Himmel/The Blue from the Sky (Victor Janson, 1932), Leise flehen meine Lieder/Lover Divine (Willi Forst, 1933), Unfinished Symphony (Anthony Asquith, Willi Forst, 1934), Der Zarewitsch (Victor Janson, 1933), Die Czardasfürstin/The Csardas Princess (Georg Jacoby, 1934), Die ganze Welt dreht sich um Liebe/The World's in Love (Viktor Tourjansky, 1935), and Das Schloss in Flandern/The Castle in Flanders (Géza von Bolváry, 1936).
Critics praised her musical abilities, but also her nuanced acting.
In favour of her film work, she appeared less and less on stage.
Dutch postcard, no. 237. Photo: City Film.
On the set of Mein Herz ruft nach dir/My Heart Calls You (Carmine Gallone, 1934), Marta Eggerth fell in love with the young Polish tenor and film star Jan Kiepura.
The couple married in 1936, and they were the most dazzling Liebespaar (Love Pair) of the European cinema.
Together they starred in Zauber der Boheme/The Charm of La Boheme (Géza von Bolváry, 1937), based on motives from Giacomo Puccini's opera La Bohème.
They caused a sensation wherever they appeared. But the political situation became more and more uncomfortable for her in Austria, being a foreigner and of Jewish descent.
Jan Kiepura. German Postcard by Ross Verlag, no. 8515/1, 1933-1934. Photo: Ufa / Cine-Alianz.
German postcard by Ross Verlag, no. 7096/2, 1932-1933. Photo: Atelier Kiesel, Berlin / Aafa Film.
German postcard by Ross Verlag, no. 8583/1, 1933-1934. Photo: Ufa / Cine-Allianz / Frhr. von Gudenberg.
In 1938, Jan Kiepura and Márta Eggerth fled Austria after its annexation by the Nazis. They first settled down in the South of France, and later in the USA.
Eggerth was signed by the Schubert Theaterto appear on Broadway in Richard Rodgers'musical Higher and Higher.
She subsequently signed a contract with Metro-Goldwyn-Mayer in Hollywood, but she only performed in two MGM musicals. At the side of Judy Garland, she appeared in For Me and My Gal (Busby Berkeley, 1942), and Presenting Lily Mars (Norman Taurog, 1943).
Together with her husband, she returned to the theatre, and they first starred on the operatic stage in La Bohème to rave reviews.
Then they had a huge, three-year long success with Franz Léhar's operetta Die lustige Witwe/The Merry Widow, with Robert Stolz conducting and George Balanchine as choreographer. They would eventually perform The Merry Widow more than 200 times, in five languages throughout Europe and America.
German postcard by Ross Verlag, no. 8939/2, 1933-1934. Photo: Atelier Binder.
German postcard by Ross Verlag, no. 8356/3, 1933-1934. Photo: Atelier Binder, Berlin.
German postcard by Ross Verlag, no. 7677/2, 1932-1933. Photo: Angelo Photos.
After the war, Márta Eggerth and Jan Kiepura returned to France. They toured through Europe and starred in such films as La Valse Brilliante/Brilliant waltz (Jean Boyer, 1948) in France and Das Land des Lächelns/Land of Smiles (Hans Deppe, Erik Ode, 1952) in Germany.
Eggerth wasn't able to gain a foothold again in the German cinema, and would further only appear in Frühling in Berlin/Spring in Berlin (Arhur Maria Rabenalt, 1957) starring Sonja Ziemann.
In the 1950s she became American citizen, but her connection to Europe remained. In 1954 Eggerth and Kiepura brought The Merry Widow to London's Palace Theatre and they often toured through Germany with The Merry Widow and other productions.
After Jan Kiepura died in 1966, Eggerth stopped singing for several years. Finally, persuaded by her mother, she decided to revive her career.
In the 1970s she began to make regular television appearances, and to actively perform concerts in Europe. In 1979, she was awarded the Filmband in Gold for her longtime achievements in the German cinema.
In 1984, she returned to the American stage. She co-starred in the Tom Jones/Harvey Schmidt musical Colette opposite Diana Rigg in Seattle and Denver, and later in Stephen Sondheim's Follies in Pittsburgh.
In 1999 Eggerth had a comeback appearance on German television as a chamber singer in the episode Nie wieder Oper/Never Opera Again of the popular crime series Tatort. In 2005 she brought out a new album, Marta Eggerth: My Life My Song, with recordings from throughout her career.
In 2007 the Silent Film Festival of Pordenonein Italy presented one of her first Hungarian films, but the then 95-year old star was not able to attend. The reason: she had to perform at a concert in New York!
Mártha Eggerth always stayed an advocate of the operetta: "In opera, everybody dies. In operetta, everybody is flirtatious", she said of her favourite art form.
Marta Eggerth owned an 18-story apartment building in Rye, New York, where she died 26 December 2013. She was 101.
Latvian postcard by JUR, Riga.
Dutch postcard by JosPe, no. 330. Photo: City Film.
German postcard by Das Programm von Heute / Ross Verlag. Photo: Atelier Schenker, Berlin.
Sources: Anne Midgette (The Washington Post), Thomas Staedeli (Cyranos), Filmportal.de, Wikipedia and IMDb.
Dutch postcard by N.V. Int. Filmpers (I.F.P.), Amsterdam, no. 1027.
Carefree, Impulsive And Nature-Loving
Sissi (Ernst Marischka, 1955) is based around Elisabeth's young years 1852–1854. Princess Elisabeth, nicknamed Sissi (Romy Schneider), is the second oldest daughter of Duke Maximilian Joseph of Bavaria (Gustav Knuth) and Princess Ludovika of Bavaria (Magda Schneider).
Elisabeth is a carefree, impulsive and nature-loving child. She is raised with her seven siblings at the family seat Possenhofen Castle on the shores of Lake Starnberg in Bavaria. She has a happy childhood free of constraints associated with her royal status.
With her mother and her demure older sister Helene (called Néné), 16-year-old Sissi travels from Possenhofen to the spa town of Bad Ischl in Upper Austria. Ludovika's sister, Archduchess Sophie (Vilma Degischer), is the mother of the young emperor Franz Joseph I of Austria (Karlheinz Böhm).
Helene (Uta Franz) is called by Archduchess Sophie to meet the young emperor Franz Joseph in the imperial villa so that the two might be immediately engaged. Sissi is unaware of the real reason for the journey and is forbidden by her aunt to participate in any social events due to her rebellious ways.
Sissi spends her time fishing in the forest where by chance she meets Franz Josef. The emperor is unaware that the girl is his cousin Sissi. He takes a liking to her and invites her for an afternoon hunting trip in the Alps.
Dutch postcard by Takken, Utrecht, no. 2064. Romy Schneider and Karlheinz Böhm.
They meet as arranged in the mountains where they talk and become acquainted. Sissi falls in love with him but does not reveal her true identity. During their trip, Sissi learns of the planned marriage between Franz Joseph with her sister. The Emperor confesses that he envies the man who will marry Sissi and confesses that he feels no connection to Néné.
Upon hearing his indirect declaration of love, Sissi becomes distraught due to her loyalty to Néné. She runs away from Franz Joseph without any explanation.
When Sissi returns to their residence, Néné reveals the reason for the trip to Bad Ischl: to become engaged with Franz Joseph. Unexpectedly, Franz Josef's brother, Carl-Ludwig (Peter Weck), arrives and Sissi is invited by the Archduchess to act as his partner at the Emperor's birthday celebration.
At his birthday party, Franz Joseph is suddenly confronted by Sissi's appearance there with her mother and sister. He realises who Sissi is and tries to talk to her, openly confessing his love and asking her to marry him. Sissi rejects Franz Joseph in order not to betray her sister.
He defies his mother's reservations and Sissi's resistance and announces, to the surprise of his guests, his betrothal to Sissi. Néné is heartbroken and leaves the party crying. Sissi, in a state of shock, is forced to obey the Emperor's wishes.
In Possenhofen, preparations for the wedding have started. Sissi is not excited for her impending marriage, as the hurt Néné has left for an indefinite period. For her sister's sake, Sissi attempts to break her engagement, however, Néné returns with a new suitor, Maximilian Anton, Hereditary Prince of Thurn and Taxis. The sisters reunite and Néné gives her blessings to Sissi for her marriage.
For the wedding ceremony, Sissi travels with her family on the steamboat Franz Joseph down the Danube to Vienna. People line the banks, waving flags and cheering their future Empress. As part of a grand procession, Sissi enters the city in a gilded carriage. The wedding takes place in the Augustinian Church on 24 April 1854.
Although he played her husband in this trilogy, Karlheinz Böhm is only 10 years older than Romy Schneider.
Dutch postcard by Takken, Utrecht, no. AX 1980. Photo: Filmex N.V.
Sissi was filmed in the original places locations where the Empress visited. These locations included Schönbrunn Palace, the Imperial Villa in Bad Ischl and St. Michael's Church.
Sissi was viewed by 20 to 25 million people in the European cinemas. It is one of the most successful German-language films ever.
The film was followed by Sissi - Die junge Kaiserin/Sissi: The Young Empress (Ernst Marischka, 1956) and Sissi - Schicksalsjahre einer Kaiserin/Sissi: The Fateful Years of an Empress (Ernst Marischka, 1957). In 1962, a condensed version of the trilogy was released in English under the title Forever My Love.
The trilogy is a popular Christmas television special in several European countries. The Empress' date of birth on Christmas Eve 1837 adds to the appeal of the film as a Christmas special.
The success of the film marked Empress Elisabeth's entrance to popular culture which made the historical figure even more legendary. The popularity of the films attracted tourists to places which were associated with the Empress, specifically those in Austria. The popularity also led to the creation of the 1992 musical Elisabeth, which became the most successful German-language musical of all time. The trilogy was parodied in the animated film Lissi. (2007)
Romy Schneider's role as Elisabeth is considered her acting breakthrough. She became synonymous with her role in the film, even as she progressed in her acting career.
Schneider reprised the role of Elisabeth in Luchino Visconti's film Ludwig (1972), this time portraying the Empress as a mature yet cynical woman.
Dutch postcard by Takken, no. AX 3028. Photo: Filmex N.V. Still: scene with Romy Schneider and Ivan Petrovich from Sissi - Die junge Kaiserin/Sissi: The Young Empress (Ernst Marischka, 1956).
Dutch postcard by Int. Filmpers (I.F.P.), Amsterdam, no. 1535. Publicity still for Sissi – Schicksalsjahre einer Kaiserin/Sissi – Fateful Years of an Empress (Ernst Marischka, 1957) with Walter Reyer.
Dutch postcard by Uitg. Takken, Utrecht, no. 3720. Photo: ERMA / Herzog-film-Wien. Publicity still for Sissi - Schicksalsjahre einer Kaiserin/Sissi: The Fateful Years of an Empress (Ernst Marischka, 1957).
Sources: Wikipedia and IMDb.
British postcard by J. Beagles & Co, E.C., no. G 703 O. Photo: Langfler Ltd.
British postcard by J. Beagles & Co, E.C., no. 703 B. Photo: Langfler Ltd., London.
British postcard by Rotary Photo, E.C., no. 4222 C. Photo: Foulsham & Banfield. Publicity still for the stage production Robin Hood (1906).
British postcard by Rotary Photo, EC, no. 107 G. Sent by mail in 1905.
Lewis Waller was born William Waller Lewis in Bilbao, Spain, in 1860, as the son of a civil engineer.
He first appeared on the London stage in 1883, and came to the front by a fine performance as Buckingham in The Three Musketeers under legendary English actor Herbert Beerbohm Tree's management at His Majesty's in 1895.
Soon afterwards Waller organized a company of his own, first at the Haymarket and afterwards at other theatres. His fine voice and vigorous acting earned him critical acclaim in a number of Shakespeare roles, such as the title character in Henry V, Brutus in Julius Caesar, and Faulkenbridge in King John.
He had his greatest successes, however, in romantic roles, such as Monsieur Beaucaire, a dramatic adaptation of Booth Tarkington's novel.
He married Florence West, an actress who appeared often with Waller in his most successful romances.
Grace Lane and Lewis Waller. British postcard, no. 1595. Photo: Rotary Photo.
British postcard by Raphael Tuck & Sons in the Play Pictorial Series, no. 5A. Photo: publicity still for the stage play Monsieur Beaucaire.
British postcard by J. Beagles & Co., London, no. 756V. Photo: Langfier Ltd. Lewis Waller and Evelyn Millard.
British postcard by Rotary Photo, E.C., no. 2183 E. Photo: Foulsham & Banfield. Publicity still for the stage play The Duke's Motto (1908) with Lewis Waller and Valli Valli.
Fires of Fate
In 1899 Lewis Waller appeared in the short film drama King John (Walter Pfeffer Dando, William K.L. Dickson, 1899), based on a scene from Shakespeare's play. King John was played by Sir Henry Beerbohm Tree.
Fifteen years later Waller played the title role in the historical drama Brigadier Gerard (Bert Haldane, 1915), an adaptation of Sir Arthur Conan Doyle’s novel.
Two of his plays were filmed after his death. His Fires of Fate, based on another novel by Arthur Conan Doyle, The Tragedy of Korosco, was filmed in 1923 by Tom Terriss.
Finally Maurice Elvey directed Henry, King of Navarre (1924), based on Waller’s adaptation of the historical novel by Alexandre Dumas père.
Lewis Waller died in 1915, only 55 years old.
British postcard in The Wrench series, printed in Saxony, no. 997. Photo: Biograph Studio.
British postcard by E. Hildesheimer & Co, London/Manchester. Sent by mail in 1905. Photo: Lafayette. Waller in his stage role as Brutus in Julius Caesar.
British postcard by Rotary Photo, no. 4252 K. Sent by mail in 1908. Photo: Foulsham & Banfield. Publicity still for the play The White Man (1908). In this play, based on the Western play The Squaw Man (1905) by Edwin Milton Royle, Lewis Waller appeared as Cowboy Bronco Buster at the Lyric Theatre in London. In the cast there were also several American performers.
British postcard by Rotary Photographic Series, no. 4298 D. Photo: Foulsham & Banfield. Publicity still for the play A White Man (1908). This play, based on the Western play The Squaw Man (1905) by Edwin Milton Royle, was presented at the Lyric Theatre in London.
Sources: Harry Rusche (Shakespeare & The Players), IMDb and Wikipedia.
East-German postcard by VEB Progress Filmvertrieb, Berlin, no. 578, 1957.Photo: Magyar-Film. Publicity still for Szakadék/Abyss (László Ranódy,1956).
Karoly Makk's masterpiece
Margit Bara was born Margit Éva Bara in Cluj, Romania in 1928. In 1955 she moved to Hungary.
One of her first films was the Hungarian film Szakadék (László Ranódy, 1956) with Ferenc Bessenyei.
She then starred in the romantic drama Bakaruhában/In Soldier's Uniform (Imre Fehér, 1957). With this film the 1957 Karlovy Vary Film Festival was launched. Set during WW1, the story revolves around a Hungarian journalist (Ivan Darvas) who is required by law to wear his military uniform twice a week. Our hero falls in love with a similarly-uniformed young woman, never dreaming that she is a servant girl (Margit Bara) and, as such, ‘beneath his station.’
Other films in which she played the lead were Csempészek/Smuggler (Félix Máriássy, 1958), and A tettes ismeretlen/Danse macabre (László Ranódy, László Nádasy, 1958) with Andor Ajtay.
She had a supporting part in Ház a sziklák alatt/The House Under the Rocks (Károly Makk, György Hintsch, 1959). This film drama was one of the hits of the 1958 Venice Film Festival, and was equally well received at the San Francisco Film Festival. The film is considered by many to be director Karoly Makk's masterpiece.
Janos Gorbe plays a soldier, sick of heart and mind, who returns to his home after a long and debilitating war. He finds that his wife is dead, and his son is now under the care of his sister-in-law, played by Irene Psota. An embittered hunchback, Psota tends to Gorbe's wounds and keeps him isolated from the rest of the village, hoping in this way that he will eventually fall in love with her. He doesn't, and tragedy is the result.
Hungarian postcard by SZ, Budapest, no. 331 / 17 / 564. Retail price: 60 Fillér. Photo: Kovács. Publicity still for Szakadék/Abyss (László Ranódy, 1956) with Imre Sinkovits.
East-German postcard by VEB Progress Filmvertrieb, Berlin, no. 1834, 1963. Retail price: 0,20 DM. Photo: publicity still for Polnocná omsa/Midnight Mass (Jiri Krejcik, 1962) with Hannjo Hasse.
During the early 1960s, Margit Bara appeared in such Hungarian films as Katonazene (Endre Marton, György Hintsch, 1961).
She had her international breakthrough with the Hungarian drama film Pacsirta/Drama of the Lark (László Ranódy, 1963), based a novel by Dezső Kosztolányi. It was entered into the 1964 Cannes Film Festival where the lead, Antal Páger won the award for Best Actor.
Bara played the lead opposite Miklos Gábor in the Hungarian film drama Kertes házak utcája/A Cozy Cottage (Tamás Fejér, 1963) which was entered into the 1963 Cannes Film Festival.
In 1966 she appeared in Hideg Napok/Cold Days (Andras Kovacs, 1966). Director Kovacs was a leading light of the new Hungarian cinema.
According to Hal Erickson at AllMovie Kovacs brought his “'docudrama' technique to this story which deals with the systematic slaughter of Jews and Serbians by Hungarian fascists during World War II. Kovacs is not quite a revisionist historian, but he does cast doubt on the 'official' interpretations of this horrible human-rights violation. Nor is the audience allowed to slip into complacency: it comes as a shock to discover that many of the characters whom we're rooting for turn out to be the villains!”
East-German postcard by VEB Progress Filmvertrieb, Berlin, no. 1632, 1961.
East-German postcard by VEB Progress Filmvertrieb, Berlin, no. 1686, 1962. Photo: Hungarofilm.
Jacob the Liar
One of Margit Bara’s final films, Jakob der Lügner/Jacob the Liar (Frank Beyer, 1975), is also one of her most famous works. This East German-Czechoslovakian Holocaust film was based on the novel of the same name by Jurek Becker.
Work on the picture began in 1965, but production was halted in the summer of 1966. Becker, who had originally planned Jacob the Liar as a screenplay, decided to make it a novel instead. In 1972, after the book garnered considerable success, work on the picture resumed.
In a Jewish ghetto in German-occupied Poland, a man named Jakob (Vlastimil Brodský) is summoned to the Gestapo office on a charge he broke the curfew. As the soldier who sent him there merely played a prank on him, he is released, but not before hearing a radio broadcast about the defeats of the German Army. As no one believes he went to the Gestapo and came out alive, Jakob makes up another tale, claiming he owns a radio – a crime punishable by death. He then starts encouraging his friends with false reports about the advance of the Red Army toward their ghetto. The residents, who are desperate and starved, find new hope in Jakob's stories. But it all ends as the Germans deport the people to their death in the extermination camps.
Jacob the Liar was the first ever East German film that was entered into the Berlin International Film Festival in West Berlin: in the XXV Berlinale, Vlastimil Brodský won the Silver Bear for Best Actor. It was also nominated for the Academy Award for Best Foreign Language Film at the 49th Academy Awards, the only East German picture ever to be selected.
There was a malicious rumour campaign against Margit Bara. In 1977, she decided to retire.
In 2010 Margit Bara was honoured with the Kossuth Prize, a Lifetime Achievement Award. Margit Bara was married twice. First to actor Géza Halász and later to Dezső Gyarmati.
East-German postcard by VEB Progress Filmvertrieb, Berlin, no. 1687, 1962. Retail price: 0,20 DM. Photo: Hungarofilm.
Sources: Hal Erickson (AllMovie) Wikipedia (English and Hungarian) and IMDb.
Our Gang. Dutch postcard.
Ingrid Bergman. Dutch postcard. Sent by mail in 1950.
German postcard by Ross Verlag, no. 8243/2, 1933-1934. Photo: Ufa.
Thanks for sharing your comments, your friendship in 2013. Special thanks to Ivo, Didier and Egbert, for sharing their postcards again. See you in 2014!
Spanish postcard by Novo Graf for Lauren Films. Photo: publicity still for El placer de matar (1988, Félix Rotaeta).
British postcard by Heroes Publishing Ltd, London, no. SPC 2753.
American postcard by Fotofolio. Photo: Herb Ritts, 1994.
German postcard by Memory Cards, no. 497. Photo: publicity still for The Mask of Zorro (Martin Campbell, 1998).
Italian postcard by Bromofoto. Photo: Warner Bros.
Sweden's Leading Film Attraction
Elsa Viveca Torstensdotter Lindfors was born in Uppsala, Sweden, in 1920. Her father, Axel Torsten Lindfors, was a publisher of art books; her mother, Karin Emilia Therese (née Dymling), a painter.
Viveca trained at the Royal Dramatic Theatre School, Stockholm, for three years. While still a student she began her career on the Swedish stage, and in 1940 she started to make films.
She was featured in such films as The Snurriga Familjen/Spinning Family (Ivar Johansson, 1940), Paradis/In Paradise (Per Lindberg, 1941), Anna Lans/The Sin of Anna Lans (Rune Carlsten, 1943), and Svarta rosor/Black Roses (Rune Carlsten, 1945). Lindfors was considered Sweden's leading film attraction and also appeared in many plays.
In 1946, she starred in the sentimental drama I Dodens Vantrum/Interlude (Hasse Ekman, 1946). Set in a Swiss hospital, the film deals with the romance between a terminal patient and a doctor, filmed in the Swiss Alps. When Lindfors gained fame in America, I Dodens Vantrum was released stateside .
Another film which was shown in the US was Appassionata (Olof Molander, 1944-1946). Writer/director Olof Molander was the younger brother of director Gustav Molander. Like Gustav's Intermezzo (1936), starring the young Ingrid Bergman, Olof's Appassionata in set in the world of musicians and concert tours. Brilliant pianist Georg Rydeberg falls madly in love with the much-younger Viveca Lindfors but he has a rival in up-and-coming young musician Alf Kjellin.
British postcard in the Picturegoer series, London, no. W 740. Photo: Warner Bros.
Dutch postcard. Photo: Warner Bros.
In 1946, Viveca Lindfors was brought to Hollywood by Warner Brothers. Her auburn hair and elegant features led more than one observer to proclaim her an 'actress of Garboesque beauty'.
Her American screen debut was in Night Unto Night (Don Siegel, 1949) with Ronald Reagan in his first starring role. The film was shot in 1947, but was not released until 1949. Director Don Siegel would become Lindfors' third husband.
Lindfors played Queen Margaret opposite Errol Flynn in The Adventures of Don Juan (Vincent Sherman, 1948) and went on to co-star with Charlton Heston in the Film Noir Dark City (William Dieterle, 1950) and with Virginia Mayo and Gordon MacRae in another Noir, Backfire (Vincent Sherman, 1950).
In 1949, she made her first French film, Singoalla (Christian-Jacque, 1949). Hal Erickson at AllMovie: "Lindfors plays the title character, a wild-eyed gypsy lass who falls in love with a nobleman (Michel Auclair) The plot thickens when the nobleman's son (Johnny Chambot) likewise lusts for Singoalla. Director Christian-Jacque exhibits his customary lack of restraint, which in this instance is a plus rather than a minus."
She became a naturalized US citizen around 1951. Her 1955 Broadway debut in the title role of Anastasia, a drama about a woman claiming to be the missing daughter of Czar Nicholas II, won her immediate acclaim from critics and an award from the Drama League.
Other memorable stage roles include Miss Julie (1955), Brecht on Brecht (1961), and I Am Woman (1973), a one-woman show.
In 1966, she was a founder and artistic director of the Berkshire Theater Festival in Stockbridge, Mass.
Later she appeared with her son Kristoffer Tabori in My Mother, My Son. She also appeared on television, including the series Life Goes On (1989) for which she won an Emmy.
Vintage postcard, no. 559. Photo: Warner Bros.
Dutch postcard by 't Sticht, Utrecht. Photo: Warner Bros.
At AllMovie, Sandra Brennan notes: "Viveca Lindfors never achieved superstar status due in large part to working in movies that inadequately displayed the full extent of her ability and charismatic personality. "
One of her best films was Die Vier im Jeep/Four in a Jeep (Leopold Lindtberg, Elizabeth Montagu, 1951). The scene is post-war Vienna, a city sliced up into four United Nations sectors. Lindfors plays a recent escapee from a Soviet prison camp, who tries to win freedom for her husband. American MP Ralph Meeker attempts to help Lindfors, and to avoid falling in love with her himself. For her role in this film, Viveca Lindfors won her first Best Actress Award from the Berlin Film Festival in 1951.
Her second Berlin Film Festival Best Actress Award was for her role in No Exit (Tad Danielewski, 1962), an adaptation of Jean Paul Sartre’s short drama Huis Clos. She also won the Special Award at the Venice Film Festivalfor her role as a model in Weddings and Babies (1959, Morris Engel), an independent, location-filmed romance set amongst the denizens of the Manhattan 'glamour' industry.
She gave another great performance in the British production The Damned/These Are the Damned (Joseph Losey, 1962), a powerful, bleak science fiction film with a fervent cult following.
Unlike many actresses for whom the aging process marks the death of their careers, Lindfors grew gracefully into her latter years, gaining a dignified beauty and an even more commanding presence in such films as The Way We Were (Sydney Pollack, 1973), Welcome to L.A. (Alan Rudolph, 1976), the Swedish production Tabu/Taboo (Vilgot Sjöman, 1977), and A Wedding (Robert Altman, 1978), Girlfriends (Claudia Weill, 1978).
Other films include Creepshow (George A. Romero, 1981) and Rob Reiner's comedy The Sure Thing (1985) where she had a supporting role as a professor of John Cusack.
In 1987, she made her debut as a screenwriter and director with Unfinished Business, a highly personal, autobiographical drama.
In 1990 she appeared in the British-Dutch-Spanish co-production Luba (Alejandro Agresti, 1990), as a down-to-earth madam of a fancy brothel, where writer Roberto (Elio Marchi) is hiding out from the Gestapo.
French postcard by Editions P.I., Paris, offered by Les Carbones Korès, Carboplane. Photo: Paramount Pictures, 1953.
Dutch postcard. Photo: Warner Bros.
Viveca Lindfors played a scientist in the Science Fiction opus Stargate (Roland Emmerich, 1994) starring Kurt Russell. Despite mixed reviews, the film gained a cult following and became a commercial success worldwide.
Her final film was Henry Jaglom's Last Summer in the Hamptons (1995), a Chekhovian-inspired comedy-drama in which she played a grande dame actress spending time with her family. According to Judd Blaise at AllMovie, she is "giving a career-capping performance that addresses the problems of older actresses and looks back fondly on the star's own history."
In her personal life, she was renowned for her numerous romantic liaisons - this in a decade when such behaviour was considered shocking. She was married four times; to Swedish cinematographer Harry Hasso, Swedish attorney Folke Rogard, director Don Siegel, and Hungarian writer, producer and director George Tabori.
She had three children: two sons (John Tabori with Hasso, and the actor Kristoffer Tabori, with Siegel) and a daughter (Lena Tabori, with Rogard).
In 1990, she was attacked by a man who slashed her face with a razor as she walked in Greenwich Village. Her wounds required 28 stitches.
She returned to Sweden in August 1995 to tour with the stage play In Search of Strindberg. She died there of complications from rheumatoid arthritisat the age of 74, and was buried in her birth town Uppsala.
In New York, a service was held at the Actors Studio where Gene Frankel spoke to an audience about his respect and affection for this talented and unique poetic performer.
A scene from Journey Into Light (1951) starring Sterling Hayden, Viveca Lindfors and Thomas Mitchell. Source: DVanDeusen (YouTube).
Trailer for Last Summer in the Hamptons (1995). Source: RainbowReleasing (YouTube).
Sources: David Stout (The New York Times), Sandra Brennan (AllMovie), Hal Erickson (AllMovie), Judd Blaise (AllMovie), Wikipedia, and IMDb.
German postcard by Ross Verlag, no. 5575/1, 1930-1931. Photo: Atelier Balázs.
German postcard by Ross Verlag, no. 6007/2, 1931-1932. Photo: Gerstenberg, Berlin.
One of the Most Popular Schlagers of 1930
Gretl Theimer was born in Vienna in 1911. Little Gretl followed ballet classes and danced in the children’s ballet of the Wiener Staatsoper (Vienna State Opera).
She started her professional career as an operetta singer on Austrian and German stages.
One of the first sound films, the musical Zwei Herzen im Dreivierteltakt/Two Hearts in Waltz Time (Géza von Bolváry, 1930) made her a popular film star.
The title waltz, which she sang with co-star Walter Janssen and was composed by Robert Stolz, became one of the most popular Schlagers of 1930.
That same year she could also be seen in leading roles in Die Csikosbaroneß/TheBaronessCsikos (Jacob Fleck, Luise Fleck, 1930) with Ernö (Ernst) Verebes,Ihre Majestät die Liebe/Her Majesty Love (Joe May, 1930), and Drei Tage Mittelarrest/Three Days in the Guardhouse (Carl Boese, 1930) starring Max Adalbert and Ida Wüst.
To her other early films belong the Operetta Viktoria und ihr Husar/Victoria and Her Hussar (Richard Oswald, 1931), Walzerparadies/Waltz Paradise (Friedrich Zelnik/Frederic Zelnik, 1931) starring Charlotte Susa, and Jeder fragt nach Erika/Everybody Asks for Erika (Friedrich Zelnik/Frederic Zelnik, 1931) with Lya Mara.
German postcard by Ross Verlag, no. 7441/2, 1932-1933. Photo: Atelier Binder, Berlin.
German postcard by Ross Verlag, no. 7441/3, 1932-1933. Photo: Atelier Binder, Berlin.
Spirited and Attractive Girl
Gretl Theimer became established as the spirited and attractive girl of the Wiener films as In Wien hab' ich einmal ein Mädel geliebt/Once I Loved a Girl in Vienna (Erich Schönfelder, 1931) and other entertainment pictures of the 1930s.
In the next years she played supporting roles in well-known productions as Das Geheimnis um Johann Orth/The Secret about Johann Orth (Willi Wolff, 1932) featuring Karl Ludwig Diehl, and Das Glück von Grinzing/Happiness in Grinzing (Otto Kanturek, 1933) opposite Iván Petrovich.
After the rise of the Nazis, she could continue her career in films like Der müde Theodor/Tired Theodore (Veit Harlan, 1936), Fräulein Veronika/All for Veronica (Veit Harlan, 1936), Die ganz grossen Torheiten/The Big-Time Follies (Carl Froelich, 1937), Der Tanz auf dem Vulkan/The Dance on the Vulcano (Hans Steinhoff, 1938) and Unsterblicher Walzer/Immortal Waltz (E.W. Emo, 1939).
After this decade her career seemed finished. During wartime she only appeared in two more films, Lauter Liebe/Nothing But Love (Heinz Rühmann, 1940) and Falstaff in Wien/Falstaff in Vienna (Leopold Hainisch, 1940).
After the war the engagements dropped further off. In the 1950s and 1960s she only played small roles in films like Der Fürst von Pappenheim/The Prince of Pappenheim (Hans Deppe, 1952), Die Trapp-Familie/The Trapp Family (Wolfgang Liebeneiner, 1956), Italienreise - Liebe inbegriffen/Voyage to Italy, Complete with Love (Wolfgang Becker, 1958) and Eine Frau für's ganze Leben/A Wife For Life (Wolfgang Liebeneiner, 1960).
Her last screen appearance was on TV in Walzertraum/Waltz Dream (Fred Kraus, 1969).
Gretl Theimer died in 1972 and was buried at the Waldfriedhof in Munich. In 1991 the actress Annie Markart was buried in the same grave.
This and the fact that Theimer never married made me wonder if the Nazi's knowledge of a lesbian relationship caused the sudden end of her film career in 1940? The film career and marriage of Annie Markart ended around the same time.
German postcard by Ross Verlag, no. 8638/1, 1933-1934. Photo: Frhr. von Gudenberg / Ufa.
German postcard by Das Programm von Heute, Berlin. Photo: Hammer-Tonfilm.
German Postcard by Ross Verlag, no. 8825/1, 1933-1934. Photo: Phönix-Film.
German postcard by Das Programm von Heute, Berlin. Photo: Verleih Götz Hofbauer. Collection: Didier Hanson.
Sources: Thomas Staedeli (Cyranos), Wikipedia (German), The Androom Archives and IMDb.
René Cresté. French postcard by Coquemer Gravures, Paris. Photo: Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
Édouard Mathé. French postcard by Coquemer Gravures, Paris. Photo: Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
René Cresté& Georgette de Néry. French postcard by Coquemer Gravures, Paris. Photo: Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
The First Superhero of the Cinema
Judex was the first superhero of the cinema. The caped crusader was introduced in the crime-adventure Judex (1917), a French silent serial in twelve parts directed by Louis Feuillade.
In 1916, Feuillade and writer Arthur Bernède had begun to develop a surrealistic character called 'Jacques de Tremeuse' (aka Judex) - a mysterious avenger who sports a signature long dark cloak, a wide-brimmed black hat, and a fatalistic air.
Judex (which translates as Justice) appears and disappears like a ghost, and seems to have hypnotic powers. He is a master of disguise, and an excellent fighter. He commands the loyalty of an organization composed of circus folks and redeemed apaches.
Finally, he flies a plane and has a secret lair, where he interrogates his prisoners through a ‘television’ screen - everything Judex writes on the screen on his desk appears on a similar screen on the wall of his victim's cell.
The character's arch-nemesis is the callous banker Favraux, who has carelessly driven thousands of people into bankruptcy.
René Cresté. French postcard by Coquemer Gravures, Paris. Photo: Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
Louis Leubas. French postcard by Coquemer Gravures, Paris. Photo: Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
Marcel Lévesque. French postcard by Coquemer Gravures, Paris. Photo: Gerschel / Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
Olinda Mano. French postcard by Coquemer Gravures, Paris. Photo: Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
Judex began production in 1917 and the 12-part serial was released the same year in its first instalment to critical and public praise.
Jeffrey M. Anderson at Combustible Celluloid calls Judex an ‘unalloyed masterwork’, “establishing Feuillade as one of history's greatest directors. He had an uncanny knack for finding shocking beauty in simple images, such as a gate or a wall or an antique car driving down the road”.
Louis Feuillade had already made two popular earlier serials, Fantômas (1913) and Les Vampires (1915) which were popular with audiences, but drew criticism for glorifying criminals.
The amazingly cool and positive Judex was played by René Cresté, a French stage and film actor and director of the silent film era.
Cresté, who was already popular among female audiences, now became an immensely popular film star.
Judex also starred Musidora as villainess and Favraux' mistress Diana Monti, Édouard Mathé as Jacques' brother Roger, Louis Leubas as the banker Favraux, Marcel Lévesque as the amateur detective Cocantin, Gaston Michel as Kerjean, Jean Devalde as his criminal son Morales, Yvette Andréyor as Jacqueline, the daughter of Favraux; the little girl (!) Olinda Mano as her little son Jean, and in a small part the young René Poyen.
Yvette Andréyor. French postcard by Coquemer Gravures, Paris. Photo: Gerschel / Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
Georgette de Néry. French postcard by Coquemer Gravures, Paris. Photo: Gerschel / Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
Andrew Brunelle. French postcard by Coquemer Gravures, Paris. Photo: Gerschel / Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
Juana Borguèse. French postcard by Coquemer Gravures, Paris. Photo: Félix / Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
The New Mission of Judex
Simultaneously with the release of Judex in the cinemas, a novelization of the film serial, signed by both Feuillade and Bernède, was released, first as a serial in Le Petit Parisien, then in a collected edition by Tallandier.
The following year a sequel was made, La nouvelle mission de Judex/The New Mission of Judex (1917-1918, Louis Feuillade).
Most characters from Judex returned: Judex (René Cresté), Jacqueline (Yvette Andréyor), her father Favraux (Louis Leubas), clumsy Cocantin (Marcel Lévesque), little Jean (Olinda Mano) and Roger (Édouard Mathé).
Jacques/ Judex has married Jacqueline, so he has become a father to her son Jean. Jacques' brother Roger loves a neighbour girl Primerose (Georgette de Néry), whose father is the inventor Milton (Emile Keppens).
Their happiness is threatened by the dangerous gang La rafle aux secrets (the raiders of the secrets), who avid to steal and resell important technological inventions. The evil Dr. Howey (Andrew Brunelle) and his accomplice, the dangerous Baronne d'Apremont (Juana Borguèse), both have the capacities to hypnotise the innocent Jacqueline and Primerose, and make them do things against their will. Jacqueline threatens to poison her already ill son, while Primerose steals her father's invention and kidnaps little Jean.
The Baronne and her female aid Gaby (Cyprian Gilles) hold Jean, but they are captured and imprisoned by Judex and Cocantin. Gaby repents but the Baronne escapes. Dr. Hewey and the Baronne die when their boat explodes, accidentally caused by Cocantin.
In the end Primerose is cured and marries Roger. Remarkable is that the theft of the invention seems an excuse to display the hysterical crises and hypnotised states of the women, while the Baronne and Gaby seem to be very close to another and the previous strict boundaries between good woman/bad woman in Judex are blurred.
The sequel landed René Cresté definitively in ‘le Panthéon du cinéma’, as Philippe Pelletier writes so beautifully at CinéArtistes. The film studio, Gaumont, created this beautiful series of Les Artistes de Judex postcards, published by Coquemer Gravures in Paris, to advertise the new series.
A remake was made in 1934 under the same title, directed by Maurice Champreux, and starring René Ferté as Judex.
Another remake was done in 1963 by director Georges Franju under the same title. The story was shortened and simplified but remained true to the original. American magician Channing Pollock was cast as the mysterious hero.
René Cresté. French postcard by Coquemer Gravures, Paris. Photo: Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
Édouard Mathé. French postcard by Coquemer Gravures, Paris. Photo: Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
Louis Leubas. French postcard by Coquemer Gravures, Paris. Photo: Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
Marcel Lévesque. French postcard by Coquemer Gravures, Paris. Photo: Gerschel / Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
René Cresté and Edouard Mathé. French postcard by Coquemer Gravures, Paris. Photo: Gerschel / Gaumont. Still for La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
Next Saturday we start a new series on photographers for star postcards.
Sources: Jeffrey M. Anderson (Combustible Celluloid), Philippe Pelletier (CinéArtistes) (French), Wikipedia and IMDb.