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France Dhélia

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France Dhélia (1894-1964) was a French actress of the silent cinema.


French postcard. Collection: Didier Hanson.

The Sultan of Love


France Dhélia was born Franceline Benoit in 1894, in a village near Blois, thus raised in the area of the famous French royal castles along the Loire river.

She made her film début under the name of Mado Floréal in L’Ambitieuse (Camille de Morlhon, 1912) with Gabriel Signoret.

Afterwards she played in various comedies with the character Fred, directed by René Hervil, who also played Fred himself.

During the First World War, she took the name of France Dhélia. She made her first film with director René Le Somptier and appeared in her first feature-length film: L’instinct est maitre/The Instinct is the Ruler (Jacques Feyder, 1917).

In 1918 she rose to stardom when she played Sultane Daoulah in La sultane d’amour/The Sultan of Love (René Le Somptier, Charles Burguet, 1918). It was the first film shot at the new Victorine studiosin Nice. The film had sets designed by Marco de Gastyne.

This film was followed by Malencontre/Inopportune (Germaine Dulac, 1920), La montée vers l’Acropole/The Climb to the Acropolis (René Le Somptier, 1920), Le coeur magnifique/The Magnificent Heart (Séverin-Mars, Jean Legrand, 1921), La bête traquée/The Trapped Beast (René Le Somptier, Michel Carré, 1922) with Edmond Van Daële, the comedy Petite hôtel à louer/Little Hotel for Rent (Pierre Colombier, 1923) with Gaston Modot, the title role in La garçonne/The Flapper (Armand du Plessy, 1923), and Néné (Jacques de Baroncelli, 1924).


French postcard in the series Les Vedettes du Cinéma by Editions Filma, no. 4. Photo: Films Aubert.

The Queen of Sheba


Between 1923 and 1925 France Dhélia performed in many films by Gaston Roudès, her favourite director.

These films included La guitare et le jazz band/The Guitar and the Jazz band (1923), L’ombre du bonheur (1924) with Constant Rémy, Pulcinella (1925),La maternelle/The Nursery School (1925) with Lucien Dalsace, Le chemin de la gloire/The Road of Glory (1926), Cousine de France/Cousin of France (1927) with Jean-Louis Allibert, and La maison au soleil/House in the Sun (1928).

In those years Dhélia was often paired with actor Lucien Dalsace, as in La maternelle, Oiseaux de passage and Les petits.

Around 1925 she was at the peak of her success. When sound film set in, Dhélia continued to play mostly in films by Roudès, though she did not always play the lead anymore.

Her sound films include Le gamin de Paris/Paris Urchin (1932) with Alice Tissot, Roger la Honte (1933) with Constant Rémy, Flofloche (1934), and Le chante de l’amour/The Song of Love (1935).&

Her last film, was Une main a frappé/A Hand Hit (1939). An exception was the part of the Queen of Sheba in the biblical film Le berceau de dieu/The Cradle of God (Fred LeRoy Granville, 1926).

Other exceptions were the main female character, Blanche, in Jean Epstein’s late silent crime drama Sa tête/Her Head (1929), and a minor part in the early sound film Méphisto (1930, Henri Delbain, Georges Vinter) opposite a young Jean Gabin. At age 45, France Dhélia quitted cinema, and a quarter of a century later she died quietly in Paris in 1964.


French postcard by Cinémagazine-Edition, Paris, no. 177.


French postcard by Cinémagazine, no. 122.

Sources: Caroline Hanotte (CineArtistes), Wikipedia (French) and IMDb.

Victor Sjöström

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Victor Sjöström (1879-1960) was one of the most important Swedish film actors and directors, famous for his poetic and touching narratives, such as Ingeborg Holm (1913), Terje Vigen/A Man There Was (1916) - by then the most expensive Swedish film made - and Körkarlen/The Phantom Carriage (1920), considered as one of the best Swedish silent films. From 1923 he worked in Hollywood under the name of Victor Seastrom, directing such films as He Who Gets Slapped (1924), featuring Lon Chaney, and The Wind (1928), starring Lilian Gish. He returned to Sweden at the advent of sound cinema, and continued working there. Memorable is his last acting part in Smultronstället/Wild Strawberries (1957) by Ingmar Bergman

Victor Sjöström in Ingmarssönerna
Swedish postcard. Victor Sjöström in Ingmarssönerna/Sons of Ingmar (Victor Sjöström, 1919), based on Selma Lagerlöf's novel. Young Ingmar at Heaven's Gate. The caption translates: "I would like to meet Old Ingmar to ask for his advice in an awkward matter."

A Breach of Respectability


Victor David Sjöström was born in Silbodal, in the Värmland region of Sweden, in 1879. He was only a year old when his father, business man Olof Adolf Sjöström, moved the family to Brooklyn, New York in 1880.

As a boy, Sjöström was close to his mother, actress Sofia Elisabeth Hartman, who died in New Tork during childbirth  in 1886. Victor was seven years old then. Sjöström returned to Sweden where he lived with relatives in Stockholm. His uncle was a leading actor at the Royal Dramatic Theatre in Stockholm during the latter part of the 19th century: Victor Hartman.

The teen-aged Sjöström loved the theatre, but after his education, he turned to business, becoming a donuts salesman. Fortunately for the future of Swedish cinema, he was a flop as a salesman, and turned to the theatre, becoming an actor and then director.

The Swedish film production company Svenska Bio hired him and fellow stage director Mauritz Stiller to helm motion pictures. His debut was the silent film Ett hemligt giftermål/A Ruined Life (Victor Sjöström, 1912) with Hilda Borgström and John Ekman.

That year, he also made the silent drama Trädgårdsmästaren/The Gardener (Victor Sjöström, 1912), the first film to ever be banned by the Swedish censor system. Sjöström himself played a brutal gardener who rapes a young, innocent woman (Lili Beck) in his employ in a lovely greenhouse. In the final scene, the girl is found dead the next morning on the floor of the greenhouse, with red roses around her. The official comments of the censors were: "A breach of respectability. The association of death and beauty poses a threat to public order." The film was long thought to have been lost, but in 1979 a copy was found in an archive in the United States.

Between 1912 and 1915, Victor Sjöström directed 31 films of which only three still survive. In 1913, he directed Ingeborg Holm (1913), which is considered the first classic of Swedish cinema. His films of the 1910's are marked by subtle character portrayal, fine storytelling and evocative settings in which the Swedish landscape often plays a key psychological role. The naturalistic quality of his films was enhanced by his (then revolutionary) preference for on-location filming, especially in rural and village settings.

Sjöström's other surviving films include Ingmarssönerna/Sons of Ingmar (Victor Sjöström, 1919), the sequel Karin Ingmarsdotter/Karin, Daughter of Ingmar (Victor Sjöström, 1920) and Körkarlen/The Phantom Carriage (Victor Sjöström, 1921), all based on stories by the Nobel-prize winning novelist Selma Lagerlöf.

Released on New Year's Day 1921, Körkarlen/The Phantom Carriage starred Victor Sjöström himself, alongside Hilda Borgström, Tore Svennberg and Astrid Holm. The film is notable for its special effects, its advanced (for the time) narrative structure with flashbacks within flashbacks, and for having been a major influence on Ingmar Bergman.

Victor Sjöström
French postcard by Editions Cinémagazine, no. 146.

Greta Garbo
Greta Garbo. Austrian postcard by Iris-Verlag, no. 5930. Photo: Metro-Goldwyn-Mayer.

Name the Man


In the 1920s, Victor Sjöström accepted an offer from the Goldwyn Studio to work in the United States. In Sweden, he had acted in his own films as well as in those for others but in Hollywood, he devoted himself solely to directing. Using an anglicised name, Victor Seastrom, he made Name the Man (1924), a dramatic film based on the Hall Caine novel.

His first M.G.M. production was the melodrama He Who Gets Slapped (Victor Seastrom, 1924) starring Lon Chaney and Norma Shearer. It was not only a critical success but a huge hit, getting the new studio off onto a sound footing. According to Jon C. Hopwood at IMDb: "He was highly respected by studio boss Louis B. Mayer and by production head Irving Thalberg, who shared Sjöström's concerns with art that did not exclude profit."

Sjöström went on to direct great stars of the day such as Lillian Gish in The Scarlet Letter (Victor Seastrom, 1926) and The Wind (Victor Seastrom, 1928), Greta Garbo in The Divine Woman (Victor Seastrom, 1928), and John Gilbert in The Masks of the Devil(Victor Seastrom, 1928) .

He finished his Hollywood career after his first talkie, A Lady to Love (Victor Seastrom, 1930), starring Vilma Bánky and Edward G. Robinson.

Uncomfortable with the modifications needed to direct talking films, Victor Sjöström returned to Sweden where he directed two more films, a Swedish and a German version of the drama Markurells i Wadköping/Väter und Söhne/Father and Son(Victor Sjöström, 1931).

His final directing effort was an English language drama filmed in the United Kingdom, the swashbuckler Under the Red Robe (Victor Seastrom, 1937), starring Conrad Veidt and Annabella.

Over the following fifteen years, Sjöström returned to acting in the theatre, performed a variety of leading roles in more than a dozen films and worked as director of the Svensk Film Industri company.

At age 78 he gave his final acting performance, probably his best remembered, as the elderly professor in Ingmar Bergman's film Smultronstället/Wild Strawberries (1957), for which he won the National Board of Review's Best Actor Award.

In 1960, Victor Sjöström died in Stockholm at the age of eighty and was interred there in the Norra begravningsplatsen.

He married three times, to Alexandra Stjagoff (1900–1912), actress Lili Beck (1913–1916) and actress Edith Erastoff (1922–1945). He and Erastoff had two daughters: actress Guje Lagerwall (1918) and Caje Bjerke (1918).


Trädgårdsmästaren/The Gardener (Victor Sjöström, 1912). Source: forgottenmovie (YouTube).


Körkarlen/The Phantom Carriage (Victor Sjöström, 1921). Source: William Thomas Sherman (YouTube).

Sources: Jon C. Hopwood (IMDb), Wikipedia and IMDb.

Margot Hielscher

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Gorgeous German singer, film actress and costume designer Margot Hielscher (1919) appeared in 200 TV productions, 60 films and 2 Eurovision Song Contests (1957 and 1958). She is now the oldest living person who ever participated at the Contest.

Margot Hielscher
German postcard by Film-Foto-Verlag, no. G 230. 1941-1944. Photo: Hammerer / Wien-Film.

Women are No Angels


Margot Hielscher was born in Berlin in 1919. Her father owned a travel agency.

From 1935 till 1939 she trained as a costume and fashion designer. Thus she met in Berlin the contemporary stars of the cinema and the music world. This stimulated her to study singing and acting, and she took classes with Albert Florath and Mary Koppenhöfer.

Since 1939, she worked as a costume designer for the Ufa. One of the first films on which she worked was the comedy Hurra, ich bin Papa!/Hurrah! I'm a Papa (Kurt Hoffmann, 1939) starring Heinz Rühmann. Reportedly, Rühmann later asked her to marry him, which she refused.

Soon she also was discovered as an actress. In 1940 she made her first film appearance in Das Herz der Königin/The Heart of the Queen (Carl Froelich, 1940) alongside the famous Zarah Leander.

For the Terra studio she appeared in the romance Auf Wiedersehn, Franziska!/Goodbye, Franziska! (Helmut Käutner, 1941) starring Marianne Hoppe.

From 1942 on she worked for the Bavaria Studio in Munich. She played roles in several romantic comedies in which she also performed as a singer and she soon became one of the most popular actresses of the German cinema during the Second World War.

In 1943 she sang the song Frauen sind keine Engel (Women are No Angels) in the film with the same title by Willi Forst. It would become her best known song. During the war, Hielscher undertook several tours for the troops as a singer with the Big Band of Gene Hammers.

According to IMDb, Josef Goebbels thought her singing was too ‘American’. He insisted that she shouldn't play opposite Ferdinand Marian in the film Dreimal Komödie/3 x Comedy (Victor Tourjansky, 1944-1949) because she wasn't ‘German’ enough. At that time, all the film castings had to be agreed on by Goebbels. However, after another screen-test with some more ‘German’ make-up, Goebbels finally agreed on her casting.

Margot Hielscher
German postcard by Film-Foto-Verlag, no. 3656/1, 1941-1944. Photo: Hämmerer / Wien Film.

Margot Hielscher
German postcard by Film-Foto-Verlag, no. 3854/1. 1941-1944. Photo: Baumann / Terra.

Margot´s Revue


After the war, Margot Hielscher had her career high, when she appeared in front of enthusiastic GI’s with her show Margot´s Revue.

She contributed as a co-screenwriter to the film Hallo Fräulein/Hello Fraulein (Rudolf Jugert, 1949), which was partially based on her experiences of the immediate post-war period. While shooting this film, she also met her future husband, film composer Friedrich Meyer. 10 years later followed their wedding.

IMDb states that she decided to obtain a pilot's licence in Switzerland in 1952 because her friend Herbert von Karajan cynically told her that it was a good thing that there still were certain things that were only for men. Hielscher proved him wrong and passed her test.

In the 1950s she focussed on her singing career and many of her film appearances were only vocal numbers, such as in the noir Nachts auf den Straßen/Detour (1952) starring Hans Albersand Hildegard Kneff.

She incidentally appeared in international films such as The Devil Makes Three (Andrew Marton, 1952) starring Gene Kelly, and Nel gorgo del peccato (Vittorio Cottafavi, 1954) with Franco Fabrizi.

Her voice was a mix of jazz vocals and operetta soprano. In 1957, Hielscher was chosen to represent Germany at the Eurovision Song Contest with the song Telefon, Telefon (Telephone, Telephone). The song finished 4th out of 10 songs, and gained a total of 8 points.

Hielscher was chosen again to represent Germany at the Eurovision Song Contest 1958 with the song Für Zwei Groschen Musik (Music For Two Pennies). The song finished 7th out of 10 songs, and gained a total of 5 points.

Margot Hielscher
East-German postcard by Progress, 1955. Photo: Progress.

Margot Hielscher
German postcard. Photo: Sessner, Dachau.

Period Sex Comedy


Margot Hielscher went on to appear in countless TV shows and series till the late 1980s. Among her series were Salto mortale (1969) with Gustav Knuth, and the comedy series Suchen Sie Dr. Suk!/Are you looking for Dr. Suck! (1972) with Ferdy Maine.

For the Bayerischen Fernsehen (Bavaria TV), she was the host of the 1960s TV show Zu Gast bei Margot Hielscher (Hosted by Margot Hielscher), in which she received some 700 guests including Maurice Chevalierand Romy Schneider.

She incidentally played in films, including the period sex comedy Frau Wirtins tolle Töchterlein/The Countess Died of Laughter (Franz Antel, 1973) and the Thomas Mann adaptation Der Zauberberg/The Magic Mountain (Hans W. Geissendörfer, 1982) with Rod Steiger.

In 1991 and 1992 she performed in the Stephen Sondheim musical Follies alongside Eartha Kitt in the Theater des Westens(Theater of the West) in Berlin.

After roles in the TV series Rivalen der Rennbahn/Rivals at the Race Track (1989) and Der Nelkenkönig/The Carnation King (Franz Josef Gottlieb, 1994) she finally pulled back from the film business, but kept appearing regularly in the theatre.

Thus she performed in the Philharmonie München (Munich Philharmonic) in 2006, in the Philharmonie Berlin (Berlin Philharmonic) in 2007 and in the Komödie im Bayerischen Hof München (Comedy in the Bavarian Court Munich) in 2008, with Christian Ude.

In 1978 she received the Bundesverdienstkreuz (Germany’s Order of Merit) and in 1985 she was awarded with the Filmband in Gold for long and outstanding achievements in German film.

Since 1942 Margot Hielscher lives in the Munich district of Bogenhausen (Duke Park).


Scene from Hallo Fräulein/Hello Fraulein (Rudolf Jugert, 1949). Source: Alparfan (YouTube).


Margot Hielscher sang for Germany at the Eurovision Song Contest 1958, held in Hilversum, The Netherlands. Her song was Für Zwei Groschen Musik. Source: huelezelf (YouTube).

Sources: Alexander Darda (Margot-Hielscher.de), Thomas Staedeli (Cyranos), Stephanie D’heil (Steffi-Line), Wikipedia and IMDb.

David Niven

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British Academy Award-winning actor David Niven (1910-1983) impersonated the archetypal English gentleman, witty, naturally charming, immaculate in dress and behaviour, but he also had a dash of light-hearted sexual roguishness. He is probably best known for his role as the punctuality-obsessed adventurer Phileas Fogg in Around the World in 80 Days (1956).


Spanish collector's card by Cifesa / I.G. Viladot, Barcelona.


British postcard in the Film Partners Series, London, no. PC 211. Photo: R.K.O. Radio. Publicity still for Bachelor Mother (Garson Kanin, 1939) with Ginger Rogers.

Whisky Sales and Horse Rodeo Promotion


James David Graham Niven was born in London, England. He was the son of British Army captain William Edward Graham Niven and the French/British Henrietta Julia de Gacher. He was named David for his birth on St. David's Day.

His father was killed during the Gallipoli Campaign in 1915 and his mother remarried a politician, Sir Thomas Comyn-Platt. David was shipped off to a succession of boarding schools by his stepfather, who didn't care much for the boy. Young Niven hated the experience and was a poor student.

He trained at the Royal Military College, Sandhurst, which gave him the officer and gentleman bearing that was to be his trademark. Niven relocated to New York, where he began an unsuccessful career in whisky sales and horse rodeo promotion in Atlantic City.

After subsequent detours to Bermuda and Cuba, he finally arrived in Hollywood. His first work was as an extra. He then found himself an agent, Bill Hawks, and was signed up for a non-speaking part in Mutiny On The Bounty (Frank Lloyd, 1935).

He accepted a contract with independent film producer Samuel Goldwyn. After several secondary roles for Goldwyn, he was loaned out for a lead role as Bertie Wooster in the 20th Century Fox feature Thank You, Jeeves (Arthur Greville Collins, 1936).

Niven joined what became known as the Hollywood Raj, a group of British actors in Hollywood. Other members of the group included Boris Karloff, Stan Laurel, Basil Rathbone, Ronald Colman and C. Aubrey Smith.

One of his first major roles was in The Charge of the Light Brigade (Michael Curtiz, 1936) starring Errol Flynn, with whom he briefly lived. A year later he starred as Capt. Fritz von Tarlenheim in The Prisoner of Zenda (John Cromwell, William S. Van Dyke, 1937).

Not wanting to be typecast as a 'swashbuckler' as Flynn had been, Niven made films such as the comedies Dinner at the Ritz (Harold Schuster, 1937) which was filmed in London, and Bachelor Mother (Garson Kanin, 1939) with Ginger Rogers.

Niven’s first major success was The Dawn Patrol (Edmund Goulding, 1938) with Errol Flynn. He also appeared in the very successful Wuthering Heights (William Wyler, 1939) starring Merle Oberon and Laurence Olivier.

After suspension by Samuel Goldwyn over a salary dispute, David was back to star in the Western The Real Glory (Henry Hathaway, 1939) with Gary Cooper, and as a gentleman thief in Raffles (Sam Wood, William Wyler, 1940), a remake of the Ronald Colman original.


Dutch postcard by ´t Sticht, Utrecht, no. 3085. Photo R.K.O. Radio Films.


Dutch postcard by HEMO. Photo: Eagle Lion.


British card in the Picturegoer Series, London, no. 1376. Photo: Samuel Goldwyn.

A Matter of Life and Death


After the United Kingdom declared war in 1939, David Niven returned to England and joined the British Army. Niven would take part in the Normandy landings, arriving several days after D-Day. He was given leave to appear in the propaganda films The First of the Few (Leslie Howard, 1942) and The Way Ahead (Carol Reed, 1944).

On his discharge as a colonel he played the poet-airman caught between life and death in A Matter of Life and Death (Michael Powell, Emeric Pressburger, 1946), one of his most effective roles.

On his return to Hollywood after the war, he was made a Legionnaire of the Legion of Merit, the highest American order that can be earned by a foreigner.

Niven found that he still wasn't getting any important roles; despite ten years experience, he was considered too 'lightweight' to be a major name. His films included The Perfect Marriage (Lewis Allen, 1946) with Loretta Young, Magnificent Doll (Frank Borzage, 1946) opposite Ginger Rogers, and The Bishop's Wife (Henry Koster, 1947) with Cary Grant.

After his Goldwyn contract ended in 1949, Niven marked time with inconsequential films including the British production The Elusive Pimpernel (Michael Powell, Emeric Pressburger, 1950).

In 1952 he joined Dick Powell, Charles Boyer, and Ida Lupino to form Four Star, a television production company. Niven was finally able to choose strong dramatic roles for himself, becoming one of TV's first and most prolific stars, although his public still preferred him as a light comedian.

The actor's film career also took an upswing in the 1950s with starring performances in the controversial The Moon Is Blue (Otto Preminger, 1953) - a harmless concoction which was denied a Production Code seal because the word 'virgin' was bandied about; and the mammoth Around the World in 80 Days (Michael Anderson, 1956), in which Niven played his most famous role, erudite 19th century globetrotter Phileas Fogg.

He won a Best Actor Oscar for his performance as the fraudulent major in Separate Tables (Delbert Mann, 1958), in which he co-starred with Deborah Kerr and Rita Hayworth.

During the 1960s he appeared as a compassionate explosives expert in the blockbuster The Guns of Navarone (J. Lee Thompson, 1961), and the sophisticated thief Sir Charles Litton opposite Peter Sellers in The Pink Panther (Blake Edwards, 1963).

Ian Fleming recommended him for the role of James Bond for Dr. No (Terence Young, 1962), but producer Albert R. Broccoli thought that Niven was too old.

In 1967, Niven finally starred as Sir James Bond in the satire Casino Royale (John Huston a.o., 1967). He also starred in the French comedy Le Cerveau/The Brain (Gerard Oury, 1969).


British postcard in the People series by Show Parade Picture Service, London, no. P 1057. Photo: J. Arthur Rank Organisation Ltd. Publicity still for Wuthering Heights (William Wyler, 1939).


German postcard by Ufa, Berlin, no. FK 4248. Retail price: 0,25 Pfg. Photo: Columbia Film. Publicity still for Bonjour Tristesse (Otto Preminger, 1958).


Postcard. Photo: Alberto Sordi and David Niven in The Best of Enemies (Guy Hamilton, 1961). Collection: Pierre sur le Ciel.

Lou Gehrig's Disease


David Niven was married twice. First to Primula Susan Rollo, the aristocratic daughter of a British lawyer. In 1946, she died at age 28 of injuries from an accidental fall in the home of Tyrone Power. While playing hide and seek, she walked through a door believing it led to a closet. Instead, it led to a stone staircase to the basement. Niven later claimed to have been so grief stricken that he thought for a while that he'd gone mad.

In 1948, Niven met Hjördis Paulina Tersmeden, a divorced Swedish fashion model and frustrated actress. They married six weeks later. The actor's rebound second marriage was as unhappy as his previous marriage had been happy. He was the father, with Primula Rollo, of David Niven Jr. and Jamie Niven; and the father, with Hjordis, of two adopted daughters, Kristina (adopted 1960) and Fiona (adopted 1962).

Late in life, he gained critical acclaim for his memoirs of his boyhood and acting career, The Moon's a Balloon (1971) and Bring On the Empty Horses (1975).

The 1970s saw Niven appear in two very different star-studded ensemble murder mysteries; the blackly comical Murder by Death (Robert Moore, 1976) and the Agatha Christie adaptation Death on the Nile (John Guillermin, 1978).

In 1980, Niven began experiencing fatigue, muscle weakness, and a warble in his voice. A 1981 TV talkshow interview alarmed family and friends; viewers wondered if Niven had either been drinking or suffered a stroke. He received the diagnosis of motor neurone disease (Lou Gehrig's Disease) later that year.

His hosting duties of the American Film Institute tribute to Fred Astaire marked his final appearance in Hollywood. He shot two cameos as Sir Charles Litton for his final films, Trail of the Pink Panther (Blake Edwards, 1982) and Curse of the Pink Panther (Blake Edwards, 1983) - his voice by this time was so weak, he was dubbed by Rich Little.

David Niven died at home in Château-d'Oex, Switzerland in 1983 at age 73.


Scene from A Matter of Life and Death (1946). Source: Mutikonka (YouTube).


Trailer Around the World in 80 Days (1956). Source: Old School Trailers (YouTube).


Original trailer of The Pink Panther (1963). Source: gocha 07 (YouTube).

Sources: Hal Erickson (AllMovie), Wikipedia, Britmovie, and IMDb.

Marie Bell

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French stage and film actress Marie Bell (1900-1985) played elegant roles in late silent and early sound films. She is best known for her work in film classics as Jacques Feyder's Le Grand Jeu (1934) and Julien Duvivier's Un Carnet de Bal (1937).


Vintage postcard, no. 7.

French Resistance


Marie Bell was born as Marie-Jeanne Bellon-Downey in Bègles in the Gironde in 1900. At 13 she made her stage debut as a dancer at the London Pavillion.

Back in France, she was trained at the Conservatoire de Bordeaux (Bordeaux Conservatory) and then at the Conservatoire de Paris (Paris Conservatory). There she won the First Prize in 1921.

She appeared in such silent films as Paris (René Hervil, 1924) with Dolly Davis, and Madame Récamier (Tony Lekain, Gaston Ravel, 1928) with Françoise Rosay. After appearing in films for four years Bell joined the distinguished Comedie-Française and would stay there till 1953.

She was mainly a stage actress, but she became a leading film actress in France when sound film arrived, playing in one film after another.

Her early sound films include La nuit est à nous/The Night is Ours (Henry Roussel, 1929) with Jean Murat, L'homme qui assassina/The Man Who Committed the Murder (Kurt Bernhardt, Jean Tarride, 1930) with Jean Angelo, and L'homme à l'hispano/The Man in the Hispano-Suiza (Jean Epstein, 1932).

Her best remembered roles are in the superior Foreign Legion melodrama Le grand jeu/The Full Deck (Jacques Feyder, 1934) opposite Pierre Richard-Willm and Un carnet de bal/Dance Program (Julien Duvivier, 1937) opposite Louis Jouvet and Fernandel.

During the German Occupation of France (1940-1944), she participated in the French resistance as one of nine directors of the Front National du Théatre.


French postcard by A.N., Paris, no. 733. Photo: Paramount.


French postcard by A.N., Paris, no. 680. Photo: Studio G.L. Manuel Frères.


French postcard by Editions Cinémagazine, no. 860. Marie Bell in the early sound film La nuit est à nous/The Night Belongs To Us (Roger Lion, Carl Froehlich, Henry Roussell, 1930). It was the French version of the German film Die Nacht gehört uns (1929) by Froehlich and Roussell. Both versions were shot in Berlin. The film, based on a play by Henri Kistemaeckers, tells about a female daredevil in car races, Bettine Barsac, who has a car accident but is saved by an unknown man. Soon after they meet again, but he proves to be a married man. Bell's co-stars were Henry Roussell, Jean Murat and Sylvie.


French postcard by Editions Cinémagazine, no. 766. Photo: Schmoll. Publicity still for La nuit est à nous/The Night Belongs To Us (Roger Lion, Carl Froehlich, Henry Roussell, 1930).


French postcard by Editions Cinémagazine, no. 988. Photo: Paramount.

Luchino Visconti


Since 1934, Marie Bell was the director of the Théâtre des Ambassadeurs and from 1958 till her death she was the director of the Theatre du Gymnase, which now bears her name.

Her interpretation of the role of Phèdre in the tragedy by Jean Racine was highly noted. Author André Malraux was cited in the magazine L'Avant-Scène n°34": "Seeing Marie Bell in Phèdre is a unique opportunity for anyone who wants to know what is the French genius."

She was best known as a classical actress, but she was not afraid to appear in pieces of avant-garde theatre, as in Le Balcon (1960) written by Jean Genet and directed by Peter Brook.

After years of absence, she returned to the cinema with a small part in Il Gattoparde/The Leopard (Luchino Visconti, 1963) and as the mad mother of Sandra (Claudia Cardinale) in Luchino Visconti's filmVaghe stelle dell'Orsa/Sandra (1965).

In 1969 she was a member of the jury at the Cannes Film Festival. She was awarded the Ordre national de la Légion d'honneur (Legion of Honour) by President Charles de Gaulle for her valiant work in the French Resistance.

Her final film appearance was in a film by Jean-Claude Brialy, Les volets clos/Closed Shutters (1972).

Marie Bell died in 1985 in Neuilly-sur-Seine, France. She was married to film actor Jean Chevrier.


French postcard by Editions Chantal (EC), Paris, no. 80. Photo: Piaz.


French postcard by Editions Chantal, Paris, no. 591.


French postcard by PC Paris, no. 84.


French postcard. Photo: collection: Ciné Miroir.


French postcard by SERP, Paris, no. 61. Photo: Studio Harcourt.

Sources: Sandra Brennan (AllMovie), Davyd (Artistes1940) (French), Ciné-Ressources (French), Wikipedia and IMDb.

Cifesa

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Some years ago, I found at a flea market in Southern Spain these collectors cards from the 1930s and 1940s. I liked the hand-coloured or painted images of the American, French and German stars of the era, but especially the ones of the Spanish actors, who were mostly unknown to me. These thin cards are all printed by the firm of I.G. Vilado in Barcelona and most of them also contain a large sign, Cifesa. I did a little research in this terra incognita.

Cifesa was the most important Spanish film production company and film distributor of the Franco era, and the only one that attempted to function as a traditional Hollywood studio. Among the stars of the studio were Luis Pena, Sara Montiel, Fernando Rey, Jorge Mistral and the immensely popular Imperio Argentina. Cifesa sponsored lavish public premieres for selected films, and created these star cards.


Sara Montiel. Spanish collectors card by I.G. Viladot, Barcelona. Image: Cifesa.


Florencia Becquer. Spanish collectors card by I.G. Viladot, Barcelona. Image: Cifesa.


Maria Mercader. Spanish collectors card by I.G. Viladot, Barcelona. Image: Cifesa.

The Torch of Hits


Cifesa, anacronym for Compania Industrial Film Espanola, was founded by Vicente Trenor in Valencia in 1932.

Soon it was soon taken over by an olive oil industrialist, Vicente Casanova, whose son had shown interest in the cinema. From 1933, the company turned out a series of well-crafted, expensive costume pictures and musicals directed by established figures like Benito Perojo and Florián Rey, and acquired a solid reputation among audiences.

Cifesa's motto was ‘The torch of hits’; creating a logo and a house style, as well as nurturing a compact group of stars, was an important lesson Casanova learned from Hollywood.

Ideologically, the Casanova family were conservative Republicans, but after the Civil War, the company pledged allegiance to the Franco regime. This was a perfect collaboration, as the studio was used for propaganda purposes and benefited from a series of privileges.

From 1942 on, against a background of absolute poverty in a country that would take two decades to recover from the conflict, Casanova was back in business producing a series of war films, melodramas, and comedies that created their own version of reality and refused to engage with social issues.

The studio-like aspects of the company were reinforced: soundstages and a company of actors (for instance Amparo Rivelles, Alfredo Mayo, and, later, Aurora Bautista) and technicians, and a certain consistency in tone and approaches due to the presence of strong directors (like Juan de Orduña and José Luis Sáenz de Heredia) who undertook their projects following general programs and guidelines and the firm grip of head of production Luis Lucia.

The general production standards were as high as the times allowed, but the emphasis was on high turnout rather than expensive individual films.


David Niven. Spanish collectors card by I.G. Viladot, Barcelona. Image: Cifesa.


Rossano Brazzi. Spanish collectors card by I.G. Viladot, Barcelona. Image: Cifesa.


Willi Forst. Spanish collectors card by I.G. Viladot, Barcelona. Image: Cifesa.

Holding up the regime's conservative values


The end of World War II was a blow to the Franco government, which was plunged into a situation of complete isolation as the last remnant in Europe of Fascist ideologies. But rather than compromise and benefit from the reconstruction measures introduced by the Allies, the regime decided to strengthen conservatism.

The crisis this led to was reflected in the film business. The government redesigned the system of funding cultural expression - as long as it was the 'right' one. An important aspect was the introduction of a category of special support to those films that could uphold the regime's conservative values.

Casanova responded with a series of lavish historical epics. The company's strategy shifted now to focus on a small number of expensive pictures every year, which would not only be awarded 'special interest' funding, but could also turn good profits at the box office.

In the beginning, the strategy seemed to work, with Locura de amor/Mad for Love (Juan De Orduña, 1948) and, later, Agustina de Aragón (Juan de Orduña, 1950), quickly becoming box-office hits.

But investment in each picture was so high that disappointing box-office takings could easily have an impact on the company's finances. This is exactly what happened with La leona de castilla/Lioness of Castille (Juan de Orduña, 1951).

When one of Cifesa's most expensive production efforts, an epic about Christopher Columbus' first expedition titled Alba de América/Dawn of America (Juan de Orduña, 1951), failed to get special interest funding because politicians decided to support José Antonio Nieves Conde's realistic Surcos/Burrows (1951) instead; and when the film only did average business, the company was back in the red, and this time it was unable to regain its previous prowess.

By 1952, the financial crisis deepened, and after a run of poor films, Cifesa disappeared as a film production company in 1956. As a distributor Cifesa remained active till 1964.


Jean Harlow. Spanish collectors card by I.G. Viladot, Barcelona. Photo: Metro-Goldwyn Mayer. Cifesa was perhaps


Hilde Krahl. Spanish collectors card by I.G. Viladot, Barcelona. Image: Cifesa.


Viviane Romance. Spanish collectors card by I.G. Viladot, Barcelona. Image: Cifesa.

Sources: Alberto Mira (Historical Dictionary of Spanish Cinema), A Companion to Spanish Cinema, Spanish popular cinema, 100 Years of Spanish Cinema, Wikipedia (Spanish and English) and IMDb.

Raimund Harmstorf

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Athletic German actor Raimund Harmstorf (1939-1998) became famous as the protagonist of the German TV miniseries Der Seewolf/The Sea Wolf (1971), based on Jack London's novel. During the 1970s, he starred in more Jack London adaptations, in several Spaghetti Westerns and in another successful TV series, Michael Strogoff (1975), based on Jules Verne's adventure novel.

Raimund Harmstorf
German postcard by Rüdel-Verlag, Hamburg, no. 5340. Photo: Lisa / Constantin / Reiter. Publicity still for Der Schrei der schwarzen Wölfe/Cry of the Black Wolves (Harald Reinl, 1972).

Jack London and Jules Verne


Raimund Harmstorf was born in Hamburg, Germany in 1939. He was the son of a doctor.

Harmstorf started a sports career and specialized in the decathlon. He then studied medicine, and later studied  music and performing arts at the Staatlichen Hochschule für Musik und darstellende Kunst in Hamburg.

From the mid-1960s on, he performed in small parts in TV productions. One of his first films was Siegfried und das sagenhafte Liebesleben der Nibelungen/Maidenhead (Adrian Hoven, David F. Friedman, 1971), an ‘adults only’ retelling of the legend of Siegfried in which he was credited as Lance Boyle.

He had his breakthrough as the evil-minded Captain Larsen in the TV series Der Seewolf/The Sea Wolf (Wolfgang Staudte, a.o., 1971), based on Jack London's novel. The series made him very popular among TV audiences, especially with the ladies.

He then acted in two more Jack London adaptations,  Ruf der Wildnis/The Call of the Wild (Ken Annakin, 1972) with Charlton Heston and Der Schrei der schwarzen Wölfe/Cry of the Black Wolves (Harald Reinl, 1972) with Ron Ely.

In Italy he appeared in the adventure film Zanna Bianca/White Fang (Lucio Fulci, 1973), starring Franco Nero. It was another telling of Jack London's tale of a prospector and his loyal sled dog as they battle avaricious villains during their search for gold.

The film gained a great commercial success and generated the official sequel Il ritorno di Zanna Bianca/Challenge to White Fang (Lucio Fulci, 1973) with the same cast, and several non-official sequels.

Later Harmstorf co-starred with Terence Hill and Miou-Miou in the comic Spaghetti-Western Un genio, due compari, un pollo/A Genius, Two Partners and a Dupe (Damiano Damiani, 1975). The opening scene was directed by Sergio Leone, who also produced the film. It was the last Western that Leone worked on. He was disappointed in the final outcome and chose to remain uncredited. Thanks to the popularity of Terence Hill, the film was quite successful at the European box office. However, it was very negatively received by critics, and has not gained a higher reputation over time.

Harmstorf then starred in another very popular TV series, Michael Strogoff: Der Kurier des Zaren/Michel Strogoff (Jean-Pierre Decourt, 1975), based on Jules Verne's classic adventure novel. He was unforgettable as the handsome hero with a secret mission in an old Russia threatened by Kozaks and frozen rivers, wearing woolly hats and serious faces.

Harmstorf returned to Italy to co-star with Giuliano Gemma in another Spaghetti Western, California Addio/California (Michele Lupo, 1977) which was generally well received by critics and a success at the Italian box office.

The following year, he had a supporting part in the WWII action Quel maledetto treno blindato/The Inglorious Bastards (Enzo G. Castellari, 1978), starring Fred Williamson and Bo Svenson, which was remade by Quentin Tarantino in 2009.

Harmstorf co-starred with Bud Spencer in the action comedy Lo chiamavano Bulldozer/They Call Him Bulldozer (Michele Lupo, 1978). He followed it with another Bud Spencer vehicle, Uno sceriffo extraterrestre - poco extra e molto terrestre/The Sheriff and the Satellite Kid (Michele Lupo, 1979).


Vintage postcard. Photo: publicity still for Michel Strogoff/Michael Strogoff (Jean-Pierre Decourt, 1975).

Suicide and Media Scandal


In the 1980’s, the film career of Raimund Harmstorf halted.

He appeared in the French film L'empreinte des géants/The Imprint of Giants  (Robert Enrico, 1980) with Serge Reggiani.

In 1983, he co-starred in the French-German spy-film S.A.S. à San Salvador (Raul Coutard, 1983) based on one of the 175 popular spy novels by Gérard de Villiers. Former Tarzan Miles O'Keeffe starred as Malko, am Austrian count in need of cash on a CIA mission. The film failed at the box office. 

In Germany, Harmstorf often appeared in TV series, like the Krimi Der Alte/The Old Fox (1982-1983). He also appeared in some minor German and Italian features, like the crime drama Thunder (Fabrizio De Angelis, 1983) with Bo Svenson.

South Africa was the location for the Canadian TV series African Skies (1991–1994), in which he co-starred with Catherine Bach and Robert Mitchum.

For one of his last films, The Wolves (Steve Carver, 1995), he returned to the Alaskan wilderness, once again playing the bad guy.

The end of Harmstorf’s life was full of tragedies. His fish restaurant Zum Seewolf  in Bad Durkheim went bankrupt, he was affected by Parkinson's disease and he became weakened by a regimen of heavy medication.

His illness and vulnerability were exploited by the tabloids. In 1998 he committed suicide by hanging himself in his home in Marktoberdorf, Germany.

His death caused a scandal and German tabloids were investigated. German police consequently stated that Harmstorf's suicide had been substantially promoted by certain articles. In particular Bild was blamed because it had already published Harmstorf's suicide on its main page before his actual death.

Raimund Harmstorf was 58.


German trailer for Der Seewolf/The Sea Wolf (Wolfgang Staudte, a.o., 1971). Source: HHMaster92 (YouTube).


Trailer California Addio/California (Michele Lupo, 1977). Source: The Spaghetti Western Database (YouTube).

Sources: Stephanie d’Heil (Steffie-line) (German), Tom B. (Westerns All’Italiana), Wikipedia, and IMDb.

Celia Johnson

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English actress, Dame Celia Johnson (1908-1982) became an icon of the British cinema with her role opposite Trevor Howard in the romantic drama Brief Encounter (1945). She generally played a genteel or repressed Englishwoman in films, though she also proved to be a talented comedian.


British postcard in the Picturegoer Series, London, no. W. 215. Photo: Cineguild.

Established West End Star


Celia Elizabeth Johnson was born in Richmond, England, in 1908 and was the second daughter of Robert Johnson and Ethel Griffiths.

She was educated at St Paul's Girls School in London. Celia acted in school productions, but had no other acting experience, when she was accepted to study at the Royal Academy of Dramatic Art. She later spent a term in Paris, studying under Pierre Fresnay at the Comédie-Française.

Her stage début was in George Bernard Shaw’s Major Barbara at the Theatre Royal in Huddersfield in 1928. Celia went to London the following year to appear in A Hundred Years Old at the Lyric Theatre.

In 1930 she became an established West End star, when she played in Cynara with Sir Gerald Du Maurier and Gladys Cooper. She was part of the new generation of actors, more naturalistic and working under directors, rather than the older actor-managers.

By 1931, she was starring on Broadway as Ophelia in a New York production of Hamlet. In 1935, she married Peter Fleming, an explorer and travel writer who was a brother of James Bond author Ian Fleming.

Johnson made relatively few films, beginning with a role as a mother in the Oscar nominated short A Letter from Home (Carol Reed, 1941).

During the Second World War followed three collaborations with writer Noel Coward and director David Lean. The first film was In Which We Serve (1942) about a bombed WW II destroyer starring Coward and Michael Wilding.

Their second collaboration was This Happy Breed (1944) in which she is the stoical lower-middle class housewife and mother, unbearably moving as she comes to terms with the defection - and return - of her rebellious younger daughter (Kay Walsh).

Brief Encounter (1945) is by far the best known. This is the definitive Johnson role: she makes utterly real all the constraints (and comforts) of the life of a decent middle-class wife who falls in love with a doctor.

With Brief Encounter she acquired iconic status in British cinema. As Brian McFarlane observes in The Encyclopedia of British Film: “It is probably the eyes, as she acknowledged: she stares at the audience and breaks its heart as she sees her would-be lover, Trevor Howard, head off to catch his train out of her life."

For this role, Johnson was awarded the New York Film Critics Circle Awardfor Best Actress and was nominated for the Academy Awardfor Best Actress.


Trevor Howard. Dutch postcard. Photo: Eagle Lion.


Dutch postcard By WSB, no. 1047. Photo: Eagle Lion.

Cherishable Performances


After the war, Celia Johnson concentrated on her family life, which included a son (1939) and two daughters born in 1946 and 1947. Her occasional acting work was secondary for the following decade.

As the self-sacrificing daughter of a benignly selfish vicar (Ralph Richardson) in The Holly and the Ivy (George More O'Ferrall, 1952) and as a conscientious probation officer in I Believe in You (Basil Dearden, Michael Relph, 1952), she made goodness interesting and touching.

That she could also do comedy is seen in The Captain's Paradise (Anthony Kimmins, 1953), parodying her usual image. In the film, Alec Guinness has two wives, one (Yvonne De Carlo) in a Mediterranean port, where he takes her out and parties every night, and Celia in Gibraltar, to whom he returns for rest in front of the fire in his slippers. Celia was spoofing her own image, and the twist in the film comes when his foreign wife wants to settle down, while Celia longs to be taken out dancing.

Johnson returned to the theatre in 1957, with Ralph Richardson in The Flowering Cherry. As a member of the National Theatre Company, she appeared in the plays The Master Builder (1964) and Hay Fever (1965), and later reprised her roles in the television productions.

Her films were few and far between, but among them are cherishable performances. She received the BAFTA Awardas Best Supporting Actress for her role as headmistress Miss McKay in The Prime of Miss Jean Brodie (Ronald Neame, 1969) featuring Maggie Smith.

Johnson won a second BAFTA for the BBC television play Mrs. Palfrey at the Claremont (Michael Lindsay-Hogg, 1973) and gave another magnificent TV performance in Staying On (1980).

She was created a Commander of the British Empire (CBE) in 1958, and raised to Dame Commander (DBE) in 1981. One of their daughters is the actress Lucy Fleming.

Celia Johnson died at home in Nettlebed, England, following a stroke at the age of 73. Lucy Fleming published in 1991 a memoir of her mother, Celia Johnson.

Final scene of Brief Encounter (1945). Source: BassClef707 (YouTube).


Scene from The Prime of Miss Jean Brodie (1969). Source: Lochness11 (YouTube).

Sources: Brian McFarlane (Encyclopedia of British Film), Ed Daley (Find A Grave), Nikolas Lloyd (Lloydian Aspects), Wikipedia and IMDb.

Marie-France Pisier

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Refined beauty Marie-France Pisier (1944-2011) was a French actress, screenwriter, and director. She was discovered by François Truffaut and became his muse. She later also worked with such auteurs as Luis Buñuel, Jacques Rivette, Raúl Ruiz and André Techiné. Pisier twice earned the César Award for Best Supporting Actress. The international success of the comedy Cousin, Cousine (1977) brought her to Hollywood, where she had a short and unhappy detour.


Romanian postcard by Casa Filmului Acin.

Truffaut and the Nouvelle Vague


Marie-France Pisier was born in Dalat, French Indochina, where her father was serving as colonial governor. Her younger brother, Gilles Pisier, is a mathematician and a member of the French Academy of Sciences. Her sister, Evelyne, was the first wife of Bernard Kouchner, a French politician and the co-founder of Doctors Without Borders.

The family moved to Paris when Marie-France was twelve years old. As a teenager, she began acting with an amateur theatre troupe.

At 17, she made her screen acting debut as Colette in the short film Antoine et Colette/Antoine and Colette (François Truffaut, 1962) with Jean-Pierre Léaud as Antoine Donel. It was the second film in which Truffaut follows the Antoine Donel character from boyhood to adulthood.

Antoine et Colette was made for the international omnibus film, L'amour à vingt ans/Love at Twenty (1962), which also featured shorts from Shintarô Ishihara, Marcel Ophüls, Renzo Rossellini and Andrzej Wajda.

Pisier had a brief but incendiary romance with the older, married Truffaut. Despite its end, she later appeared twice more as Colette in Truffaut's Baiser volés/Stolen Kisses (François Truffaut, 1968) and L'Amour en fuite/Love on the Run (François Truffaut, 1979).

L'Amour en fuite was the fifth and final film in the semi-autobiographical Antoine Doinel series, and Pisier was credited as a co-writer of the screenplay. In the film, her character, now a successful lawyer, handles Antoine with the same dismissive ease as she did in their youth.

After breaking into film with Truffaut, she went on to work with other Nouvelle Vague (New Wave) directors. She starred with Jean-Louis Trintignant in the meta-thriller Trans-Europ-Express (1967), written and directed by the novelist Alain Robbe-Grillet.

In the meanwhile, Marie-France attended Paris University, eventually attaining degrees in law and political science.


Romanian postcard by Casa Filmului Acin.

Unforgettable, Fascinating, Luminous, Haunting, Mesmerizing and, yes, Confusing


During the 1960s and 1970s, Marie-France Pisier appeared in several mediocre genre films, including thrillers directed by the actor Robert Hossein.

Then, her career took a more interesting turn. She collaborated on the screenplay to Céline et Julie vont en bâteau/Celine and Julie Go Boating (Jacques Rivette, 1974). She also played a significant supporting role as the mysterious governess Sophie in the film.

Craig Butler at AllMovie: “Celine and Julie Go Boating is one of those truly rare films that deserves to be called ‘unique.’ It also deserves a plethora of other adjectives: unforgettable, fascinating, luminous, haunting, mesmerizing -- and, yes, confusing.”

Later in the same year she had a role in Luis Buñuel’s Le Fantôme de la liberté/Phantom of Liberty (1974). She is among the elegant guests seated on individual lavatories around a table from which they excuse themselves to go and eat in a little room behind a locked door.

In 1975, Pisier gained widespread public recognition when she appeared in the popular comedy Cousin Cousine (Jean-Charles Tacchella, 1975) with Marie-Christine Barrault and Victor Lanoux. Her role as the high-strung, monumentally self-involved Karine earned her a César Award for Best Supporting Actress.

Her subsequent feature films included three with director André Téchiné, starting with Souvenirs en France/French Provincial (André Téchiné, 1975) with Jeanne Moreau. For Barocco (André Téchiné, 1976), Pisier won a second César for her performance as a prostitute with a baby in tow, alongside Isabelle Adjani and Gérard Depardieu.

In Les Sœurs Brontë/The Bronte Sisters (André Téchiné, 1979), she portrayed Charlotte Brontë opposite Isabelle Adjani as Emily and Isabelle Huppert as Anne.

Pisier attempted to crack the American film industry with The Other Side of Midnight (Charles Jarrott, 1977), a cinematic soap opera based on the Sidney Sheldon novel.

She appeared on American television in the miniseries The French Atlantic Affair (Douglas Heyes, 1979), and Scruples (Alan J. Levi, 1980).

She made two more Hollywood films, French Postcards (Willard Huyck, 1979) with Debra Winger, and Chanel Solitaire (George Kaczender, 1981) in which she portrayed the designer Coco Chanel with her usual elegance opposite Timothy Dalton and Rutger Hauer.


Romanian postcard by Casa Filmului Acin. Photo: publicity still for Les soeurs Brontë/The Bronte Sisters (André Téchniné, 1979) with Marie-France Pisier as Charlotte Bronte, Isabelle Huppert as Anne Bronte, and Isabelle Adjani as Emily Brontë.

Outspoken Defender Of Women's Rights And Legal Abortion


Returning to France, Marie-France Pisier co-starred with Jean-Paul Belmondo in the action-comedy L'as des as/The Ace of Aces (Gérard Oury, 1982).

She also appeared in the Thomas Mann adaptation Der Zauberberg/The Magic Mountain (Hans W. Geissendörfer, 1982), and co-starred with Gérard Lanvin and Michel Piccoli in the Science Fiction film Le Prix du Danger/The price of the Danger (Yves Boisset, 1983).

An interesting experiment was Parking (Jacques Demy, 1985) starring Francis Huster, Laurent Malet, and Jean Marais. It transposed the Orpheus myth to the 20th century, and it paid tribute to Jean Cocteau's film Orphée (1950).

Also remarkable was the drama L'Œuvre au noir/The Abyss (André Delvaux, 1988), based on the novel of the same name by Marguerite Yourcenar.

Pisier made her directorial debut with Le Bal du gouverneur/The Governor's Party (1990) starring Kristin Scott Thomas, which she adapted from her own best-selling novel, based on her childhood experiences in New Caledonia.

She also played Madame Verdurin in the Marcel Proust adaptation Le Temps retrouvé/Time Regained (Raúl Ruiz, 1999), and the mother of Louis Garrel and Romain Duris in the chamber drama Dans Paris/Inside Paris (Christophe Honoré, 2006).

Her last film was the comedy Il Reste du Jambon?/Is There Any Ham Left? (Anne Depétrini, 2010).

Pisier was an outspoken defender of women's rights and legal abortion. She overcame breast cancer in the 1990s.

Pisier's first marriage to Georges Kiejman (1973-1979) ended in divorce. Later she married Thierry Funck-Brentano. The couple had a son, Mathieu, and a daughter, Iris.

The 66-year-old actress died in 2011 at her home in Saint-Cyr-sur-Mer in the South of France. She was found dead in her swimming pool by Funck-Brentano and is believed to have drowned.


Trailer L'Amour en fuite/Love on the Run (1979). Source: The Cine Lady (YouTube).


Trailer Les Sœurs Brontë/The Bronte Sisters (1979). Source: Heroxmasox (YouTube).

Sources: William Grimes (The New York Times), Ronald Bergan (The Guardian), Craig Butler (AllMovie), Wikipedia and IMDb.

Gus Backus

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American singer and actor Gus Backus (1937) was at 19 a member of the Del-Vikings, and later became virtually the flesh-and-blood embodiment of rock and roll in Germany. Between 1959 and 1965 he also appeared in 25 German light entertainment films.


Dutch postcard, no. 262.


Dutch postcard by Hercules, Haarlem, no. 262.

Doo-Wop


Gus Backus was born as Donald Edgar Backus in Southampton on Long Island, New York, in 1937. His father, a foreman on a potatoe plantation, called him Gus.

Like millions of other young Americans of the period, Backus discovered rhythm-and-blues and rock and roll during his teens as it got onto the radio. He started writing and playing his own music, under the influence of Fats Domino, Little Richard, and Chuck Berry.

At 14, Gus ran away from home when his parents divorced. In Brooklyn, Gus wanted to become a doctor and he worked as a singing shoe cleaner to pay for his medicine studies.

In 1956, Backus was drafted into the US Air Force, and was stationed in Pittsburgh, PA. There he became the lead singer of the multiracial Doo Wop group The Del-Vikings, and at 19 he scored a #12-hit with Cool shake. The following year Backus was stationed in the German city of Wiesbaden and had to leave The Del-Vikings.

In 1958, while home on leave, he cut a single, My Chick Is Fine b/w You Can't Go It Alone, both songs that he wrote or co-wrote, for the Carlton Records label. At All Music, Bruce Eder loves this song: "My Chick Is Fine is one of the great lost classics of rockabilly, a driving, raunchy, hard-rocking tribute to an idealized object of teenage lust that should have been a signature of the era."

After his compulsory military service was finished he decided to stay and settle in Germany. He married and would have four children. His brother-in-law suggested him to record German language versions of English hits for the German market. His first single, Ab und zu/Now and Then, was a cover of Elvis Presley’s A fool such as I.

That same year he also made his film début, singing a song in Paradies der Matrosen/Paradise for sailors (Harald Reinl, 1959) starring Margit Saad. He also appeared in Mein Schatz, komm mit ans blaue Meer/Come to the Blue Sea, My Dear (Rudolf Schündler, 1959) with Joachim Fuchsberger.


German postcard by ISV, no. K 15, sent by mail in 1964. Photo: E. Schneider.


German postcard by ISV, no. K 18. Photo: E. Schneider.


German postcard by ISV, no. K 24. Photo: E. Schneider.


German postcard by Krüger, no. 902/158. Photo: Ufa.

Schlagerfilms


In 1960 Gus Backus had his breakthrough with the single Brauner Bär und weiße Taube/Brown bear and White Doves, a cover of Johnny Preston’s hit Running Bear.

Immediately, he went on with a series of successful follow-ups like Muß i denn and Da sprach der alte Haüptling/And So Spoke the Old Chief. His repertory consisted of German language covers of great hits but also of new songs, mainly Schlagers.

He continued to make Schlagerfilms like ...und du, mein Schatz, bleibst hier/And You, My Dear, Stay Here (Franz Antel, 1961) with Vivi Bach, and Unsere tollen Tanten/Our Awesome Aunts (Rolf Olsen, 1961) with Gunther Philipp.

He had his first #1-hit in Germany in 1961 with Der Mann im Mond/The Man in the Moon. Till 1963 followed such Top 10 hits like Sauerkraut-Polka, No Bier, no Wein, no Schnaps, Linda, Das Lied vom Angeln, and Er macht mich krank, der Mondschein an der Donau.

Between 1959 and 1965 Gus Backus appeared in a total of nearly 25 German entertainment films, including Ohne Krimi geht die Mimi nie ins Bett/Mimi Never Goes to Bed Without a Detective (Franz Antel, 1962) starring comedian Heinz Erhardt, Holiday in St. Tropez (Ernst Hofbauer, 1964), and the boring thriller Hotel der toten Gästen/Hotel of the Dead Guests (Eberhard Itzenplitz, 1965) with Karin Dor.

In 1964 the Beat music conquered the German charts and it became harder for Gus to score hits. In 1973 he decided to return to the USA and went to work as a foreman in the Texan oil fields.

In the 1980s he returned to Germany to surf the Oldies wave of that period. He settled with his family in München (Munich), where he still lives today. Gus Backus now performs his old hits with the group Teddy und die Lollipops.


Gus Backus sings Da sprach der alte Häuptling der Indianer (Then the old chief of the Indians spoke). Scene from Schön ist die Liebe am Königssee/Beautiful is the love in Koenigssee (Hans Albin, 1961). Source: The Barneys Place (YouTube).


Gus Backus sings Der Mann im Mond (The Man in the Moon). Scene from Schlagerrevue 1962/Schlager Revue 1962 (Thomas Engel, 1961). Source: Fritz51464 (YouTube).

Sources: Bruce Eder (AllMusic), Wikipedia (Dutch), and IMDb. See also: www.gusbackus.de/ (German).

One of the most wanted lost films found!

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Yesterday, 2 April 2014, was anounced that a long-lost film has been found in the collection of Eye Film Institute in Amsterdam, The Netherlands. After more than ninety years, the silent film Love, Life and Laughter (George Pearson, 1923), starring Betty Balfour was recovered. A copy of the British production was found in the inventory of bioscoop/theater De Vries (cinema/theatre De Vries), a former cinema in Hattem, the Netherlands. The film was listed as one of the British Film Institute's '75 Most Wanted' lost films. Great news. So today's post is on Betty Balfour.

Betty Balfour (1903-1977) was a gamine-like silent screen star, nicknamed the ‘British Mary Pickford’. She was a great mimic who started in Music Hall and became known as ‘Britain's Queen of Happiness’. During the 1920s, Balfour was Britain’s most popular actress.

Betty Balfour
French postcard by Cinémagazine Edition, no. 84. Photo: Maull & Fox.

Betty Balfour
French postcard by Europe, no. 187.

Betty Balfour
British postcard by Real Photograph.

Comic Charm


Betty Balfour was born in London, Great Britain, in 1903. She made her stage debut at the age of 10 (in 1913 or 1914 – the sources differ) at the Court Theatre and she became one of C. B. Cochran's stars.

Years later, when she was appearing in Medora at the Alhambra Theatre, film makers T. A. Welsh and George Pearson saw her and were impressed by Balfour’s delicate expression and comic charm. They signed her for her film debut in Nothing Else Matters (George Pearson, 1920) with Hugh E. Wright.

Betty instantly showcased her comic talents. After replacing Gertrude Lawrence on stage in The Midnight Follies, Balfour was back with Pearson for her first starring role in Mary-Find-the-Gold (George Pearson, 1921).

It was her role as the wayward florist Squibs Hopkins in Squibs (George Pearson, 1921) that established Balfour as a national star, creating a persona that would both propel and restrict her career. Squibs is a cockney flower girl working at Piccadilly Circus, and this proved to be the ideal vehicle for Balfour’s cheerful disposition, amidst a dreary London setting.

The instant success of the film lead to three sequels, Squibs Wins the Calcutta Sweep (George Pearson, 1922), Squibs M.P. (George Pearson, 1923) and Squibs’ Honeymoon (George Pearson, 1923).

In the Encyclopedia of British Film, Brian McFarlane calls Balfour "a great mimic". At the beautiful website Women and British Silent Cinema, Dan Horn writes that "it was this refreshing charisma, typified in Squibs, which made Balfour an icon of the silent era". Horn quotes film historian Rachael Low, who comments that Balfour was "able to register on screen a charm and expression unequalled among the actresses in British film".

In the more gritty productions Love, Life and Laughter (George Pearson, 1923) and Reveille (George Pearson, 1924), she demonstrated a more serious side to her character.

When Betty rejected Pearson's offer to divorce his wife and marry hér, her professional partnership with Welsh-Pearson ended. Their final film together was Blinkeyes (George Pearson, 1926).

Betty Balfour
British postcard by Jurys. Photo: Welsh-Pearson Film. Still from Squibs (1921).

Betty Balfour
British postcard in the Picturegoer Series, London, no. 2. Photo: Welsh-Pearson Film.

Betty Balfour
British postcard in the Picturegoer Series, London, no. 226. Sent by mail in Great Britain in 1928. Photo: Balfour Welsh Pearson.

The Country's Favorite World Star


At the time, Betty Balfour was the most popular actress in Britain, and in 1927 the newspaper Daily Mirror named her as the country's favorite world star. The popular Squibs films, and an array of product endorsements, ensured that Balfour’s vast fan base had flourished.

Balfour made no attempt to break into Hollywood but like Ivor Novello she was able to export her talents to mainland Europe.

She starred in the German films Die sieben Töchter der Frau Gyurkovics/A Sister of Six (Ragnar Hylten-Cavallius, 1926) with Willy Fritsch, and Die Regimentstochter/Daughter of the Regiment (Hans Behrendt, 1929), in the French films La Petite Bonne du Palace/The Little Maid at the Palace (Louis Mercanton, 1926), Le Diable au Coeur/Little Devil May Care (Marcel L'Herbier, 1927) with Jaque Catelain, and Croquette (Louis Mercanton, 1927), and in the Austrian-British production Champagner/Bright Eyes (Géza von Bolváry, 1929) with Jack Trevor.

In these films she re-established herself as a sophisticated, fashionable woman of the world, far removed from the persona that had typecast her. Consequently, her popularity in Britain began to decline.

Back in Britain, she featured successfully in Alfred Hitchcock's comedy Champagne (1928), but Balfour's sound debut The Nipper/The Brat (Louis Mercanton, 1930), based on the Squibs character, was only moderately successful.

Her popularity diminished in the 1930s, and Balfour began to struggle for leading roles. She only played a supporting role to Jessie Matthews in Evergreen (Victor Saville, 1934) and appeared with John Mills in Brown on Resolution/Forever England (Walter Forde, 1935).

Even a musical remake of Squibs (Henry Lawson, 1935) with Stanley Holloway was unable to recapture her former popularity.

In 1945, after a nine year hiatus, Balfour appeared in 29 Acacia Avenue (Henry Cass, 1945) starring Gordon Harker. This was to be her final film.

'Britain's Queen of Happiness' was not happy in her private life. After a stage comeback failed in 1952, she attempted suicide. For the last 20 years of her life she was a recluse.

At age 74, Betty Balfour died in 1977 or 1978 (the sources differ), in Weybridge, England. She had been married once, to composer Jimmy Campbell from 1931 till their divorce in 1941. They had one child.

Betty Balfour
French postcard by Cinémagazine Edition, no. 264.

Betty Balfour
German postcard by Ross Verlag, no. 3873/1, 1928 - 1929. Photo: Imperial Film.

Betty Balfour
German postcard by Ross Verlag, no. 3572/1, 1928 - 1929. Photo: Imperial Film.

Sources: Brian McFarlane (Encyclopedia of British Film), Dan Horn (Women and British Silent Cinema), Wikipedia, and IMDb.

Nola Hatterman

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Dutch actress Nola Hatterman (1899-1984) was mainly a stage performer but also played minor parts in five Dutch silent films. From 1925 on, Hatterman worked as an artist who liked to paint people of colour, in particular Afro-Surinamese. During the war, her paintings of blues singers and black men dancing were considered as ‘Entartete Kunst’ by the Nazis.

Nola Hatterman
Dutch postcard by NRM, no. 911. Photo: J. Merkelbach.

Lost Films


Nola Henderika Petronella Hatterman was born in Amsterdam, on August 12, 1899. She was the only child of Johan Herman Rudolph Hatterman and Elisabeth Hendrika Christina Verzijl, and grew up in Watergraafsmeer (now part of Amsterdam).

Nola Hatterman’s father worked for a Dutch East Indies commercial company, and by consequence she met people of colour from the Dutch East Indies, laying the base for her interest in the position but also the depiction of people of colour.

Hatterman followed the theatre academy. As a stage actress, she worked at Het Rotterdams Toneel, Koninklijke Vereeniging Het Nederlandsch Tooneel (KVHNT), Jacques Sluijters company; and Nederlands Vaudevillegezelschap. However, she never played major roles on stage.

As a film actress she performed in five silent Dutch films. The first, Majoor Frans (Maurits Binger, 1916) was a Hollandia film production based on the book by Anna Bosboom-Toussaint. For a long time, the film was considered to be lost, until in 1994 the Netherlands Filmmuseum (EYE) found some reels of the film in a private collection, which the museum had acquired. The film was incomplete and in a bad state but Majoor Frans was restored. The restored version was first screened in 2000.

Silent film star Annie Bos played Majoor Frans, a girl raised as a boy to secure a heritage, starred. Nola Hatterman played a circus girl. Co-stars were Louis Chrispijn, Willem van der Veer, Fred Vogeding and Lily Bouwmeester. A production still with Hatterman, Van der Veer and Minny Erfmann is visible at the website Film in Nederland. Here you can see also a five minute clip from the film.

Helleveeg/Bitch (Theo Frenkel senior, 1920) starred Mien Duymaer van Twist as a ‘golddigger’ who marries a Dutchman (Co Balfoort) to rise the social ladder, but shocks the man’s family and friends and ruins the man’s daughter’s (Lily Bouwmeester) engagement. In the end she is strangled by the man’s brother (Frits Fuchs). Nola Hatterman played a nursemaid. You can see her on a still on Film in Nederland.

Helleveeg premiered in the Netherlands on the very same day as another film by Frenkel in which Hatterman acted: Geeft ons kracht/Give Us Strength (Theo Frenkel senior, 1920). In this film Hatterman had a major part as the sweetheart of a convict (Joop van Hulzen) who killed her out of jealousy. His lawyer (Co Bafoort) sees a parallel with his own affair with an adventuress (Vera van Haeften). Both of Frenkel's films are lost.

A film which still exists is the little known – and rather outdated – one reel farce De bolsjewiek/The Bolshevik (Theo Frenkel senior, 1920), in which Hatterman played the maid of a young widow (Vera van Haeften), who takes an amateur plumber (Daan van Nieuwenhuyzen) for her rich cousin from the States. Director Frenkel had no studio, so the wind blows over the set. Drunken, the plumber blows up the house, similar to Pathé and Gaumont farces of 10 years before. See Film in Nederland for the complete film.

Hatterman’s last film part was in Oranje Hein/Orange Henry (Alex Benno, 1925), a popular so-called Jordaan comedy, based on a play by Herman Bouber and starred Johan Elsensohn, Aaf Bouber (wife of playwright Herman Bouber), Maurits de Vries (Hatterman’s later husband) and Vera van Haeften. Unknown is what Hatterman’s part was and the film is lost.

Mien Duymaer van Twist
Mien Duymaer van Twist. Dutch postcard. Photo J. Merkelbach, Amsterdam.

Entartete Kunst


After her film and stage career ended, Nola Hatterman chose to be a fulltime painter in 1925. She didn’t study at an art academy but took private lessons from Charles Haak, who was employed at the Instituut voor Kunstnijverheidsonderwijs (Education in Applied Arts), now Rietveld Academie.

Nola contributed to group exhibitions of Amsterdam art societies: De Onafhankelijken (already from 1919), St. Lucas (from 1927) and De Brug (from 1930). Her works from the 1920s-1930s clearly have traits of New Objectivity.

Hatterman liked to paint people of colour, in particular Afro-Surinamese. Thanks to Haak she met Surinam people who modelled for her. In 1930 she painted her most famous work, Het terras (The Terrace), depicting the Surinam tap dancer, boxer, model and bar keeper Jimmy van der Lak. The work is related to New Objectivity and is now in the collection of the Amsterdam Stedelijk Museum. In 1939 Hatterman had her first solo exhibition, where she had to defend her focus on black men – something the renowned Dutch painter Jan Sluyters, who also had painted black people, never had to do.

After an affair with Dick/Dirk van Veen, in 1929 Hatterman went to live together with Maurits de Vries, known as actor but also director of the Jordaan comedy De Jantjes and author of the novel De man zonder moraal (The Man Without Morals). In 1931 they married, but apparently the difference in age and temper (Hatterman was a very lively character) caused Hatterman to leave him in 1938 and move in with artist Arie de Vries, who lived not far from Falckstraat, where Hatterman had her studio.

In September 1940, when the Germans had already occupied the Netherlands, she officially divorced De Vries. The Jewish De Vries went into hiding thanks to his new girlfriend Cor Krienen, who ran a boarding house. Hatterman’s paintings of blues singers and Surinam black men dancing were considered as ‘Entartete Kunst’ by the Nazis. During the war she housed various Surinam people in her house on Falckstraat 9.

After the war Hatterman’s realist style estranged her from young art circles. Because of her cultural-political engagement she was asked to contribute to the first post-war exhibition at the Amsterdam Stedelijk Museum in 1945, Kunst in vrijheid (Art in Liberation), and in 1950 she had her own exhibition in London, including a black Christ mourned by his mother, which newspaper Daily Herald called 'Europe’s most controversial painting'.

Her house had become the sweeping centre of the Surinam cultural-nationalist movement Wie Eegie Sanie (Our Own Thing), founded in 1951. In 1953 she so longed for Surinam that she moved there. She arrived in Surinam without a penny in her pocket, but she was helped by families and started to teach pottery lessons to rich black and white ladies.

Quickly she established herself as a cherished visual artist in Surinam. She didn’t get rich because with her art but became a respected artist and personality. She also opened a school for painting, becoming one of the founders of art education in the country. In the 1960s-1980s many of her pupils went to the Netherlands and elsewhere in Europe to pursue careers as artists.

Nola Hatterman died in 1984, because of a car accident, on the road between her house in Brokopondo and Paramaribo. After her death, former students founded the Nola Hatterman Institute, where thousands of children were taught painting and drawing.

In 1982 Frank Zichem made a documentary about her: Nola, de konsekwente keuze/Nola, the Consequent Choice. In 1997 the gallery exploited by Vereniging Ons Suriname was named after her. Yearly, an artist attached to the Nola Hatterman Institute is enabled to exhibit there. The Nola Hatterman Institute, part of the Fort Zeelandia complex, was fully restored between 2004 and 2005.

In 2008 Ellen de Vries published Nola, portret van een eigenzinnige kunstenares (Nola, Portrait of a Headstrong Artist).

Louis Chrispijn junior
Louis Chrispijn. Dutch postcard by Weenenk & Snel, Den Haag. Photo: Willem Coret.

Sources: Geoffrey Donaldson (Of Joy and Sorrow), Nolahatterman.nl (Dutch), Filminnederland.nl, DBNL, Wikipedia (Dutch and French) and IMDb. And our secial thanks to Gé Joosten.

VEB Progress Filmvertrieb

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Behind the Iron Curtain, there was an interesting film culture. The cinemas of Poland, Russia, East-Germany, Hungary and Czechoslovakia produced several film classics during the 1950s, 1960s and 1970s that fared very well at international film festivals. In Poland, there was also a massive culture of film posters. The best graphic artists of the country designed quite freely innovative images that were spread by hundreds of thousands to every town and village in the country. East-Germany and Romania were the specialists in film postcards. VEB Progress Filmvertrieb had the monopoly on film distribution in East-Germany and produced thousands of wonderderful star postcards to help promote the films.

Yves Montand
Yves Montand. East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 807, 1958. Retail price: 0,20 DM.

Nicole Courcel
Nicole Courcel. East-German postcard by VEB Progress Filmvertrieb, no. 808, 1958. Retail price: 0,20 DM.

Gérard Philipe
Gérard Philipe. East-German postcard by VEB Progress Filmvertrieb, Berlin, no. 73. Photo: Franco-London-Film S.A. Publicity still for Le rouge et le noir/The Red and the Black (Claude Autant-Lara, 1954).

Hildegard Knef
Hildegard Knef. East-German postcard by VEB Progress Film-Vertrieb, Berlin, nr. 7/319. 1957. Photo: DEFA.

A State-owned Company


Progress was founded in 1950, under German-Soviet management. It was a cooperation of the Russian Sovexport and the East-German DEFA film distribution.

The firm, which still exists, was located in the Jäger Strasse 32 in East-Berlin, in the building of the DEFA Studios for newsreels and documentaries. In 1955, Sovexport retired as a partner and the Progress Film-Vertrieb was transformed in a state-owned company.

In the following decades, Progress produced to promote its films thousands of posters, film programmes and also postcards in different sizes. Regular formats of these 'starpostkarten' were 9 x 13 cm during the 1950s and later 10 x 14,5 cm. These cards had a white edge below the photo. In the 1970s, there were also series with colour postcards and A5 format cards (14,7 x 20,7 cm).

I like the Progress Starpostkarten because they gave a unique view on the popular East-European film stars of the period.

The muscular Serbian actor Gojko Mitic for instance, the most famous Indian in Eastern Europe. The handsome star played in numerous Westerns from East-Germany between 1966 and 1984.

Or Angelica Domröse, who played the unforgettable Paula in one of the biggest hits of the DEFA, Die Legende von Paul und Paula/The Legend of Paul and Paula (Heiner Carow, 1973), also with Winfried Glatzeder.

Angelica Domröse
Angelica Domröse. East-German postcard by VEB Progress Filmvertrieb, Berlin, no. 2091, 1964. Retail price: 0,20 DM. Photo: Klaus Fischer.

Winfried Glatzeder
Winfried Glatzeder. Big East-German postcard by VEB Progress Filmvertrieb, Berlin, no. 163/73, 1971. Retail price: 0,50 M. Photo: Linke.

Iurie Darie (1929  –  2012)
Iurie Darie. East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 2703, 1966. Retail price: 0,20 M. Photo: Balinski.

Cox Habbema
Cox Habbema. East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 3307, 1968. Retail price: 0,20 DM. Photo: Reinke / DEFA. Publicity still for Wie heiratet man einen König (1968).

Gojko Mitic
Gojko Mitic. East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 2930, 1967. Retail price: 0,20 MDN. Photo: Pathenheimer / DEFA.

Daniel Olbrychski
Daniel Olbrychski. East-German postcard by VEB Progress Filmvertrieb, Berlin, no. 117/73, 1973. Retail price: 0,20 M.

A Bit of Ostalghia


The GDR required that 60% of the by Progress distributed films should come from socialist and 40% from non-socialist countries.

So Progress also produced many cards of British, French, Italian and West-German films and its stars. Left-wing stars like Gérard Philipe, Yves Montand and Vanessa Redgrave were obviously popular in East-Germany.

In these cards the foreign photographers were not mentioned. The only photo credit was: Progress. East German photographers whose work often was shown at the Progress cards were in the 1950s Kurt Wunsch and Gerhard Puhlmann, in the 1960s Ludwig Schirmer and Klaus Fischer and in the 1970s Günter Steffen, Peter Söllner and Ute Mahler.

Perhaps surprising, but Hollywood was a permanent guest in the GDR too. American films were loved, but in the 1950s and 1960s only hestitantly imported, not only for political reasons. The licenses for the major Hollywood films were expensive.

In the 1970s more Hollywood films were presented, but with a delay of sometimes ten years. In the early 1980s, the proportion of non-socialist films had grown to 65% and the share of American films 23%.

Today, more than 25 years since the last Progress were produced, there are many collectors like me. A bit of Ostalghia?

Armin Mueller-Stahl
Armin Mueller-Stahl. East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 2254. Photo: Schirmer.

Eva-Maria Hagen
Eva-Maria Hagen. East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 2249, 1965. Retail price: 0,15 MDN. Photo: Schwarzer.

Anna Prucnal
Anna Prucnal. East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 2259, 1965. Retail price: 0,15 MDN. Photo: Schwarz.

Ewa Krzyzewska
Ewa Krzyzewska. East-German postcard by VEB Progress Filmvertrieb, Berlin, no. 2530, 1966. Retail price: 0,15 MDN. Photo: Balinski.

Angelica Domröse
Angelica Domröse. East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 4/F/73, 1973. Retail price: 0,20 MDN. Photo: Linke.

Next week: the Romanian star postcards of Casa Filmului Acin.

Source: Philipp Humpert (Amerika. Werkleitz festival) (German), Hans-Jürgen Furcht (Archiv Starpostkarten / Schauspielerfotos) (German), Wikipedia (German) and IMDb.

Rudolf Klein-Rogge

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Rudolf Klein-Rogge (1888-1955) is best remembered for his sinister roles in Fritz Lang's silent masterpieces. He played the devilish hypnotist Mabuse in Dr. Mabuse, der Spieler (1925) and the mad scientist Rotwang in Metropolis (1927), but he played more parts in classics of the German cinema.

Rudolf Klein-Rogge
German postcard by Ross Verlag no. 3528/1, 1928-1929. Photo: Ufa.

Metropolis
German postcard by Ross Verlag, Berlin, no. 71-4. Photo: Ufa / Parufamet. Publicity still for Metropolis (Fritz Lang, 1927). Collection: Amsterdam EYE Filmmuseum.

Intense Stare


Friedrich Rudolf Klein-Rogge was born in Cologne, Germany, in 1888.

He took acting lessons while studying art history and made his acting debut in 1909. While playing in the city of Aachen, he met actress/screenwriter Thea von Harbou and married her.

In 1913 he made his debut as a film actor in Der Film von der Konigin Luise/The film of Queen Luise (Franz Porten, 1913), but he returned to stage acting. It took more than five years before film acting really became his profession.

In 1915 he moved to Nurnberg (Nuremberg), where he became a star of the Nuremberg Stadttheater.

Even if he had quite a good salary with 12,000 Deutsch Mark a year, his wife earned much more with her novels. She could even earn more in Berlin, so they moved to the capital.

In Berlin, Klein-Rogge continued his stage career at the Lessing Theater, but that proved to be tougher as told and his stage career came to a halt.

After several minor films and a bit part in the expressionist classic Das Cabinet des Dr. Caligari/The Cabinet of Dr. Caligari (Robert Wiene, 1920), Klein-Rogge played his first part with Fritz Lang in his film Das wandernde Bild/The Wandering Image (1920) starring Mia May.

The script was written by Thea Von Harbou, who had an affair with Lang. She eventually divorced Klein-Rogge and became Lang's wife. Von Harbau and Klein-Rogge remained friends.

Klein-Rogge would perform great roles in many films directed by Lang and written by Von Harbou, such as the Derwish/Girolamo in Der müde Tod/Destiny (1921), the devilish title character in Dr. Mabuse, der Spieler/Dr. Mabuse, the Gambler (1922), king Etzel in Die Nibelungen (1924), the mad scientist Rotwang in Metropolis (1927), and Haghi in Spione/Spies (1928).

Reportedly, Paul Richter (Siegfried) did not dare to show his bare back in Die Nibelungen when Siegfried takes his bath in the blood of the dragon, so Klein-Rogge doubled him in this scene.

His intense stare became well-known because of his part as the criminal hypnotist Mabuse. The success of the film delivered him similar roles, such as the tyrant in Der steinerne Reiter/The Stone Rider (Fritz Wendhause, 1923), the pirate in Pietro der Korsar/Peter the Pirate (Arthur Robinson, 1925), and the Czar in Casanova (Alexandre Volkoff, 1927) starring Ivan Mozzhukhin.

Klein-Rogge's last film with Lang was the sequel Das Testament des Dr. Mabuse/The Testament of Dr. Mabuse (Fritz Lang, 1932).

Rudolf Klein-Rogge
Austrian postcard by Iris Verlag no. 780. Photo: Riess, Berlin.

Rudolf Klein-Rogge
German postcard by Ross Verlag, Berlin, no. 1127/1, 1927-1928. Photo: Ufa.

Type casted


Next to Casanova, Rudolf Klein-Rogge played in a number of international co-productions in the late 1920s including the British-German co-production The Queen was in the Parlour (Graham Cutts, 1927).

He also appeared in the French films La faute de Monique/Monique's Fault (Maurice Gleize, 1928), Tu m'appartiens!/You Belong to Me (Maurice Gleize, 1929) with Francesca Bertini, La maison des hommes vivants/The House of the Living Men (Marcel Dumont, Gaston Roudès, 1929), the first French full sound film Le requin/The Shark (Henri Chomette, 1929), and the part-talkie Tarakanova (Raymond Bernard, 1930) starring Édith Jéhanne.

In 1930 he also played in the Danish/Norwegian film Eskimo (George Schneevogt, 1930) and two years later in the German version of the film too, just like he also played in the French version Le testament du Dr. Mabuse/The Last Will of Dr. Mabuse (Fritz Lang, René Sti, 1933) of Lang's final film in Weimar Germany.

During the 1930s, Klein-Rogge continued to play in the German sound cinema. He was often type casted just like in the old days of the silent cinema.

Only rarely he played comic roles. His last part was in Hochzeit auf dem Bärenhof/Wedding at the Bärenhof  Carl Froehlich, 1942) starring Heinrich George.

Rudolf Klein-Rogge died in Wetzelsdorf, Austria, in 1955. He had been married three times: first to Thea von Harbou (1914-1921); then to Margarethe Neff (until 1932); and finally to Swedish actress Mary Johnson (in 1932) who remained with him till his death. With Johnson he had one child.


Scene from Dr. Mabuse, der Spieler (1922). Source: Le Cercle Vicieux (YouTube).


Beginning sequence of Spione/Spies (1928). Source: Manferot (YouTube).

Sources: Thomas Schaedeli (Cyranos), Wikipedia, and IMDb.

Diomira Jacobini

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Diomira Jacobini (1899-1959) was one of the stars of the Italian silent cinema. She was the younger sister of film diva Maria Jacobini, in whose shadow she always stayed. Diomira appeared in some 55 films in Italy, Germany and Denmark.

Diomira Jacobini
Italian postcard by Ed. A. Traldi, Milano, no. 793. Photo: Pittaluga-Films, Torino (Turin).

Diomira Jacobini
Italian postcard by Ed. Ballerini & Fratini, Firenze, no. 554.

A Scandal in the Noble Family


Diomira Jacobini was born in Rome, Italy in 1896. She was the niece of a Vatican-based cardinal.

When her older sister, Maria Jacobini, chose to work as an actress in the young film industry, it caused a scandal in the noble family.

The young Diomira decided to follow in her sister’s footsteps. She started to work for the prestigious Cines film studio in Rome. There she first appeared in such short films as Anna Maria/For Her Father's Sake (1912) with Ida Carloni Talli.

Her name was included in the title when she appeared in the short comedy Le birichinate di Kri Kri e Diomira/Bloomer and Diomira at Play (1913) featuring Raymond Dandy, whose comic character Kri Kri was very popular at the time.

According to Wikipedia, Jacobini had her first starring role in Il piccolo mozzo/The small hub (Carmine Gallone, 1915).

In the same year she participated next to Lyda Borelli in Marcia nuziale/Wedding March (Carmine Gallone, 1915) in which she had one of her finest and prettiest parts.

For the Celio film company, she co-starred with her sister Maria and another diva, Leda Gys in Ananka/Fate (1915), directed by Maria’s fiancé Nino Oxilia.

In 1916, she moved on to Tiber Film. For the Tiber studio Jacobini made many films. Under the direction of Emilio Ghione, she made La rosa di granata/The Rose of Granada (Emilio Ghione, 1916) with Ida Carloni Talli and Lina Cavalieri, Tormento gentile/Kind Torment (Emilio Ghione, 1916) with Alda Borelli, Il figlio dell'amore/The Love Child (Emilio Ghione, 1916).

A success was Demonietto/Imp (Gennaro Righelli, 1917). The male lead of this film was played by Alberto Collo, who would also be her co-star in several other films.

Diomira Jacobini
Italian postcard by Ed. A. Traldi, Milano, no. 525.

Diomira Jacobini
Italian postcard by Ed. Traldi, Milano, no. 795. Photo: Pittaluga Films, Torino.

Diomira Jacobini
Italian postcard by Ed. A. Traldi, Milano, no. 792. Photo: Pitaluga-Films, Torino.

A Deep Crisis


After finishing her engagement at Tiber Film, Diomira Jacobini signed a contract with Fert Film.

The 1920s were less satisfactory for the actress, although she could show her talents successfully in films like La rosa di Fortunio/The Rose of Fortunio (Luciano Doria, 1922), Jolly, clown da circo/Jolly, circus clown (Mario Camerini, 1923) and La casa dei pulcini/The House of Pulcini (Mario Camerini, 1924) with Amleto Novelli.

She also starred opposite the popular ‘forzuto’ (strongman) Bartolomeo Pagano in the action film Maciste e il nipote d'America/Maciste and the nephew from America (Eleuterio Rodolfi, 1924).

At that time, the Italian film industry was in a deep crisis and only a few films were produced. Some of the best film actors and directors went to work abroad. Maria Jacobini was already working in Germany.

There, Diomira co-starred with Werner Krauss in Der Trödler von Amsterdam/The junk dealer of Amsterdam (Victor Janson, 1925) and in some other films.

In Denmark she appeared in Revolutionsbryllup/The Last Night (A.W. Sandberg, 1927) opposite Gösta Ekman.

In the 1930s, she returned to Italy, and worked again at Cines, where she acted in Il buon ragazzo/The good boy (Mario Camerini, 1930).

She made only two sound films: L'ultima avventura/The Last Adventure (Mario Camerini, 1932) starring Armando Falconi, and Cento di questi giorni/Hundred of these days (Augusto and Mario Camerini, 1933).

Then she retired to private life with her husband L. Ghezzi. However, she participated in Quando eravamo muti/When we were silent (Riccardo Cassano, 1935).

Diomira Jacobini died in 1959 in Rome.

Diomira Jacobini and Gösta Ekman in Revolutionsbryllup
Danish postcard by Alex. Vincent's Kunstforlag, Eneret, no. 253. Photo: publicity still for Revolutionsbryllup/The Last Night (A.W. Sandberg, 1927) with Gösta Ekman.

Diomira Jacobini and Gösta Ekman in Revolutionsbryllup
Danish postcard by Alex. Vincent's Kunstforlag, Eneret, no. 254. Photo: publicity still for Revolutionsbryllup/The Last Night (A.W. Sandberg, 1927). This was a German-Danish dramatization of Sophus Michaëlis' play Revolutionshochzeit (Revolutionary Wedding), with also Gösta Ekman, Karina Bell, Walter Rilla and Fritz Kortner, and produced by Terra-Filmkunst.

Sources: Treccani.it (Italian), Wikipedia (Italian), and IMDb.

Carl Auen

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German film actor Carl Auen (1892–1972) often appeared in silent films as the handsome gentleman, officer or nobleman. Between 1914 and 1938 he appeared in 119 films.

Carl Auen
German postcard by Ross Verlag, no. 271/3, 1919-1924. Photo: Becker & Maass.

Detective Joe Deebs


Carl Theodor Auen was born in Düsseldorf, Germany in 1892.

In 1914 he appeared in the short silent film Die geheimnisvolle Villa/The secret villa, directed by Joe May and written by Ernst Reicher. It was a crime film which featured Ernst Reicher as the detective Stuart Webbs. In the cast were also Werner Krauss, Max Landa, Mia May and her daughter Eva May, who all would become well known silent film stars.

Auen often worked with such directors as Franz Hofer, William Kahn, Leo Lasko and Wolfgang Neff.

He was successful with two film series, one in which he played the criminologist Rat Anheim (1917-1918) and in the other he was the detective Joe Deebs (1919-1920), replacing Max Landa.

The highlight of his career was in the 1920s, when he starred in successful films as Frauenschicksal/Women's destiny (Guido Schamberg, 1922) with Marcella Albani, Lyda Ssanin (Friedrich Zelnik, 1923) featuring Lyda Mara, Aschermittwoch/Ash Wednesday (Wolfgang Neff, 1925) and Einer gegen Alle/One against all (Nunzio Malasomma, 1927) with Carlo Aldini.

In 1927, Auen also had a supporting part in the German silent film Der falsche Prinz/The False Prince (Heinz Paul, 1927) starring Harry Domela. The film was based on Domela's own book recounting his adventures in post-First World War Germany when he briefly masqueraded as Prince.

Two years later Auen appeared as a defender in the drama Meineid/Perjury (Georg Jacoby, 1929) starring Alice Roberts, Franz Ledererand Miles Mander.

Carl Auen
German postcard by Photochemie, Berlin, no. K. 2218. Photo: Atelier Mac Walten, Berlin.

Carl Auen
German postcard by Ross Verlag, no. 889/2, 1925-1926. Photo: Balázs, Berlin.

Reichsfilmkammer


After 107 silent films, Carl Auen continued his career during the sound era. The now 40-years old Auen only played supporting roles.

He had a small part in the Swiss–German war film Tannenberg (Heinz Paul, 1932), based around the 1914 Battle of Tannenberg during the First World War.

That year he also appeared in the comedy thriller Es geht um alles/All is at Stake (Max Nosseck, 1932) starring Luciano Albertini.

It was followed by the film operetta Die Blume von Hawaii/The Flower of Hawaii (Richard Oswald, 1933), an adaptation of the operetta The Flower of Hawaii by Paul Abraham starring Márta Eggerth.

Before Hitler came to power, Auen had joined the anti-semitic Kampfbund für deutsche Kultur (KfdK) and the Betriebszellen-Organisation (National Socialist Factory Cell Organization), a workers organization in Nazi Germany.

Joseph Goebbels appointed him in 1933 to head the film student council of the Reichsfilmkammer (Film Chamber of the Reich), a key position in the personnel policy within the Nazi film industry.

In 1937 Auen played a police officer in the propaganda film Togger (Jürgen von Alten, 1937) and he had a small part in Richard Eichberg's two-part adventure film Der Tiger von Eschnapur/The Tiger of Eschnapur (Richard Eichberg, 1938) and Das indische Grabmal/The Indian Tomb (Richard Eichberg, 1938) starring La Jana and Frits van Dongen.

His last film role was in the crime film Mit versiegelter Order/With sealed orders (Karl Anton, 1938) with Viktor de Kowa.

After World War II he worked as a representative for liquor.

Completely forgotten, Carl Auen died in 1972 in Berlin. He was 80.
Carl Auen
German postcard by Ross Verlag, no. 271/1, 1919-1924. Photo: Becker & Maas, Berlin.

Carl Auen
Belgian postcard by Edition S.A. Cacao et Chocolat Kivou, Vilvoorde.

Sources: Stephanie D’heil (Steffi-Line), Thomas Staedeli (Cyranos), Filmportal.de, Wikipedia (English and German), and IMDb.

Timothy Dalton

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Green-eyed Timothy Dalton (1944) is a British, classically trained Shakespearean actors who had successful careers in theatre, television and film. He is best known as James Bond in The Living Daylights (1987) and Licence to Kill (1989).

Timothy Dalton in The Living Daylights
British postcard by Danjaq A.S. / United Artists, 1987. Photo: publicity still for The Living Daylights (John Glen, 1987).

Talent and Classic Good Looks


The oldest of five children, Timothy Peter Dalton was born in Colwyn Bay, North Wales in 1944. He had an English father and an American mother of Italian and Irish descent. His father was stationed there during WWII, but moved the family to Manchester in the late 1940s to work in advertising.

Timothy was fascinated with acting from a young age. After leaving Herbert Strutt Grammar School at the age of sixteen, he toured as a leading member of Michael Croft's National Youth Theater.

Between 1964-1966, he studied at The Royal Academy of Dramatic Art (RADA). Just before completing his two years, he quit and joined the Birmingham Repertory Theatre, playing the lead in many productions under the direction of Peter Dews while at the same time turning professional.

His talent and classic good looks immediately landed him professional work in television, guest-starring on an episode of the short-lived TV series, Judge Dee (1969), and as a regular on the 14-episode series Sat'day While Sunday (1967) with the young Malcolm McDowell.

In late 1967 Peter O'Toole recommended him for the role of the young King Philip of France in the period drama The Lion in Winter (Anthony Harvey, 1968). The critically acclaimed film was a commercial success and won three Academy Awards.

The following year, he starred in the Italian film Giochi particolari/The Voyeur (Franco Indovina, 1970) with Marcello Mastroianni and Virna Lisi.

Also during this time, he was approached and tested for the role of James Bond in On Her Majesty's Secret Service (1969) but turned it down, feeling he was too young for the part.

His next film was another costume drama, Cromwell (1970), working with director Ken Hughes, with whom he later made his first American film, Sextette (1978).

He followed Cromwell with other period dramas like Wuthering Heights (Robert Fuest 1970) in which he portrayed Heathcliff, and Mary, Queen of Scots (Charles Jarrott, 1971) starring Vanessa Redgrave and Glenda Jackson.

Timothy Dalton
Romanian postcard by Casa Filmului Acin.

Timothy Dalton and Maryam d'Abo in The Living Daylights
French postcard by Danjaq A.S. / United Artists, 1987. Photo: publicity still for The Living Daylights (John Glen, 1987) with Maryam d'Abo.

A Darker and More Serious James Bond


From the early to mid-1970s, Timothy Dalton decided to further hone his skills by going back into the theatre full time. He signed on with the Royal Shakespeare Company (RSC) and the Prospect Theatre Company (PTC), and toured the world with both.

In 1975, he returned to the cinema in the spy thriller Permission to Kill (Cyril Frankel, 1975) starring Dirk Bogarde. It was followed in 1976 by the Spanish religious historical film about the inquisition, El hombre que supo amar/The Man Who Knew Love (Miguel Picazo, 1978), which was never widely released.

After this, followed his first American film, the comedy/musical Sextette (Ken Hughes, 1978) as the husband of 85-year-old Mae West, and the American miniseries Centennial (1978), with Lynn Redgrave as his wife.

After this, he began to get more frequent film and television work in the US, including the episode Fallen Angel of the TV series Charlie's Angels (1976).

In England, he starred on TV as Rochester in the BBC's very popular Jane Eyre (1983). Although most of his work until 1985 consisted of TV movies and miniseries, he did a few features. He played Vanessa Redgrave's husband in Agatha (Michael Apted, 1979), and Prince Barin in the campy Flash Gordon (Mike Hodges, 1980).

Dalton followed this with a small film, Chanel Solitaire (George Kaczender, 1981) featuring Marie-France Pisier, and filmed a staged production of Antony and Cleopatra (1983) opposite Lynn Redgrave.

The years 1983-1987 were the most prolific of his career. The world was playing a guessing game as to who would succeed Roger Moore as James Bond. Dalton was approached but was committed to the theatre, and so Pierce Brosnan was offered the part. When Brosnan was unable to get out of his Remington Steele contract at the last minute, Dalton was again approached. Able now to work it into his tight schedule, he agreed.

His first outing as Bond, The Living Daylights (John Glen, 1987), was critically successful, and grossed more than the previous two Bond films with Roger Moore.

The second, Licence to Kill (John Glen, 1989), although almost as successful as its predecessor in most markets, did not perform as well at the US box office, in large part due to a lacklustre marketing campaign. Dalton's portrayal of Bond was darker and more serious than the light-hearted playboy of Roger Moore. Dalton's interpretation of Bond was obviously closer to the gritty realism of Ian Fleming's novels.

In the mid-to-late 1980s, Dalton also narrated many nature documentaries. And he teamed with Vanessa Redgrave for a revival of The Taming of the Shrew (1988) and his interpretation of Petrucchio received uniformly high praise.

Timothy Dalton and Maryam d'Abo in The Living Daylights
French postcard by Danjaq A.S. / United Artists, 1987. Photo: publicity still for The Living Daylights (John Glen, 1987) with Maryam d'Abo.

Timothy Dalton in The Living Daylights
French postcard by Danjaq A.S. / United Artists, 1987. Photo: publicity still for The Living Daylights (John Glen, 1987).

Rhett Butler


Following Licence to Kill (1989), Timothy Dalton returned to one of his strengths, costume drama, in La putain du roi/The King's Whore (Axel Corti, 1990) with Valeria Golino.

It was followed by his excellent performance in Disney's The Rocketeer (Joe Johnston, 1991), where he played a swashbuckling, Errol Flynn type.

In 1992, he starred in the TV mini-series Framed (Geoffrey Sax, 1992), which won a bronze medal at the 1993 New York Film Festival.

In 1994, he took on the role of Rhett Butler in the eight-hour mini-series Scarlett (John Erman, 1994), an original sequel to Gone with the Wind (Victor Fleming, 1939). Scarlett, featuring Joanne Whalley, was a ratings success all over the world.

Dalton initially agreed to play James Bond for a third time in GoldenEye (Martin Campbell, 1995), but after a lengthy series of lawsuits between the studio and producers concerning the ownership of the character James Bond, and further script delays, he resigned from the role. He believed that too much time had passed since Licence to Kill (1989). The role went to Pierce Brosnan.

Dalton’s later films include the IRA drama The Informant (Jim McBride, 1997), The Reef (Robert Allan Ackerman, 1999), opposite Sela Ward, and the comedy The Beautician and the Beast (Ken Kwapis, 1997) co-starring Fran Drescher.

He gleefully parodied his swashbuckling/James Bond image in Looney Tunes: Back in Action (Joe Dante, 2003) as a spy playing an actor playing a spy.

More recently he was seen in The Tourist (2010) with Angelina Jolie and Johnny Depp.

Between 1980 and 1994, Timothy Dalton was the companion of Vanessa Redgrave. In 1995, Dalton began a relationship with Russian musician Oksana Grigorieva, with whom he has a son, Alexander (1997). Dalton lives in London, England and Los Angeles, California.


Trailer Sextette (1978). Source: Movieclips Classic Trailers (YouTube).


Trailer The Living Daylights (1987). Source AgelessTrailers (YouTube).

Sources: Wikipedia and IMDb.

François Périer

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François Périer (1919-2002) was one of France's most beloved performers. This versatile and charming actor was prominent in the theatre and made 117 film and TV appearances between 1938 and 1996.

François Périer
French postcard by S.E.R.P., Paris, no. 25. Photo: Studio Harcourt.

François Périer
French postcard by Editions P.I., Paris, offered by Les Carbones Korès Carboplane, no. 968.

Fresh-faced, Impudent Adolescent Charm


François Périer was born Francois Marie Gabriel Pillu in Paris, in 1919. His father managed a wine shop.

At age 14, while he was still a pupil at the Lycée Janson-de-Sully, he started studying acting at the Cours René Simon. He got an audition with no less than the legendary actor Louis Jouvet. Jouvet subsequently helped him enter the Conservatoire.

He started his career at the theatre and at the age of 19, he already became a star.

In his obituary in The Independent,James Kirkup wrote about Périer: “Though he was by no means possessed of classic good looks, his fresh-faced, impudent adolescent charm attracted favourable notice when he appeared in Claude-André Puget's delightful comedy of young love Les Jours heureux (Happy Days), a success that kicked off his career with 500 performances and assured his acting future”.

Périer appeared the following decades in all kinds of plays, from the very highest intellectual dramas to the lightest of satirical intrigues. He could illuminate difficult roles and transform a nondescript drama by sheer force of talent, technique and charm.

Among his most notable stage roles was that of Hugo in the first production of Jean-Paul Sartre's Les Mains Sales in 1948. Sartre was his second great idol and Périer also appeared in Sartre's Le Diable et le Bon Dieu (1948), which was revived in 1968 and 1970 on the Théâtre du Chaillot's vast stage.

Later stage triumphs in Sartre plays included his appearance in Les Séquestrés d'Altona (The Condemned of Altona), which he also directed, in 1965.

Kirkup: “With the development of a wonderful organ of a voice, his range was limitless. He could endow even the most repulsive characters with a fascinating appeal, like his Salieri in Peter Shaffer's Amadeus opposite Roman Polanski in the title role (1982), or the sad hero of Arthur Miller's Death of a Salesman (1988) which had audiences in tears every night.”

François Périer
French postcard by Editions P.I., Paris, no. 73. Photo: Roger Carlet.

François Périer
French postcard by Editions P.I., Paris, no. 32. Photo: Studio Piaz.

Magnificent Voice


François Périer’s film career started with apprenticing in bit parts.

His first notable roles were in Hôtel du Nord (Marcel Carné, 1938) with Annabella and Louis Jouvet, and La fin du jour/The End of the Day (Julien Duvivier, 1939) with Victor Francen and Jouvet.

Périer truly hit his stride in the years following World War II in films like Un revenant/A Lover's Return (Christian-Jacque, 1946) with Louis Jouvet, and La vie en rose/A Merry Life (Jran Faurez, 1947) with Louis Salou.

He co-starred with Maurice Chevalier in Le silence est d'or/Silence Is Golden (René Clair, 1947) about the heyday of the silent film, the 1920s.

His most famous screen role was Heurtebise in Jean Cocteau's Orphée/Orpheus (1950), a characterization he repeated ten years later in Le Testament D'Orphée/The Testament of Orpheus (Jean Cocteau, 1959).

There were many links between Périer's stage work and his appearances in films, television dramas and on radio programs, where his magnificent voice could be heard in all its intimate velvet best.

He was also the French narrator in Walt Disney’s animation feature Fantasia (1940).

In 1957 he won the British Oscar, the BAFTA Film Award for Best Foreign Actor for his role in Gervaise (René Clément, 1956), an adaptation of Emile Zola's L'Assommoir.

Another great role was the bookish Oscar in Fellini's Le Notte di Cabiria/Nights of Cabiria (Federico Fellini, 1957) opposite Giulietta Masina.

François Perier
French postcard by Editions O.P., Paris, no. 161. Photo: Teddy Piaz.

François Perier
French postcard by Editions P.I., Paris, no. 73. Photo: Roger Carlet.

Professional Fibber


François Périer appeared in projects ranging from romantic comedies to political thrillers.

Among his best films of the 196’s are the thriller Le Samourai/The Godson (Jean-Pierre Melville, 1967) starring Alain Delon, the political thriller Z (Costa-Gravas, 1969), in which he played a Public Prosecutor in Greece under military rule, and the crime film Le cercle rouge (Jean-Pierre Melville, 1970) with Delon and Yves Montand.

During the following decade he appeared in supporting roles in successful films like Max et les ferrailleurs/Max and the Junkmen (Claude Sautet, 1971) starring Michel Piccoli and Romy Schneider, Juste avant la nuit (Claude Chabrol, 1971) with Stéphane Audran, L'attentat/The Assassination (Yves Boisset, 1972) about the Ben Barka affair, Stavisky (Alain Resnais, 1974) about a famous financial scandal, and Police Python 357 (Alain Corneau, 1976) opposite Yves Montand and Simone Signoret.

Périer appeared in the popular Italian TV-series La piovra/The Octopus (Damiano Damiani, 1984) starring Michele Placido.

In 1989 he published his memoirs, Profession menteur (Professional Fibber), and in 1995 followed a second book, Lettres à un jeune comédien (Letters to a Young Comedian).

Among his later films were Soigne ta droite/Keep Up Your Right (Jean-Luc Godard, 1987) and Lacenaire/The Elegant Criminal (Francis Girod, 1990) a biography of the poet-criminal Lacenaire.

In 1991, the actor began suffering from Alzheimer's disease but he worked on radio until 1996.

In 2002, François Périer died from a heart attack in Paris, at age 82. He had been married three times. He was first married to Jacqueline Porel from 1941 till 1947. In 1949 he married actress Marie Daëms. They separated in 1959. In 1961 he married Colette Boutouland and the pair stayed together till his death.

With Jacqueline Porel he had one daughter, journalist Anne-Marie Périer, and two sons. His son Jean-Pierre Périer-Pillu committed suicide at the age of 23 in 1966 by jumping from a window. His adopted son Jean-Marie Périer is a famous photographer of the yé-ye years (the French beat period).

In 2005 François Périer was awarded the Prix du Brigadier posthumously, a prize for his prolific career of nearly sixty years.

François Perier
French postcard by Editions E.C., Paris, no. 102. Photo: Roger Carlet.


Trailer Stavisky (1974). Source: Film&Clips (YouTube).

Sources: James Kirkup (The Independent), Hal Erickson (AllMovie), Gary Brumburgh (IMDb), Wikipedia and IMDb.

John Martin Harvey

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British actor-manager Sir John Martin Harvey (1863-1944) was one of the last great romantic actors of the English theatre. His most famous play was The Only Way (1899), an adaptation of Charles Dickens'A Tale of Two Cities. 25 years later, he also featured in the film version, as well as in a few other silent and sound films.

John Martin Harvey
British postcard by Beagles Postcards, no. 707 C. Photo: Ellis & Walery. Publicity still for the stage play The Only Way.

John Martin Harvey
British postcard by Rotary Photo E.C., no. 115 C. Photo: Bassano.

John Martin Harvey
British postcard by Rotary Photo Co. Ltd., London, no. 115.A.

Summer Tours

John Martin Harvey was born in Wivenhoe, Essex, in 1863. He was the son of John Harvey, a yacht-designer and shipbuilder, and Margaret Diana Mary Goyder.

He was educated at the Old Grammar School in Paisley and the King’s College School in London. His father expected him to follow his own profession, but Martin Harvey had his sights set on the stage.

One of his father's clients was the dramatist W. S. Gilbert, and it was through Gilbert that young 'Jack' Martin Harvey met his first teacher, John Ryder. At the age of 18 he made his first public appearance at the Court Theatre in London in the play To Parents and Guardians in 1881.

A year later he joined Sir Henry Irving's Lyceum Theatre company. His first role was a non-speaking part in Much Ado About Nothing.

He remained there for 14 years, playing minor parts in London but leading parts during summer tours in such plays as Lady of Lyons, Othello and The Corsican Brothers. He also travelled four times with the company to the United States.

John Martin Harvey
British postcard by the London Stereoscopic Company. Photo: publicity still for The Only Way.

John Martin Harvey
British postcard by Rotary, no. 115 N. Photo: London Stereoscopic Co. Still for the play Rouget de l'Isle by Freeman Wills and Fitzmaurice King. Martin Harvey performed the play about the composer of the French National Anthem, La Marseillaise, at the Prince of Wales Theatre, London, in May 1900.

John Martin Harvey
British postcard by J. Beagles & Co. Ltd., London, no. 1295. Photo: The Stereoscopic Co.

John Martin Harvey
British Rotophot postcard by J. Beagles & Co, London, no. 9185. Photo: Stereoscopic Co., Berlin.

The Only Way

Martin Harvey's greatest success came in 1899 when he took over the management of the Lyceum. He excelled in the lead role of Sydney Carton in The Only Way, and his wife, Nina de Silva, played Mimi. She had suggested, planned, and named the play, an adaptation of Charles Dickens'A Tale of Two Cities, but the playwrights were two Irish clergymen, Freeman Wills and Frederick Langbridge.

Harvey’s other successes included Pelleas in Maeterlinck's Pelleas and Melisande (1898, 1900, 1911), with Mrs Patrick Campbell as Melisande and incidental music written for the production by Gabriel Fauré; and Hamlet (1904).

After Sir Henry Irving's death in 1905, Martin Harvey continued to revive his old manager's plays, often using Irving's own props which he had bought. These plays included The Bells and The Lyons Mail.

He did many tours in both Great Britain and North America. His success was always greater in Canada than in the United States, and greater outside London than in the capital.

His later successes included A Cigarette-maker's Romance, Bernard Shaw's The Devil's Disciple, Maeterlinck's The Burgomaster of Stilemonde, Richard III, and The Taming of the Shrew.

One of his finest performances was in 1912 as the protagonist in Max Reinhardt’s Covent Garden production of Oedipus Rex in London.

John Martin Harvey
British postcard by Rotary, no. 115 Q. Photo: London Stereoscopic Co. Still for the stage play A Cigarette Maker's Romance, based on the 1890 novel by Francis Marion Crawford. Martin Harvey performed Count Skariatine in this successful play from 1901 till 1939. It was also filmed with him in the lead, A Cigarette-Maker's Romance (Frank Wilson, 1913).

John Martin Harvey
British postcard. Photo: publicity still for a stage production of Hamlet (1904).

John Martin Harvey
British postcard. Photo: publicity still for a stage production of Hamlet (1904).

John Martin Harvey
British postcard by London Stereoscopic Company c series. Photo: publicity still for the stage play The Only Way. In 1899, The Only Way, an adaptation of Charles Dickens's A Tale of Two Cities that proved a phenomenal success, registering over 5000 performances over forty years and guaranteeing Harvey's financial security.

Red Feather

John Martin Harvey also appeared in some short silent films like A Cigarette-Maker's Romance (Frank Wilson, 1913) and The Broken Melody (Cavendish Morton, 1916).

During the First World War he delivered a large number of recruiting lectures on Sunday evenings in leading theatres throughout the United Kingdom, beginning in September 1914. By collections made there and elsewhere, he raised sums for the British Red Cross, and for wounded soldiers, nurses and other sufferers by the war, - amounting in all to about 25,000 pound.

He also appeared in the film version of The Only Way (Herbert Wilcox, 1925), again as Sydney Carton. This was the first 10,000 foot film made in Great Britain. There were numerous tinted sections, and the final scene (where Carton goes to the guillotine) was tinted in pink.

By the time he retired, Martin Harvey claimed to have performed The Only Way more than 3,000 times, though this would not have been possible in reality.

Other films he appeared in during the 1920s were The Breed of the Treshams (Kenelm Foss, 1920) starring Mary Odette, and The Burgomaster of Stilemonde (George J. Banfield, 1929) with Fern Andra.

His final film was the sound film The Lyons Mail (Arthur Maude, 1931), a mystery-adventure based on a play by Charles Reade.

 In 1889 he had married Angelita Helena Maria de Silva Ferro, daughter of a Chilean consul and a fellow actor in Irving's company. They had two children, Muriel Martin-Harvey and Michael Martin-Harvey, both successful actors.

One of the earliest advocates of a National Theatre, he was made Knight Bachelor of the Order of the British Empire in 1921 for his services to drama. After his knighthood he was known as Sir John Martin-Harvey. In 1924, he was made a Chief of the Sarcee tribes of North-West America, under the name Ta-Decasze (Red Feather).

His Autobiography appeared in 1933, simply titled The autobiography of Sir John Martin-Harvey. In 1944, John Martin Harvey died at his home in East Sheen, Surrey, aged 80.


British postcard. Photo: Ellis & Walery. Publicity photo for a stage production of The Breed of the Treshams. John Martin Harvey played Reresby 'the Rat' in many stage productions between 1903 and 1934 as well as in the film The Breed of the Treshams (Kenelm Foss, 1920) with Mary Odette.

John Martin Harvey in The Breed of the Treshams
British postcard by the London Stereoscopic Company. Sent by mail in 1906. Photo: publicity still for the stage play The Breed of the Treshams.

Martin Harvey in Boy O'Carroll
British postcard by J. Beagles & Co., no. 707. Photo: E. Ellis & Walery. Martin Harvey in Boy O'Carroll, a periode piece play by Beulah Marie Dix and G. Sutherland, which was performed at the London Imperial Theatre in May-June 1906. Harvey's co-star in the play was his wife Nina de Silva.

Martin Harvey in Oedipus Rex
British postcard by Rotary Photo, E.C., no. 4229 R. Camera study by Arbuthnot& Hoppe. Martin Harvey as Oedipus in Oedipus Rex, staged in Covent Garden, London and opening January 1912. It was produced by Max Reinhardt and based on an adaptation of Sophocles' play by Gilbert Murray. Previously, Reinhardt had already staged a - successful - German version by Hugo von Hoffmansthal, opening in Vienna 1910. Writer W.B. Yeats saw the London production and called it the most imaginative production of a play he ever saw.

Sources: Iain MacFarlaine (Find A Grave Memorial), The Glasgow Herald, Chris Goddard (Webrarian.co), Encyclopedia Britannica, Wikipedia, and IMDb.

Casa Filmului Acin

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Behind the Iron Curtain, there used to be an interesting film culture. The cinemas of Poland, Russia, East-Germany, Hungary and Czechoslovakia produced several film classics during the 1950s, 1960s and 1970s that fared very well at international film festivals. East-Germany and Romania were the specialists in film postcards. Last Saturday, we had a post on VEB Progress Filmvertrieb from East-Germany. Today, we present you the wonderful world of Casa Filmului Acin from Romania.

Emmanuelle Béart
Emmanuelle Béart. Romanian postcard by Casa Filmului Acin, no. 43033.

Virna Lisi
Virna Lisi. Romanian postcard by Casa Filmului Acin. Retail price: 2 Lei. At the backside is written: Sylva Koscina (sic).

Catherine Deneuve
Catherine Deneuve. Romanian postcard by Casa Filmului Acin, no. 568.

Sylvia Kristel
Sylvia Kristel. Romanian postcard by Casa Filmului Acin.

Marie-France Pisier
Marie-France Pisier. Romanian postcard by Casa Filmului Acin.

ABBA and more ABBA


Do you feel a bit nostalgic and need a glimpse of the 1960s, 1970s and 1980s? Surf to Flickr's new group, Casa Filmului Acin (Film House Acin).

You'll find hundreds of Romanian vintage postcards of pop artists, TV heroes and film stars, dating from the 1960s till 1989, the year Nicolae Ceaușescu's regime ended.

See ABBA, Boney M, Amanda Lear and more ABBA there - in their most eye-blinding, glittering seventies outfits.

Acin published several cards of Clint Eastwood in the Spaghetti Westerns by Sergio Leone, Ali MacGraw and Ryan O'Neal in Love Story (Arthur Hiller, 1970) and one of Sharon Tate, Patty Duke and Barbara Parkins in Valley of the Dolls (Mark Robson, 1967).

American TV classics like McCloud, Charlie's Angels, Columbo and Dynasty are present as well, and the sex symbol of the early 1970s, Raquel Welch.

All these postcards were produced behind the Iron Curtain in communist Romania, and now these colourful and a bit odd postcards finally reach the rest of the world.

Louis de Funès
Louis de Funès. Romanian postcard by Casa Filmului Acin, no. 181. Retail price: 1,50 Lei.

Daniela Bianchi
Daniela Bianchi. Romanian postcard by Casa Filmului Acin. Photo: Publicity still for Missione speciale Lady Chaplin/Operation Lady Chaplin (Alberto De Martino, Sergio Grieco, 1966).

Josephine Baker
Josephine Baker. Romanian postcard by Casa Filmului Acin, no. 5293, 1970.

Robert Hossein
Robert Hossein. Romanian postcard by Casa Filmului Acin. Publicity still for Indomptable Angelique/Untamable Angelique (Bernard Borderie, 1967).

Sylva Koscina
Sylva Koscina. Romanian postcard by Casa Filmului Acin, no. 217. Retail price: 1,50 Lei.

Immensely Popular


The Acin group at Flickr was founded by postcard collector Veronique3 from Bucharest.

Earlier she wrote at EFSP: "In the past, it used to be difficult to find these cards in my country. People bought them before we knew that they had arrived at the post office. A cousin of mine worked for the post office, so I could start my collection thanks to her."

Producer of the Acin cards was the C.P.C.S., a state owned company.

The eldest Acin cards I could trace must be from the mid-1960s, when Ceaușescu came to power.

These black and white postcards contain stills of sixties phenomena like the Eurospy films, Michèle Mercier and Robert Hossein in the sensual Angélique romances and the hilarious Louis de Funès farces.

The cards were cheaply made and cost only 1.50 lei (ca. 0.33 euro). Later, the Retail price of the colour cards - printed on thin paper and the tekst on the flip side is in blue ink - was 2 Lei (ca. 0.45 euro).

The colour procedure was not always optimal, but the result often has a special charm.

Veronique writes that the cards were also for sale at the news stands in Romania, but also at the kiosks the Acin cards were always quickly sold out.
You had to have a contact at C.P.C.S. or at one of the retail points to be able to collect them all.

Florin Piersic
Florin Piersic. Romanian postcard by Casa Filmului Acin.

Anna Széles
Anna Széles. Romanian postcard by Casa Filmului Acin.

Margareta Pislaru
Margareta Pislaru. Romanian postcard by Casa Filmului Acin.

Gojko Mitic
Gojko Mitic. Romanian postcard by Casa Filmului Acin, no. 43079.

Florin Piersic, Anna Széles
Florin Piersic, Anna Széles. Romanian postcard by Casa Filmului Acin, no. 33 150.

Often Very Beautiful


Today the postcards of Casa Filmului Acin are vintage and can be bought at sites on the net. The prices are now a bit higher than the 2 Lei they used to cost forty years ago, but still affordable.

Many stars on the Acin postcards are of course Romanian. The two major pop divas were Angela Similea and Margareta Pislaru, who both also appeared in several films.

Then there was Florin Piersic, one of the most renowned Romanian film actors and a monster sacré of the National Theatre in Bucharest. During the Ceauşescu era he appeared in more than forty films, in which he often depicted heroic, masculine characters.

He was married for a while to the ravishing Anna Széles, who appeared as a princess in the popular East-European fairy tales of the 1970s.

Besides giving this unique view at the Romanian film and music culture of the Ceauşescu period, I think it is interesting that Acin continued to produce film star postcards in a period many other European publishers had stopped to do so.

Acin published dozens of postcards of French and Italian stars of the 1970s and 1980s, and their photos are often incredibly beautiful.

Who else published postcards of such actors as Dominique Sanda, Sylvia Kristel or Marc Porel?

Only Casa Filmului Acin!

Helmut Berger
Helmut Berger. Romanian postcard by Casa Filmului Acin.

Marc Porel
Marc Porel. Romanian postcard by Casa Filmului Acin, no. 33132.

Happy birthday, Jean-Louis Trintignant!
Jean-Louis Trintignant. Romanian postcard by Casa Filmului Acin.

Gérard Lanvin
Gérard Lanvin. Romanian postcard by Casa Filmului Acin.

Francis Huster
Francis Huster. Romanian postcard by Casa Filmului Acin.

Source: Veronique3 (Flickr).
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