Quantcast
Channel: European Film Star Postcards
Viewing all 4136 articles
Browse latest View live

Robert Vaughn (1932-2016)

$
0
0
Last Friday, American actor Robert Vaughn died after a brief battle with acute leukaemia. Vaughn's elegant, dark-haired Napoleon Solo on the Spy series The Man from U.N.C.L.E (1964-1968) was television’s answer to James Bond. Together with his partner in the series, David McCallum as blond Russian Illya Kuryakin, Vaughn set 1960s TV’s standard for suavity and crime busting cool. The serie’s international popularity led to back-to-back of Golden Globe nominations for Vaughn as Best TV Star in 1965-1966.

Robert Vaughn (1932-2016)
American postcard by C.G. Williams Ltd, Maidstone, Kent, no. U 1, U.N.C.L.E. agent Napoleon Solo. Publicity still for The Man from U.N.C.L.E (1964-1968).

One of the Magnificent Seven


Robert Francis Vaughn was born in 1932 in New York City, to Gerald Walter Vaughn, a radio actor, and his wife, Marcella Frances (Gaudel), a stage actress. His ancestry included Irish, French, and German.

He studied journalism at the University of Minnesota, but quit after a year. He moved to Los Angeles and enrolled in Los Angeles City College majoring in drama, then he transferred to California State University at Los Angeles and completed his Master's degree. After that, and while he was acting throughout the 1960s and into the 1970s, he attended the University of Southern California and completed his Ph.D. in Communications. His thesis on the blacklisting of Hollywood entertainers during the McCarthy anti-communist era was published in 1972 as Only Victims.

His first film appearance was as an uncredited extra in The Ten Commandments (Cecil B. DeMille, 1956). Several parts in TV series and a role in the Western Good Day for a Hanging (Nathan Juran, 1959) followed.

Vaughn had his breakthrough as war veteran Chester A. Gwynn in The Young Philadelphians (Vincent Sherman, 1959), starring Paul Newman. For this part he was nominated for an Academy Award for Best Supporting Actor and won a Golden Globe for Best Supporting Actor.

He then played one of the seven gunfighters who help oppressed Mexican peasants to defend their homes in The Magnificent Seven (John Sturges, 1960). It earned him another Globe nomination for Most Promising Newcomer.

Daniel Bolton at IMDb: "Despite being in such popular films, he generally found work on television. He appeared over 200 times in guest roles in the late 1950s to early 1960s. It was in 1963 that he received his first major role in The Lieutenant (1963). Robert took the role with the intention of making the transition from being a guest-star actor to being a co-star on television. It was due to his work in this series that producer Norman Felton offered him the role of Napoleon Solo in The Man from U.N.C.L.E. (1964).

Robert Vaughn (1932-2016)
Spanish collectors card. Photo: publicity still for the series The Lieutenant (1963-1964).

Robert Vaughn (1932-2016)
Spanish postcard by Bergas, no. 773. Photo: publicity still for the TV series The Man from U.N.C.L.E. (1964-1968) with David McCallum.

Computer villain


In the following decades, Robert Vaughn had memorable parts in such popular pictures as the Steve McQueen car-chase classic Bullitt (Peter Yates, 1968), the war film The Bridge at Remagen (John Guillermin, 1969), The Towering Inferno (John Guillermin, 1974) with Paul Newman and Steve McQueen, S.O.B. (Blake Edwards, 1981), Superman III (Richard Lester, 1983) and as the uncredited voice of Proteus IV, the computer villain of Demon Seed (Donald Cammell, 1977) with Julie Christie.

He also appeared in several European productions, such as the thriller La baby sitter (René Clément, 1975) with Maria Schneider, the adventure film Atraco en la jungla/Double Cross (Gordon Hessler, 1976), and the Spaghetti Western Renegade (E.B. Clucher, 1987) starring Terence Hill.

In television, he appeared in many successful series, most notably in The A-Team (1983) and Emerald Point N.A.S. (1983).

More recently, Vaughn played grifter and card sharp Albert Stroller on the British series Hustle (2004-2012). During the first two months of 2012, he took on the role of Milton Fanshaw in the long-running British soap opera Coronation Street, as Milton Fanshaw, a love interest for Sylvia Goodwin, played by veteran English actress Stephanie Cole.

His memoir, A Fortunate Life, was published in 2009. His final film was Gold Star (Vitoria Negri, 2016) about a young music school dropout, who struggles to make sense of her aimless life while caring for her dying 90 year old father.

Robert Vaughn died of acute leukaemia on 11 November 2016 in Ridgefield, Connecticut. He was 83. Vaughn is survived by wife, Linda Staab, and their two adopted children: Cassidy Vaughn (1976) and Caitlin Vaughn (1981).

Robert Vaughn (1932-2016)
Spanish postcard by Bergas, no. 918. Photo: publicity still for The Man from U.N.C.L.E. (1964-1968).


Compilation Napoleon Solo -The Tough Life of an Uncle Agent of The Man from U.N.C.L.E. (1964-1968). Source: Tronyfree (YouTube).

Sources: Greg Evans and Erik Pedersen (Deadline), Daniel Bolton (IMDb), Wikipedia and IMDb.

Quo vadis? (1913)

$
0
0
Yesterday, an exhibition on the transmediality of Quo vadis? opened in Rome, Italy. Quo vadis? is the famous novel for which Henryk Sienkiewicz got the Nobel Prize. Today, 14 November, and tomorrow, 15 November, there is also a conference in Rome with a keynote lecture by Maria Wyke, one of the most renowned experts in cinema and Antiquity. Several film versions of Quo vadis? will be screened in Rome, including the newly restored 1901 version by Pathé Frères. EFSP posts two film specials on Quo vadis? adaptations. Tomorrow you'll find here dozens of postcards of the famous 1924 version with Emil Jannings as Nero, and today a post on the colossal epic of 1913, starring Amleto Novelli and Gustavo Serena.

Quo vadis?
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: "Ave Caesar, those who are about to die salute you." This image cites a famous 19th century painting (1859) by Jean-Léon Gérôme. It was often quoted, also in the Asterix comics.

Quo vadis?
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: The fight of the gladiators in the arena.

Quo vadis?
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: The death of the gladiator. This image cites Jean-Léon Gérôme's famous painting Pollice verso (Thumbs down, 1872) and was often used in the publicity for the film. In the back the emperor Nero (Carlo Cattaneo) makes the sign of thumbs down, sign for the conqueror to kill his adversary. Flanking Nero are left Tigellinus (Cesare Moltroni) and right Petronius (Gustavo Serena). Left of the imperial box the Vestal Virgins are seated.

Quo vadis? (1913)
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: The wild animals destined to tear the Christians to pieces. The lion keepers activate the lions under the circus before sending them above ground.

Quo vadis? (1913)
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: The last prayer. This scene quotes Jean-Léon Gérôme's painting The Christian Martyrs' Last Prayer (1863-1883).

Quo vadis? (1913)
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: The Christians in the circus, while the hungry lions approach.

Quo vadis? (1913)
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). The beasts have committed the massacre of the Christians.

Where Are You Going?


Quo vadis? is Latin for 'Where are you going?' and alludes to the apocryphal acts of Peter, in which Peter flees Rome but on his way meets Jesus and asks him why he is going to Rome. Jesus says "I am going back to be crucified again", which makes Peter go back to Rome and accept martyrdom.

Quo vadis? written by Henryk Sienkiewicz tells the love story between a young and beautiful Christian woman, Lygia, and a military tribune and Roman patrician, Marcus Vinicius. The story takes place in the city of Rome under the rule of emperor Nero around AD 64.

Published in installments in three Polish dailies in 1895, Quo vadis? came out in book form in 1896 and has since been translated into more than 50 languages. This novel contributed to Sienkiewicz's Nobel Prize for literature in 1905.

In 1901, Pathé Frères produced the first screen version, Quo vadis? (Lucien Nonguet, Ferdinand Zecca, 1901). It is only 65 meters long (duration: about three minutes) and was recently restored by the Centre national du cinéma et de l’image animée (CNC) in Paris.

Quo vadis?
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: The winner of the chariot race.

Gustavo Serena and Amleto Novelli in Quo vadis?
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Gustavo Serena as Petronius Arbiter and Amleto Novelli as Marcus Vinicius. Caption: Vinicius tells Petronius of his acts. Vinicius started to talk about the war (Chapter I).

Lea Giunchi and Bruto Castellani in Quo vadis?
Italian postcard by Uff.Rev. St. Terni. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Lygia (Lea Giunchi) saves Vinicius (Amleto Novelli) from the hands of Ursus (Bruto Castellani). Ursus, protector of Lygia, has just killed a gladiator who had been charged by Vinicius to kill Ursus while he himself planned to abduct Lygia.

Quo vadis? (Enrico Guazzoni, Cines 1913)
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: The devotion of the slave Eunice (Amelia Cattaneo) to Petronius (Gustavo Serena).

Quo vadis? (Enrico Guazzoni, Cines 1913)
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: The litter of Petronius. In front of Nero's palace, Petronius (Gustavo Serena) says goodbye to his cousin Vinicius (Amleto Novelli) and promises to have a good word to Nero about Vinicius getting Lygia.

Quo vadis? (Enrico Guazzoni, Cines 1913)
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: Vinicius (Amleto Novelli) is presented to Nero (Carlo Cattaneo). Behind Nero stands Petronius (Gustavo Serena).

Quo vadis? (Enrico Guazzoni, Cines 1913)
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). A Roman banquet. In the front Lea Giunchi as Lygia and Amleto Novelli as Vinicius.

Quo vadis? (Enrico Guazzoni, Cines 1913)
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: A banquet on the Palatine. The fat and drunken man in front is Giuseppe Gambardella (Vitellius), who was also famous as Checco in short Italian comedies.

A colossal epic


Ten years later, Italian director Enrico Guazzoni made a colossal epic starring Amleto Novelli and Gustavo Serena. He masterly combined huge spectacle with intimate scenes.

In 1913, Guazzoni's Quo vadis? premiered and the results at the box office quickly proved it a smashing success. Wikipedia: "It was arguably the first blockbuster in the history of cinema, with 5,000 extras, lavish sets, and a running time of two hours, setting the standard for 'superspectacles' for decades to come."

Throughout the world, Quo vadis? became popular not only among readers but also among fans of the new phenomenon, cinema. The film influenced Giovanni Pastrone's Cabiria 1914) and D.W. Griffith's Intolerance (1916).

Hal Erickson at AllMovie: "Quo Vadis? is nonetheless an important milestone in movie history. The film ran 12 reels (approximately three hours) at a time when most American productions were still within the 1- to 4-reel length. American film distributor George Kleine pared the film down to 8 reels for US distribution, but this still was an uncommonly long production for its day."

 In 1997 the film was restored by the Dutch Filmmuseum (now Eye Institute) in Amsterdam and since then it was shown on several festivals. Tonight it will be screened in Rome.

Quo vadis?
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Helped by Acte, Nero's former mistress, Ursus (Bruto Castellani) subtracts Lygia (Lea Giunchi) from the orgy of the imperial banquet, where the drunken Roman Vinicius tries to rape her.

Quo vadis?
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). The Giant Ursus (Bruto Castellani) awaits the bull in the circus. After his long captivity Ursus is almost blinded when he enters the arena. Then a wild bull enters the arena on which back Lygia is bound. Ursus will kill the bull with his bare hands, much to the delight of the audience and the emperor.

Quo vadis?
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Ursus (Bruto Castellani) and Vinicius (Amleto Novelli) implore the audience and emperor Nero to grace the Christian Lygia (Lea Giunchi), after Ursus has killed the bull on whch back Lygia had been bound. The audience raves because of Ursus' tour de force. Vinicius has stripped his cloth to show his scars from the wars, while Ursus holds up Lygia. All around Nero hold their thumbs up for grace, even if this sign seems to have been a 19th century invention and historically incorrect.

Quo vadis?
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: The apostle Peter (Giovanni Gizzi) preaching to the Christians in the catacombs.

Quo vadis (1913)
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: Ursus (Bruto Castellani) and Chilo Chilonides (Augusto Mastripietri).

Bruto Castellani in Quo vadis (1913)
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Chilo (Augusto Mastripietri) sweettalks to Ursus (Bruto Castellani) to find out where Lygia is hidden. Caption: Chilo talks to Ursus about the traitors of the Christians. (Ursus:) Go to the Christians, go to their godhouses and ask for the brothers of Glaucus. (Chapter XVII of the book).

Quo vadis?
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Vinicius (Amleto Novelli) finds back Lygia (Lea Giunchi) at the catacombs of Ostriano. Left of Lygia is St. Peter (Giovanni Gizzi), right of her protector Ursus (Bruto Castellani). Vinicius plots to abduct Lygia, with the help of the Greek Chilo (Augusto Mastripietri) and a gladiator.

Quo vadis? (1913)
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: Chilo (Augusto Mastripietri) is baptised by the apostle Paul (of Tarsus). Chilon! I baptise you in the name of the Father, the Son and the Holy Ghost. Amen! (Chapter LXI of the book).

Quo vadis? (1913)
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: The historical death of Petronius (Gustavo Serena) and Eunice (Amelia Cattaneo). "Friends, confess that with us perishes..." (Chapter LXXIII).

Quo vadis?
Italian postcard. Photo: Cines. Publicity still for Quo vadis? (Enrico Guazzoni, 1913). Caption: The fire of Rome.

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

Quo vadis? (1924-1925)

$
0
0
Last Sunday, an exhibition on the transmediality of Quo vadis? opened in Rome, Italy, and yesterday also a conference started on Quo vadis?. EFSP collaborator Ivo Blom speaks in Rome about the painters Gérôme and Alma-Tadema and the film maker Guazzoni, director of the second film adaptation of Quo vadis, the subject of our post yesterday. Today, EFSP presents a film special about the third film adaptation of Henryk Sienkiewicz's famous novel, the German-Italian co-production Quo vadis? (Georg Jacoby, Gabriellino D'Annunzio, 1924-1925). Emil Jannings, famous star of the German silent cinema, was cast as the evil emperor Nero.

Quo vadis? (1924-25)
German postcard by Ross Verlag, no. 699/1, 1919-1924. Photo: Filmhaus Bruckmann. Publicity still for Quo vadis? (Georg Jacoby, Gabriellino D'Annunzio, 1924-1925). Here we see Nero (Emil Jannings) going out of his mind when his little son dies.

Alphons Fryland and Lilian Hall-Davis in Quo vadis? (1924)
German postcard by Ross Verlag, no. 699/3, 1919-1924. Photo: Filmhaus Bruckmann. Publicity still for Quo vadis? (Georg Jacoby, Gabriellino D'Annunzio, 1924-1925). Here, Marcus Vinicius (Alphons Fryland) tries to seduce the chaste Lygia (Lilian Hall-Davis) during an orgy at Nero's palace.

Alphons Fryland in Quo Vadis (1925)
German postcard by Ross Verlag, no. 699/4, 1919-1924. Photo: Filmhaus Bruckmann. Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1925). Marcus Vinicius (Alphons Fryland) leads the populace against Nero.

Quo vadis? (1924-25)
German postcard by Ross Verlag, no. 699/5, 1919-1924. Photo: Filmhaus Bruckmann. Publicity still for Quo vadis? (Georg Jacoby, Gabriellino D'Annunzio, 1924-1925). Here we see Ursus (Bruto Castellani) liberating Lygia (Lilian Hall-Davis) after he has conquered the raging bull. Castellani's face and hair are clearly drawn afterwards. In the film the nudity is only visible for a fraction of a second.

Rina de Liguoro in Quo Vadis? (1924)
German postcard by Ross Verlag, Berlin, no. 699/6, 1919-1924. Photo: Filmhaus Brückmann. Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924) with Rina De Liguoro as Eunice, secretly in love with her master Petronius (André Habay).

A huge spectacle


Ten years after the smashing success of director Enrico Guazzoni's colossal epic Quo vadis? (1913), the Unione Cinematografica Italiana (U.C.I.) decided to make a new silent film version.

The Unione Cinematografica Italiana was an Ufa-like or Universal-like merger of many Italian pre-war film companies. Grand old man Arturo Ambrosio was the producer of the third film version, Quo vadis? (1924-1925).

Directors were the German Georg Jacoby and the Italian Gabriellino D' Annunzio, son of Gabriele D'Annunzio, the famous Italian writer and adventurer.

They turned Sienkiewicz's story of Emperor Nero's politically motivated persecution of the early Christians to hush up his own burning of Rome, and of the 'conversion' of an agnostic Roman warrior via the love of a virtuous Christian girl, into a huge spectacle.

Highlights are the 'burning of Rome' scenes and the climactic fights and carnage in the gladiatorial arena. Cinematography was by Giovanni Vitrotti, Alfredo Donelli, and Curt Courant.

Lilian Hall-Davis in Quo vadis?
Italian postcard by Ed. A. Traldi, Milano, no. 651. Photo: Lilian Hall-Davis as Licia/Lygia in Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924-1925).

Rina de Liguoro in Quo vadis?
Italian postcard by Ed. G.B. Falci, Milano. Photo: Rina De Liguoro as Eunice in Quo vadis? (Gabriellino D' Annunzio, Georg Jacoby, 1924-1925).

Elga Brink in Quo vadis?
Italian postcard by Ed. A. Traldi, Milano, no. 662. Photo: Elga Brink as Domitilla in Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924-1925).

Elena Sangro in Quo vadis
Italian postcard by Ed. A. Traldi, Milano, no. 663. Photo: Elena Sangro as the Empress Poppaea in Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924-1925).

A Stellar Cast


The historical epic was shot in Rome with a stellar cast of international silent stars. One of the brightest stars of the British silent cinema, Lilian Hall-Davis, and Austrian actor Alphons Fryland played the two young lovers Lygia (Licia in Italian) and Marcus Vinicius.

The German actress Elga Brink appeared as Domitilla. She has a spectacular scene, when as Christian martyr she is first dragged by a chariot through the circus, but then manages to climb up the chariot, take the reins and finish the race, to the great joy of the audience. Italian actor André Habay portrayed Marcus' uncle Petronius, Nero's 'arbiter elegantiae', who uses his wit to flatter and mock him at the same time. Italian diva Rina De Liguoro played Petronius' slave Eunice who later on becomes his mistress and dies with him.

And then there was the famous star of the German silent cinema, Emil Jannings, who was cast as the emperor Nero. Hal Erickson at AllMovie: "Jannings tackles the role of Nero with lusty abandon, making this already larger-than-life historical personality even more so." While in the 1913 version Carlo Cattaneo gave a more naive version of Nero, more the victim of his surroundings, Jannings' Nero is clearly a perverse and sadistic man, who enjoys other people's misery, frightens and plays with his courtiers, and hypocritically offers Licia's his help after Vinicius has been too rough to her, only to reveal later on his own real, lustful intentions. It is also clear the filmmakers gave Jannings a much bigger part in the film than his predecessor or than in the novel. The publicity highlighted his presence as star of the film too.

Bruto Castellani
Italian Postcard by Ed. A. Traldi, Milano, no. 665. Photo: Bruto Castellani as Ursus in Quo vadis? (Gabriellino D' Annunzio, Georg Jacoby, 1924-1925).

Alphons Fryland in Quo vadis? (1925)
Italian postcard by Ed. Romeo Biagi, Bologna, no. 666. Photo: Unione Cinematografica Italiana. Alphons Fryland as Vinicius in Quo vadis? (Gabriellino D' Annunzio, Georg Jacoby, 1924-1925).

André Habay in Quo vadis
Italian postcard by Ed. A. Traldi, Milano, no. 667. Photo: André Habay as Petronius in Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924-1925).

Emil Jannings as Nero
Italian postcard by Ed. A. Traldi, Milano, no. 668. Photo: Unione Cinematografica Italiano. Publicity still of Emil Jannings as Nero in Quo vadis? (Georg Jacoby, Gabriellino D'Annunzio, 1924-1925).

Gino Viotti in Quo vadis?
Italian postcard by Ed. A. Traldi, Milano, no. 669. Photo: Gino Viotti as the lecherous and treacherous Greek Chilo Chilonides in Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924-1925).

Raimondo van Riel in Quo vadis?
Italian postcard by Ed. A. Traldi, Milano, no. 670. Photo: Raimondo Van Riel as Nero's evil general Tigellinus in Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924-1925).

Streaks of Sadism and Nudity


Quo vadis? had its Roman premiere on 16 March 1925. The producer had tried to equal the earlier version of 1913, adding enormous sets, designed by sculptor and architect Armando Brasini, and streaks of sadism & nudity, some already present in the novel (e.g. the human torches), others added to attract audiences (e.g. a female fed to Nero's lampreys).

The 1925 version didn't have the worldwide success of Enrico Guazzoni's earlier film. For various reasons: people were a bit bored with epic films and the censor had ordered cuts, such as the too explicit scenes of orgy, violence and blood gulping. The producer almost went bankrupt over copyright claims he all had to pay.

It didn't help that the lion tamer Alfred Schneider was convicted because one of his circus lions had bitten and killed an extra.

Still a fascinating film, especially for the performances of Emil Jannings as the evil emperor Nero, Elena Sangro as the empress Poppaea and Bruto Castellani as the strong man Ursus. Castellani had performed the role before in the 1913 version of Quo vadis?

Hal Erickson at AllMovie: "Although not as much of a cinematic landmark as the 1913 version of Quo Vadis?, this 1924 Italian adaptation of the Henryk Sienkiewicz best-seller was a splendidly lavish production, not to mention a worldwide box-office success."

Quo Vadis? (1924)
Italian postcard by Edizione L'Argentografica, Torino. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924).

Quo Vadis? (1924)
Italian postcard by Edizione L'Argentografica, Torino. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924), starring Emil Jannings as Nero, and Elena Sangro as Poppaea. When Chilo exposes Nero as arsonist, the emperor shoots him.

Quo Vadis? (1924)
Italian postcard by Edizione L'Argentografica, Torino. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924). Petronius (André Habay) greets Nero (Emil Jannings).

Quo Vadis? (1924)
Italian postcard by Edizione L'Argentografica, Torino. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924), with Alphons Fryland as Vinicius.

Quo Vadis? (1924)
Italian postcard by Edizione L'Argentografica, Torino. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924), with Marcella Sabatini, Lilian Hall-Davis as Lygia and Alphons Fryland as Vinicius.

Quo Vadis? (1924)
Italian postcard by Edizione L'Argentografica, Torino. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924). The large architectural constructions of Nero's palace on the Palatine were by Armando Brasini, while R. Ferro and G. Spellani took care of the general production design.

Quo Vadis? (1924)
Italian postcard by Edizione L'Argentografica, Torino. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924).

Quo Vadis? (1924)
Italian postcard by Edizione L'Argentografica, Torino. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924). The soothsayer, explaining Nero's nightmare.

Magnificently Restored


Hal Erickson mentions at AllMovie that the subsequent Hollywood popularity of Emil Jannings prompted a reissue of Quo vadis? in 1929. Reportedly a newly recorded musical score was added.

In 1951 Hollywood  made a new version with sound and in colour, Quo Vadis (Mervyn LeRoy, 1951). The film stars Robert Taylor, Deborah Kerr, Leo Genn, and Peter Ustinov. It was nominated for eight Academy Awards.

Fifty years later followed a Polish adaptation by Jerzy Kawalerowicz: Quo Vadis (2001). There was also a 1985 mini-series starring Klaus Maria Brandauer as Nero.

Also in 2001, the Dutch Filmmuseum (now Eye Institute) in Amsterdam restored the silent 1924 version of  Quo vadis?, based on various existing copies. This magnificently restored version had its 're-premiere' at the Bologna film festival Cinema Ritrovato in 2002.


Quo vadis 1925 The kidnapping of Lygia
Italian postcard. Photo: UCI (Unione Cinematografica Italiana). Publicity still of the scene of the kidnapping of Lygia in Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924-1925).

Quo vadis? (1924-25)
Italian postcard by G.G. Falci, Milano / La Fotominio. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924). Caption: The Christians awaited their martyrdom in ecstasy.

Quo vadis? (1924-25)
Italian postcard by G.G. Falci, Milano / La Fotominio, no. 156. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924). Caption: Nero offered the spectacle of the human torches.

Quo vadis? (1924-25)
Italian postcard by G.G. Falci, Milano / La Fotominio, no. 159. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924). Caption: They heard the menacing shouts of the revolting mob. Shown are Emil Jannings as Nero and Raimondo Van Riel as Tigellinus. Actually, the scene refers to Nero's nightmare.

Quo vadis? (1924-25)
Italian postcard by G.G. Falci, Milano / La Fotominio, no. 163. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924). Caption: While the Christian were awaiting their turn. On the foreground, Ursus (Bruto Castellani) is guarding Licia (Lilian Hall-Davis). In the background the light falls on the family of Plautus, Domitilla (Elga Brink) and their son (Marcella Sabatini).

Quo vadis? (1924-25)
Italian postcard by G.G. Falci, Milano / La Fotominio, no. 165. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924). Caption: Acte and Licia meet again in the catacombs. (But actually, the caption is wrong. Here, Lygia (Lilian Hall-Davis) meets again Domitilla (Elga Brink), her husband Plautus (name unknown) and their son. On the right Ursus (Bruto Castellani).

Quo vadis? (1924-25)
Italian postcard by G.G. Falci, Milano / La Fotominio, no. 168. Photo: UCI (Unione Cinematografica Italiana). Publicity still for Quo vadis? (Gabriellino D'Annunzio, Georg Jacoby, 1924). Caption: The Christians gathered in the catacombs.

Sources: Vittorio Martinelli, Il cinema muto italiano. I film degli anni venti, 1923-1931Hal Erickson (AllMovie), Marcin Kukuczka (IMDb), Wikipedia and IMDb.

Cirano di Bergerac (1923)

$
0
0
The Franco-Italian historical film Cirano di Bergerac (Augusto Genina, 1923) was based on Edmond Rostand's often-filmed play Cyrano de Bergerac. Pierre Magnier starred as Cyrano de Bergerac, the gentleman with the unusually long nose, Linda Moglia played his beautiful but unreachable niece Roxane and Angelo Ferrari played his friend and rival in love Christian de Neuvillette. Will Cyrano ever find love?

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Pierre Magnier as Cyrano de Bergerac. Caption: The witty remarks by Cyrano cause for hilarity among the populace present at the theatre.

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Pierre Magnier as Cyrano de Bergerac. Caption: Jokingly Cyrano ironizes the presumptuous Gascogne noble, before duelling with him.

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Pierre Magnier as Cyrano de Bergerac. Caption: A tale by Cyrano.

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Pierre Magnier as Cyrano de Bergerac and Angelo Ferrari as Christian de Neuvillette. Caption: Cyrano addresses to Roxane his most ardent words of love by the lips of Christian, who, incapable to invent such words, memorises them thanks to Cyrano.

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Pierre Magnier as Cyrano de Bergerac. Caption: Hidden between the foliage in the garden, Cyrano suggests Christian the magic, sublime words that the latter isn't capable to invent and that aside Roxane's delicate inhibitions.

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Linda Moglia as Roxane and Angelo Ferrari as Christian de Neuvillette. Caption: Christian joins the baluster, finally embracing Roxane. He bends towards her mouth to receive the kiss from her, who has bent because of the sweet words Cyrano lent him.

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Linda Moglia as Roxane and Angelo Ferrari as Christian de Neuvillette. Caption: the nice phrases of Christian he learned from Cyrano have conquered and seduced Roxane.

A brave and eloquent gentleman doted with an unusually long nose


Cirano di Bergerac (Augusto Genina, 1923) traces the classical story by Edmond Rostand about the strong, witty and eloquent gentleman, a poet, a leader and filled with plenty of charisma and bravado in 17th Century France. He has only one flaw: an unusually long nose. Although there was a real Cyrano de Bergerac, the play is a fictionalisation of his life that follows the broad outlines of it.

Future film director Mario Camerini wrote the script for the silent film version. Cirano di Bergerac was shot in 1922. French stage and screen actor Pierre Magnier played Cyrano. Magnier would act in over 100 films and was also known for La roue (Abel Gance, 1923), and La règle du jeu (Jean Renoir, 1939).

Whoever challenges Cyrano for his nose, will meet his sword. As Cyrano cannot have his beautiful niece Roxane (Linda Moglia) because of his looks, he secretly helps young Christian de Neuvillette (Angelo Ferrari) to seduce her using Cyrano's poetic words.

Christian and Roxane secretly marry before he goes to war, together with Cyrano. From the camp Cyrano writes Roxane poetic letters in Christian's name which increase her love for the young man, so much that she visits the camp and declares Christian she even would love him if he were not beautiful anymore, hurting Christian's feelings.

Just as Cyrano is about to confess Roxane his fraud, Christian is shot and he dies in Roxane's arms, content that Roxane really loves him.

Five years after, like always Cyrano visits Roxane in the convent where she has retired. This day his old enemies have mortally wounded him but he covers the wound with his hat. When Cyrano is once more reciting Christian's last letter and can do so from the head, Roxane discovers Cyrano was the true author of all of Christian's poetry and understands. It is too late. Cyrano dies reciting his lines.

In 1923, the film won an award at the Turin festival. Afterwards the whole film was stencil-coloured in Pathé-color, a version released only in 1925. It was this version that in 1999 was fully restored by Film Preservation Associates for ARTE, in collaboration with avid Shepard, and with post-production by Lobster. Kurt Kuenne composed new music, executed by the Olympia Chamber Orchestra led by Timothy Brock. Afterwards a DVD of Cirano di Bergerac was released by Absolute Medien, together with ARTE.

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Linda Moglia as Roxane and Angelo Ferrari as Christian de Neuvillette. Caption: Roxane and Christian de Neuvillette marry.

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Linda Moglia as Roxane and Pierre Magnier as Cyrano de Bergerac.

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Pierre Magnier as Cyrano de Bergerac. Caption: During the siege of Arras, Cyrano writes to Roxane on behalf of Christian the most ardent words an enamoured heart could have suggested.

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Pierre Magnier as Cyrano de Bergerac. Caption: Cyrano writes...

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Linda Moglia as Roxane and Angelo Ferrari as Christian de Neuvillette. Caption: Defying danger, Roxane joins Christian at Arras, where he is camping with the soldiers.

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Linda Moglia as Roxane and Pierre Magnier as Cyrano de Bergerac.

Cirano di Bergerac (1923)
Italian postcard. Photo: UCI. Publicity still for Cirano di Bergerac (Augusto Genina, 1923) with Linda Moglia as Roxane and Pierre Magnier as Cyrano de Bergerac. Caption: A few cronies of the Duke de Guiche have treacherously hit Cyrano. He still has the force to go to his beloved Roxane, and involuntarily he reveals his heroic sacrifice.

Sources: Wikipedia and IMDb.

Erika Glässner

$
0
0
Cute actress Erika Glässner (1890-1959) starred as a backfisch and later as a cheeky temptress in many German films of the silent era. From 1915 till 1952 she appeared in some 80 films.

Erika Glässner
German postcard by Verlag Hermann Leiser, Berlin, no. 2320. Photo: B.J.G.

Erika Glässner in Wäschermädel
German postcard by Rotophot in the Film Sterne Series, no. 504. Photo: Oliver Film. Publicity still for Das Wäschermädel Seiner Durchlaucht/The Washer Girl of His Highness (Danny Kaden, 1917).

Erika Glässner and Emile Jannings in Tragödie der Liebe
German postcard by Ross Verlag, no. 654/1. Photo: May Film. Erika Glässner and Emil Jannings in Tragödie der Liebe/The Tragedy of Love (Joe May, 1923).

Erika Glässner in Tragödie der Liebe (1923)
German postcard by Ross Verlag, no. 654/3. Photo: May Film. Erika Glässner in Tragödie der Liebe/The Tragedy of Love (Joe May, 1923).

Erika Glässner
French postcard, no. 209. Photo: publicity still for Tragödie der Liebe/The Tragedy of Love (Joe May, 1923).

Backfische


Marie Johanna Erika Glässner (Glaessner) was born in Erfurt, Germany in 1890. She was the daughter of the painter Gottfried Glässner. Her brother was the opera singer Kurt Glässner. In her youth she received ballet lessons.

In 1910, she debuted as a dancer at the Stadttheater (City Theater) in Erfurt. In the following years she had engagements as a dancer and actress in Olbernhau, Halberstadt and Frankfurt am Main. In 1914 she appeared for the first time on stage in Berlin at the Lustspielhaus (Comedy house). Several successful performances at cabarets and theaters followed.

From 1915 on Erika Glässner played supporting and leading roles in silent films. Her screen debut was in Der moderne Paris oder Der Herr Apotheker heiratet/The modern Paris, or Sir Pharmacist married (Heinrich Bolten-Baeckers, 1915). Her following films were the short Ein nettes Pflänzchen/A Cute Little Fraud (Paul Heidemann, 1916) and Werner Krafft (Carl Froelich, 1916) with Eduard von Winterstein.

In these years she mainly portrayed backfische (teenage girls) in such melodramas as Spiel im Spiel/Play within a play (Emmerich Hanus, 1916) with Friedrich Zelnik, Katinka (Emil Birron, Paul Otto, 1918), and Moral und Sinnlichkeit/Morality and Sensibility (Georg Jacoby, 1919) with Käthe Dorsch.

Opposite Hans Albers she starred in Aus eines Mannes Mädchenjahren/A Man's Girlhood (Karl Grune, Paul Legband, 1919). Reinhold Schünzel cast her next to Liane Haid as a maid in Der Roman eines Dienstmädchens/The Novel of a maid (Reinhold Schünzel, 1921).

During this period, she was often cast as the cheeky temptress, such as in Tragödie der Liebe/Love Tragedy (Joe May, 1923) in which she was the mistress of Emil Jannings. She played the title figure in Die Blumenfrau vom Potsdamer Platz/The flower lady from Potsdamer Platz (Jaap Speyer, 1925). In Kubinke, der Barbier, und die drei Dienstmädchen/Kubinke, the barber, and The three maids (Carl Boese, 1926) her co-star was Werner Fuetterer, and in Gerhard Lamprechts drama Menschen untereinander/Among people (Gerhard Lamprecht, 1926) the star was Alfred Abel.

Erika Glässner
German postcard by Rotophot in the Film Sterne Series, no. 137/1. Photo: Becker & Maass, Berlin.

Erika Glässner
German postcard by Rotophot. in the Film Sterne Series, no. 137/2. Photo: Becker & Maass, Berlin.

Erika Glässner
German postcard by Rotophot. in the Film Sterne Series, no. 137/4. Photo: Becker & Maass, Berlin.

Erika Glässner
German postcard by Rotophot. in the Film-Sterne series, no. 203/2. Photo: Becker & Maass, Berlin.

Erika Glässner
German postcard by Rotophot. in the Film Sterne series, no. 203/3. Photo: Becker & Maass, Berlin.

Strict aunts and mothers-in-law


In 1926 Erika Glässner married the politician Arnold Kalle. Although her roles became smaller over the years, Glässner remained a busy film actress for a long time. She also continued to play in the theatre.

After the introduction of the sound film, she mainly portrayed such characters as strict aunts and mothers-in-law, or maids or wives. She played in the comedy Madame wünscht keine Kinder/Madame does not want any children (Hans Steinhoff, 1933) with Liane Haid and Georg Alexander, and she appeared with Heinz Rühmann in Heinz im Mond/Heinz in the Moon (Robert A. Stemmle, 1934) as the wife of Oskar Sima, who mimed a stockbroker.

Erich Engel gave her a small role in his adaptation of George Bernard Shaw's Pygmalion (Erich Engel, 1935) with Gustaf Gründgens and Jenny Jugo, and in Der Müde Theodor/The Tired Theodore (Veit Harlan, 1936) she was the wife of the protagonist, played by the Bavarian comedian Weiss-Ferdl.

After the Second World War she had her last film work in two productions of the East-German DEFA studios. In the literary adaptations Corinna Schmidt (Arthur Pohl, 1951) and Karriere in Paris/Career in Paris (Hans-Georg Rudolph, Georg C. Klaren, 1952) she appeared as distinguished ladies from the upper class.

After the death of her husband she retired from the cinema. In 1956 she left the former DDR (East-Germany) and went to live in Giessen, Germany. There Erika Glässner committed suicide in 1959. She was 69. The media did not take notice of the death of the former film star.

Erika Glässner
German postcard by Photochemie, no. K. 1370. Photo: Alex Binder, Berlin.

Erika Glässner
German postcard by Hermann Leiser, Berlin-Wilm, no. 5540. Photo: Atelier Eberth, Berlin.

Erika Glassner in Tragödie der Liebe
Yugoslavian postcard. Photo: Bosna Film. Publicity still for the German silent film Tragödie der Liebe/The Tragedy of Love (Joe May, 1923).

Alfred Abel and Erika Glässner
German postcard by Verlag Hermann Leiser, Berlin, no. 3269. Photo: Zander & Lubisch. Publicity still for Menschen untereinander/People to Each Other (Gerhard Lamprecht, 1926).

Erika Glässner
German postcard by Ross Verlag, no. 771/2, 1925-1926. Photo: Alex Binder.

Erika Glässner
German postcard by Ross Verlag, no. 772/2, 1925-1926. Photo: Alex Binder.

Erika Glässner
German postcard by Ross Verlag, no. 1022/2, 1927-1928. Photo: Alex Binder.

Sources: Stephanie D’heil (Steffi-line - German), Thomas Staedeli (Cyranos), DEFA Filmsterne (German), Filmportal.de, Film-Zeit.de (German), Wikipedia (German) and IMDb.

EFSP's Dazzling Dozen: our newest acquisitions

$
0
0
Last Saturday, we travelled to Utrecht for 'Europe's biggest Vintage Collectors Fair'! And again, we found lots and lots of postcards. In the following months you can see them here at EFSP, but for this post we chose a dozen postcards that dazzled us. So here are 12 favourite acquisitions.

Le petit poucet (Pathé frères 1905)
Le petit poucet. French postcard by Croissant, Paris, no. 3662. Photo: Film Pathé. Publicity still for Le petit poucet/Hop o' My Thumb (Vincent Lorent-Heilbron, 1905). Caption: He fell on his knees asking for mercy.

La vie du Christ. Aux pieds du sphinx
La vie et la passion de Jésus Christ. French postcard. Photo: Film Pathé. Publicity still for La vie et la passion de Jésus Christ (Lucien Nonguet, Ferdinand Zecca, 1903). Caption: The Life of Christ - At the Feet of the Sphinx.

Henri Jourdin de Croix
Henri Jourdin de Croix. French postcard. Photo P. Apers. Henri Jourdin de Croix of the Théàtre National de l'Odéon was a French stage actor, director and playwright.

Albert Dieudonné as Napoléon
Albert Dieudonné as Napoleon. French postcard. Photo: Choumoff. The retro of the card makes publicity for Dieudonné in a stage version of Bonaparte at the Theatre de la Renaissance.

Elena Sangro
Elena Sangro. Italian postcard by Ed. A. Traldi, Milano. Photo: Pinto, Roma.

Ruth Weyher,
Ruth Weyher. German postcard by Ross Verlag, no. 3089/1, 1928-1929. Photo: Atelier Kiesel, Berlin.

Fern Andra
Fern Andra. German postcard Ross Verlag, no. 3549/1.Photo: Atelier Schneider.

Greta Garbo in Grand Hotel (1932)
Greta Garbo in Grand Hotel (1932). Dutch postcard by JosPe, no. 381. Photo: Metro-Goldwyn-Mayer. Publicity still for Grand Hotel (Edmund Goulding, 1932).

Farley Granger and Ruth Roman in Strangers on a Train (1951)
Farley Granger and Ruth Roman in Strangers on a Train (1951). Dutch postcard by Takken, no. 566. Photo: Warner Bros. Publicity still for Strangers on a Train (Alfred Hitchcock, 1951).

Angela Lansbury
Angela Lansbury. Dutch postcard by Takken, no. 166. Photo: Metro-Goldwyn-Mayer.

Richard Burton and Claire Bloom in Hamlet (1954)
Richard Burton and Claire Bloom in Hamlet (1954). Danish postcard by Kaj Brammers Boghandel, Helsingor, no. 748. Photo: publicity still for the stage production of Hamlet at the Hamletspillene in Kronborg, 1954, with Burton as Hamlet and Bloom as Ophelia.

Fanfare, Arena cinema
Fanfare at the Arena. Dutch postcard by A. de Herder, Rotterdam. The Arena Cinema was located at the Kruiskade, Rotterdam, The Netherlands. The film on show was the Dutch comedy Fanfare (Bert Haanstra, 1958), starring Hans Kaart.

This is a post for Postcard Friendship Friday, hosted by Beth at the The Best Hearts are Crunchy. You can visit her by clicking on the button below.



Imported from the USA: Bebe Daniels

$
0
0
Bebe Daniels (1901-1971) was an American actress, singer, dancer, writer and producer. She began her career in Hollywood during the silent film era as a child actress and later, she was the love interest of Harold Lloyd in dozens of short comedies. Cecil B. de Mille made her a silent star and she also sang and danced in early musicals like Rio Rita (1929) and 42nd Street (1933). In Great Britain, she gained further fame on stage, radio and television. In her long career, Bebe Daniels appeared in 230 films.

Bebe Daniels
French postcard by Cinémagazine Edition, Paris, no. 452. Photo: Paramount.

Bebe Daniels
German postcard by Ross Verlag, no. 4811/1, 1929-1930. Photo: RKO Radio Pictures. Collection: Geoffrey Donaldson Institute.

Bebe Daniels
French postcard, no. 290.

Charming and spunky


Phyllis Virginia Daniels was born in Dallas, Texas, in 1901. Bebe was her childhood nickname. Her father was a theatre manager and her mother was stage and silent film actress Phyllis Daniels. The family moved to Los Angeles, California in her childhood and she began her acting career at the age of four in the stage play The Squaw Man.

That same year she also went on tour in a stage production of William Shakespeare's Richard III. The following year she participated in productions by Oliver Morosco and David Belasco.

By the age of eight Daniels made her film debut as the young heroine in A Common Enemy (Otis Turner, 1910). Then she starred as Dorothy Gale in the short The Wonderful Wizard of Oz (Otis Turner, 1910). It is the earliest surviving film version of L. Frank Baum's 1900 novel The Wonderful Wizard of Oz, made by the Selig Polyscope Company. It was later followed by the sequels Dorothy and the Scarecrow in Oz (1910), The Land of Oz (1910) and John Dough and the Cherub (1910), all considered to be lost films.

At the age of fourteen Bebe was enlisted by studio head Hal Roach to pair her with very young and talented Harold Lloyd and also Snub Pollard in a series of two-reel comedies starting with Giving Them Fits (Hal Roach, 1915). At the time, Harold Lloyd was trying to ape Charlie Chaplin in his character, 'Lonesome Luke'. Roach made 80 short comedies featuring Harold as Luke with Bebe playing his love interest between 1915 and 1917, including Bughouse Bellhops (Hal Roach, 1915), Tinkering with Trouble (Hal Roach, 1915) and Ruses, Rhymes and Roughnecks (Hal Roach, 1915).

Lloyd and the charming and spunky Daniels eventually became known as ‘The Boy and The Girl’ in such shorts as Bliss (Alfred J. Goulding, 1917), The Non-stop Kid (Gilbert Pratt, 1918) and Young Mr. Jazz (Hal Roach, 1919). Stephan Eichenberg at IMDb: “Lloyd fell hard for Bebe and seriously considered marrying her, but her drive to pursue a film career along with her sense of independence clashed with Lloyd's Victorian definition of a wife.”

After 200 shorts for Hal Roach Studios. Bebe decided to move to greater dramatic roles and accepted a contract from Cecil B. DeMille in 1919. He gave her secondary roles in such feature films as Male and Female (Cecil B. DeMille, 1919) starring Gloria Swanson, Why Change Your Wife? (Cecil B. DeMille, 1920), and The Affairs of Anatol (Cecil B. DeMille, 1921), with Wallace Reid.

Bebe Daniels in Why Change Your Wife? (1920)
Italian postcard, no. 166. Photo: publicity still for Why Change Your Wife? (Cecil B. DeMille, 1920).

Bebe Daniels
British postcard. Photo: publicity still for The Speed Girl (Maurice Campbell, 1921).

Bebe Daniels and John Boles in Rio Rita (1929)
German postcard by Ross Verlag, no. 4812/1, 1929-1930. Photo: Radio Pictures (RKO). Publicity still for Rio Rita (Luther Reed, 1929) with John Boles.

A 20-year-old veteran film actress


In the 1920s, Bebe Daniels was under contract with Paramount Pictures, and made the transition from child star to adult in Hollywood. The now lost comedy The Speed Girl (Maurice Campbell, 1921) was supposedly expanded into a screenplay from Daniels's real life jail sentence of 10 days for multiple speeding tickets. The film poster shows her walking out of a jail cell.

At the time the 20-year-old was already a veteran film actress. By 1924 Bebe was playing Rudolph Valentino’s love interest in the costume drama Monsieur Beaucaire (Sidney Olcott, 1924). Paramount spared no expense on the film from the sets, costumes down to the musical soundtrack that accompanied it upon it's release.

Following this she was cast in a number of light popular films, namely Miss Bluebeard (Frank Tuttle, 1925), The Manicure Girl (Frank Tuttle, 1925), and Wild Wild Susan (A. Edward Sutherland, 1925) with Rod LaRocque.

Paramount dropped her contract with the advent of talking pictures. Daniels was hired by Radio Pictures (later known as RKO) to star opposite John Boles in one of their biggest productions of the year, the talkie Rio Rita (Luther Reed, 1929). Its finale was photographed in two-colour Technicolor.

The musical comedy, based on the 1927 stage musical produced by legendary showman Florenz Ziegfeld, proved to be the studio's biggest box office hit until King Kong (Merian C. Cooper, Ernest B. Schoedsack, 1933). Daniels found herself a star and RCA Victor hired her to record several records for their catalogue. Radio Pictures starred her in lavish musicals such as Dixiana (Luther Reed, 1930) and Love Comes Along (Rupert Julian, 1930).

Bebe Daniels and John Boles in Rio Rita (1929)
German postcard by Ross Verlag, no. 51592, 1930-1931. Photo: Radio Pictures (RKO). Publicity still for Rio Rita (Luther Reed, 1929) with John Boles.

Lloyd Hughes and Bebe Daniels in Love Comes Along (1930)
German postcard by Ross Verlag, no. 5158/1, 1930-1931. Photo: Radio Pictures (RKO). Publicity still for Love Comes Along (Rupert Julian, 1930) with Lloyd Bridges.

Bebe Daniels
Austrian postcard by Iris Verlag, no. 368-3. Photo: Paramount-Film.

Bebe Daniels
French postcard by Europe, no. 379. Photo: Paramount.

Box office draw


Toward the end of 1930, Bebe Daniels appeared opposite Douglas Fairbanks in the musical comedy Reaching for the Moon (Edmund Goulding, 1930). However, by this time musicals had gone out of fashion so that most of the musical numbers from the film had to be removed before it could be released.

Daniels had become associated with musicals and so Radio Pictures did not renew her contract. Warner Bros. realised what a box office draw she was and offered her a contract which she accepted. During her years at Warner Bros. she starred in such pictures as the drama My Past (Roy Del Ruth, 1931), Honor of the Family (Lloyd Bacon, 1931) and the pre-code version of The Maltese Falcon (Roy Del Ruth, 1931).

The Maltese Falcon was based on the novel of the same name by Dashiell Hammett and starred Ricardo Cortez as Sam Spade. It was a huge success for Warner and garnered rave reviews for Bebe and Cortez.

In 1932, she appeared opposite Edward G. Robinson in Silver Dollar (Alfred E. Green, 1932) and the successful Busby Berkeley choreographed musical extravaganza 42nd Street (Lloyd Bacon, 1933) in which she played the star of a stage musical who breaks her ankle. The backstage musical was nominated for the Academy Award for Best Picture.

That same year Daniels played opposite John Barrymore in the enjoyable Counsellor at Law (William Wyler, 1933). The film was another box office smash. Her last film for Warner Bros. was Registered Nurse (Robert Florey, 1934).

Bebe Daniels
German postcard by Ross Verlag, no. 3395/1, 1928-1929.

Bebe Daniels
German postcard. Ross Verlag, no. 4003/1, 1929-1930. Photo: Paramount.

Bebe Daniels
German postcard. Ross Verlag, no. 4109/1, 1929-1930. Photo: Paramount.

Bebe Daniels
German postcard by Ross Verlag, no. 6498/1, 1931-1932. Photo: First National Pictures. Publicity still for Honor of the Family (Lloyd Bacon, 1931).


Hi Gang!


Bebe Daniels retired from Hollywood in 1935. By then, she had been a working actress for 30 years. With her husband, film actor Ben Lyon, whom she had married in 1930, she moved to London. Daniels and Lyon had two children: daughter Barbara (1932) and a son Richard whom they had adopted.

In England, they had found a quiet place in the countryside to raise their family. They starred in the British comedy crime film Treachery on the High Seas (Emil E. Reinert, 1936) with Charles Farrell. They also wanted to go back to the theatre.

A few years later, Daniels starred in the London production of Panama Hattie in the title role originated by Ethel Merman. The Lyons then did radio shows for the BBC. Most notably, they starred in the radio series Hi Gang!, continuing for decades and enjoying considerable popularity during World War II. Daniels wrote most of the dialogue for the Hi Gang radio show. There was also the spin-off film Hi Gang! (Marcel Varnel, 1941) in which they starred opposite Vic Oliver.

The couple stayed in London, broadcasting even during the worst days of The Blitz of WW II. Ben signed up for the Royal Air Force while Bebe kept the home fires burning in between appearing in the occasional stage play. Following the war, Daniels was awarded the Medal of Freedom by Harry S. Truman for war service.

In 1945 she returned to Hollywood for a short time to work as a film producer for Hal Roach and Eagle-Lion Films. She returned to the UK in 1948 and lived there for the remainder of her life. Daniels, her husband Ben, her son Richard and her daughter Barbara all starred in the radio sitcom Life With The Lyons (1951-1961), which later made the transition to two films and to television (1955-1960). Daniels’ final film was The Lyons in Paris (Val Guest, 1955).

Bebe Daniels suffered a severe stroke in 1963 and withdrew from public life. She suffered a second stroke in late 1970. In 1971, Daniels died of a cerebral hemorrhage in London at the age of 70. Her ashes would eventually be interred at the Hollywood Forever Cemetery in Hollywood California. Upon his death in 1979, Ben Lyon's remains were interred next to Daniels'.


Trailer Rio Rita (1929). Source: perfectjazz78 (YouTube).


Scene from The Maltese Falcon (1931) with Ricardo Cortez as Sam Spade, Una Merkel as Effie Perine and Bebe Daniels as Ruth Wonderly. Source: egosomnio (YouTube).


Trailer 42nd Street (1933). Source: Victoria Mentz (YouTube).

Sources: Stephan Eichenberg a.o. (IMDb), Page (My Love of Old Hollywood), Shawn Dwyer (TCM), Wikipedia, and IMDb.

Siegfried Arno

$
0
0
Siegfried or Sig Arno (1895-1975) was regularly being referred to as the ‘German Charlie Chaplin’. The German-Jewish character actor appeared in ninety silent and early sound films before he had to flee Nazi-Germany. From 1939 on, he appeared as a supporting actor in over 50 Hollywood films, often as the ‘funny European’. He may be best remembered from The Palm Beach Story (Preston Sturges, 1942) as Toto, the nonsense-talking mustachioed man who hopelessly pursues Mary Astor's ‘Princess Centimillia’.

Siegfried Arno
German postcard by Ross Verlag, no. 24/1. Photo: Ufa / Ama-Film. Collection: Didier Hanson.

The tall, thin performer with his pronounced nose


Sig Arno was born Siegfried Aron in Hamburg, Germany, in 1895. He attended the Talmud Torah School in Hamburg and trained as a fashion designer at the Hamburger Kunstgewerbeschule (Hamburg school of applied arts).

He also was a member of the Hamburg theatre club, and from 1912 till 1914 he had his first employment at the Stadttheater Harburg and later at the Neuen Operettentheater in Hamburg. He went to work in Prague and Berlin. From 1922 on, he became a popular comedian in the Berlin theatres.

And soon he also became a star in the cinema. He went on to co-star in such silent German films as Die Frau von vierzig Jahren/The Wife of Forty Years (Richard Oswald, 1925) starring Diana Karenne, and as Lya de Putti’s husband in the Ufa production Manon Lescaut (Arthur Robison, 1926). He also appeared in the French silent film La danseuse Orchidée/The Orchid Dancer (Léonce Perret, 1928), featuring Louise Lagrange.

But he was most popular for his comic starring roles, such as in Schatz, mach' Kasse/Darling, Count the Cash (Felix Basch, 1926) with Ossi Oswalda, Familientag im Hause Prellstein/Family Gathering in the House of Prellstein (Hans Steinhoff, 1927), starring S.Z. Sakall, and Das Mädel mit der Peitsche/The Girl with the Whip (Carl Lamac, 1929) with Anny Ondra.

Initially his younger brother Bruno Arno appeared at his side. The tall, thin performer with his pronounced nose soon formed a double-act with the corpulent comedian Kurt Gerron and as ‘Beef and Steak’ they were regulars at the Kürfurstendam cabaret of comedians, the KaDeKo. They also co-starred in such silent comedies as Wir halten fest und treu zusammen/We Stick Together Through Thick and Thin (Herbert Nossen, 1929). It was an effort to create a German equivalent to Laurel and Hardy.

Arno also acted in such classic films as G.W. Pabst's Die Liebe der Jeanne Ney/The Love of Jeanne Ney (1927), Die Büchse der Pandora/Pandora's Box (1929) and Tagebuch einer Verlorenen/Diary of a Lost Girl (1929), the latter two starring Louise Brooks.

He again co-starred again with Anny Ondra in the early sound film Die vom Rummelplatz/Fairground People (Carl Lamac, 1930). The sound revolution had damaged Ondra's career in British films and led her to return to Germany. Die vom Rummelplatz showcased Ondra's talents as a musical comedy star who sings and dance.

A typical Jewish comedy was Keine Feier ohne Meyer/Without Meyer, No Celebration is Complete (Carl Boese, 1931). Arno played the ambitious young Jewish man Meyer, who tries to pass himself off as a successful business tycoon in order to marry into an upper-class family. Another was the farce Um eine Nasenlänge/ To a nose (Johannes Guter, 1931). Siegfried Arno maintained his commitment to stage and cabaret work and, in 1930 he was cast in the premiere of the acclaimed revue Im weißen Rößl (The White Horse Inn) at Berlin’s Großes Schauspielhaus, alongside Max Hansen and Camilla Spira.

Siegfried Arno
German postcard by Ross Verlag, no. 5687/1, 1930-1931.

Siegfried Arno
German postcard by Ross Verlag, no. 7346/1, 1932-1933. Photo: Alex Binder.

The target of anti-Semitic graffiti


In 1933, after the fire in the Reichstag, Siegfried Arno had to leave the country due to the rise of Hitler. His posters had become the target of anti-Semitic graffiti. He worked in cabarets and theatres in the Netherlands, Belgium, Switzerland, Italy, Spain and Portugal. In the Netherlands he had an extended spell with fellow KaDeKo performer Willy Rosen’s ‘Theater der Prominenten’ troupe. Here he reunited with his double-act partner Kurt Gerron.

In Portugal he worked with other German exiles on the romantic comedy Gado Bravo/Wild Cattle (António Lopes Ribeiro, Max Nosseck, 1934), one of the first Portuguese sound films, starring Nita Brandao. In Belgium he directed the film comedy De roem van het regiment/The fame of the regiment (1936). He stayed in Europe until 1939, and then moved to Hollywood.

He got a small part in The Hunchback of Notre Dame (William Dieterle, 1939) starring Charles Laughton as Quasimodo. During the next twenty years Siegfried Arno appeared in over fifty films in Hollywood. Among his best known films are The Great Dictator (Charles Chaplin, 1940), Tales of Manhattan (Julien Duvivier, 1942) and The Palm Beach Story (Preston Sturges, 1942).

His thick accent limited him to supporting roles. F Gwynplaine MacIntyre at IMDb: “Still, he carved out a respectable career (usually playing comic waiters with funny accents), and many Hollywood films of the 1940s would be less enjoyable without Arno's expert comic timing.”

Arno also appeared three times on Broadway, in the musical Song of Norway (1944-1946), the play Time Remembered (1957-1958), based on Jean Anouilh’s play Léocadia, for which he was nominated for a Tony Award as Best Featured Actor in a Play in 1958, and the play The Cold Wind and the Warm (1958-1959).

From 1955 on, he again appeared regularly in the German and Austrian theatres. In 1966, Arno won a Filmband in Gold (the honorary German film award) "for his continued outstanding individual contributions to the German film over the years." Arno was also a successful portrait painter.

He was married three times. His wives were actress Lia (Caroline) Dahms (1922–1932, ended in divorce), Barbara Kiranoff (1934–1953, ended in divorce) and Austrian actress Kitty Mattern (1953–1975, ended with his death). With Dahms he had a son, costume and set-designer Peter Arno (1926).

Siegfried Arno died from Parkinson's disease in Woodland Hills, Los Angeles, in 1975, aged 79.


Trude Berliner& Siegfried Arno in Musikstadt Berlin 1931 (1931). Source: Jozef Sterkens (YouTube).

Sources: Jörg Schöning (CineGraph – German), Brendon Nash (Cabaret Berlin), Hal Erickson (AllMovie), F Gwynplaine MacIntyre (IMDb), José L Bernabé Tronchoni (Find A Grave), Internet Broadway Database, Wikipedia (English and German), and IMDb.

Gil Vidal

$
0
0
Good-looking French actor Gil Vidal (1931) was a popular jeune premier of the 1950s.

Gil Vidal
French postcard by Editions P.I., Paris, no. 1009. Photo: Studio Vallois.

A potential rival for Alain Delon


Gil Vidal was born in Narbonne, France in 1931. He became popular popular as an actor in the 1950s.

Gil played the lover of Annie Girardot in L'Homme aux clés d'or/The Man with the Golden Keys (Léo Joannon, 1956) and was the fiancé of Sophie Daumier in À pied, à cheval et en voiture/On Foot, on Horse, and on Wheels (Maurice Delbez, 1957).

The handsome, young Vidal seemed to become a potential rival for Alain Delon, but soon he was outstripped by the latter.

Vidal mostly played supporting parts, but he did co-star with Dalida in Le Masque de Toutankhamon/The Mask of Tutankhamun (Marco de Gastyne, 1955), which was filmed in Egypt.

Other films in which he played supporting roles were Filles de nuit/Girls Night (Maurice Cloche, 1957) and Péché de jeunesse/Youthful sin (Louis Duchesne, 1958) with Agnès Laurent. He also worked in the French theatre, especially on tour though the provinces.

Gil Vidal
French postcard by Editions du Globe, Paris, no. 873. Photo: Studio Vauclair, Paris.

Gil Vidal
French postcard by Editions du Globe, Paris, no. 678. Photo: Lucienne Chevert.

Photonovel Heartthrob


In 1957, parallel to his film career, Gil Vidal made his first steps into the world of the Roman-photo (photo comic or photonovel) where he got the leading roles thanks to his good looks.

He appeared alongside Marie-Jose Nat in Notre amour est sans issue (Our love is hopeless), published by the magazine Lectures d'Aujourd'hui.

But he was especially interested in the cinema although he did not get the chances he hoped for. In 1959, he played the young emperor in the operetta Sissi in the Mogador theatre in Paris. In the 1960s, he recorded some records.

Then he tried a second career in Italy where we appeared with Anna Magnani in the French-Italian film Le magot de Josefa/Josefa's Loot (Claude Autant-Lara, 1963).

Later, he worked in Spanish films, such as Presagio/Presage (Miguel Iglesias, 1970) and also appeared in some French television productions, including the popular TV series Les Rois maudits/The Cursed Kings (Claude Barma, 1972).

His last film credit is the Spanish comedy El lio de papa/The mess of dad (Miguel Iglesias, 1985).

Gil Vidal
French postcard by Editions P.I., Paris, no. 889. Photo: Studio Vallois.

Sources: Wikipedia (French) and IMDb.

Beniamino Gigli

$
0
0
Actor and opera singer Beniamino Gigli (1890-1957) was one of the most famous Italian tenors, internationally respected for the beauty of his voice and his vocal technique. Between 1935 and 1950, 'Benito Mussolini's favourite singer' also starred in various German and Italian entertainment films.

Benjamino Gigli
German postcard by Das Programm von Heute / Ross Verlag, Berlin. Photo: Itala-Film.

Beniamino Gigli
German postcard. Photo: Tobis / Itala.

Beniamino Gigli
Italian postcard. Photo: Novo Film.

Beniamino Gigli in Solo per te
Italian postcard by Grafiche N. Moneta, Milano. Photo: Itala Film. Publicity still for Solo per te/Only for Thee (Carmine Gallone, 1937). Promotion for the film starting from Thursday 28... at the Cinema Corso.

Caruso Secondo


Beniamino Gigli (also written as Benjamino Gigli) was born in 1890 in Recanati, near Ancona, as the son of an opera loving shoemaker. His brother Lorenzo became a famous Italian painter.

In 1914 Beniamino won his first award in an international singing contest in Parma and later that year he made his début at the opera of Rovigo as Enzo in Amilcare Ponchielli's La Gioconda.

Soon his star rose, thanks to his part in Mefistofele by Arrigo Boito, which he performed in Palermo (1915), Naples (1915), Rome (1916), at La Scala in Milan under the direction of Arturo Toscanini (1918) and finally at the Metropolitan Opera in New York (1920).

After the death of the famous opera tenor Enrico Caruso in 1921, Gigli became even more famous. He appeared as Edgardo in Donizetti's Lucia di Lammermoor, Rodolfo in Giacomo Puccini's La Bohème and in the title role of Umberto Giordano's Andrea Chénier, both of which he would later record in full.

He was often nicknamed Caruso Secondo, though his voice was much sweeter than the dark, heroic voice of Caruso. At the Met, Gigli got competition from Giovanni Martinelli and Giacomo Lauri-Volpi. After 12 years, Gigli left the Met in 1932, ostensibly after refusing to take a pay cut.

He returned to Italy, and sang in houses there, elsewhere in Europe, and in South America. In 1935, he started to perform in the cinema although he was - and would never become - a good actor and he was not in his prime any more either. Still, his films were cherished by European audiences.

The story lines of his films often doubled the plots of the operas in which Gigli's character sang in real life as well. Gigli made many records, not only of his opera songs, but of the popular songs he sang in his films too.

After the war, Gigli started to do his opera performances again and he even did a big tour in the early 1950s. His health deteriorated and he had to stop, first with the operas and in the end with his solo performances as well.

Gigli's first film was Non ti scordar di me!/Vergiss mein nicht/Forget Me Not (1935), directed by Augusto Genina in a Berlin studio. In the film the female lead was played by Magda Schneider and the script was written by her husband Ernst Marischka. Because of Gigli's heavy accent, Genina had provided a script about an Italian opera singer who meets a young German teacher (Schneider) who is still troubled over a lost romance and is struck when Gigli starts to sing Non ti scordar di me. The song was especially written for the film by Ernesto De Curtis. Genina was worried about Gigli's rotund physique, regarded as unfit to represent a romantic lover, but when the film came out women adored him.

So several follow ups to Non ti scordar di me followed. First of all, there was Forget me not (1936), a British version of the same film, in which Schneider's part was played by Joan Gardner and the script was written by Hugh Gray and Arthur Wimperis.

Beniamino Gigli
German postcard by Ross Verlag, no. 9400/1, 1935-1936. Photo: Itala Film.

Benjamino Gigli
German postcard by Ross Verlag, no. 9919/1, 1935-1936. Photo: Itala-Film.

Beniamino Gigli
German postcard by Ross Verlag, no. A 1530/1, 1937-1938. Photo: Itala-Film.

Beniamino Gigli at Recanati
Italian postcard by Ed. Libreria Ottoboni, Recanati / Fototipia Berretto, Terni. Photo: Magrint. Gigli at Portorecanati, August 1953.

Benjamino Gigli
Italian postcard by Editrice Ottoboni, Recanati. Sent by mail in 1966. Photo: Stortoni.

Cinecittà


Beniamino Gigli played and sang in a series of entertainment films shot in Germany. They were directed by former Weimar cinema actor Johannes Riemann and by the former theatre innovator Karlheinz Martin.

In Ave Maria (Johannes Riemann, 1936), Käthe von Nägy played a golddigger who falls for the tenor's wealth, but in the end falls for himself. In Du bist mein Glück/Thou Art My Joy (Karlheinz Martin, 1936), Isa Miranda appeared in a double role and the film was partly shot in Genoa, Liguria. Gigli co-starred in Die Stimme des Herzens/The Voice of the Heart (Karlheinz Martin, 1937) with Geraldine Katt and Ferdinand Marian.

Gigli then returned to Rome to play in films shot at the Cinecittà studios, first the multilingual Solo per te/Mutter lied/Only for Thee (Carmine Gallone, 1937), co-starring Maria Cebotari as the singer's unfaithful wife and young Peter Bosse as their son. Bosse had already played the singer's son in Vergiss mein nicht/Forget Me Not (Augusto Genina, 1935).

After a small part as a tenor in the historical film Giuseppe Verdi (Carmine Gallone, 1938) featuring Fosco Giachetti as the composer, Gigli starred again in Gallone's Dir gehört mein Herz/My Heart Belongs to Thee (Carmine Gallone, 1938), which had an almost exclusively German cast including Carla Rust, Lucie Englisch and Paul Kemp, but was again shot at Cinecittà.

After a part in the German short Der Trichter Nr. II/The funnel No II (1939), Gigli continued at Cinecittà with Der singende Tor/The singing gate (Johannes Meyer, 1939) with Norwegian star Kirsten Heiberg. It was also released in Italian as Casa lontana.

In 1940 Gigli played in the multilingual Ritorno/Traummusik/Return (Géza von Bolváry, 1940). It was followed by Mamma/Mother (Guido Brignone, 1941) in which Gigli sang the song which forever stuck to him: Mamma. In Vertigine/Tragödie einer Liebe/Broken Love (Guido Brignone, 1941) he appeared with Emma Grammatica and Camilla Horn.

In 1943 Gigli's gave his last film performances of the war years. First he appeared in the multilingual I Pagliacci/Lache, Bajazzo/Laugh Pagliacci (Giuseppe Fatigati, Leopold Hainisch, 1943), with Paul Hörbiger and Dagny Servaes acting in both versions. The female lead was played by Alida Valli in the Italian version and by Claude Farell (Monika Burg) in the German version.

The second film of 1943 was Silenzio, si gira!/Silence, Action! (Carlo Campogalliani, 1943) with Rossano Brazzi, which mingled opera and cinema world and in which Gigli had a double role as an opera singer and his stealing stand in.

Gigli had been Benito Mussolini's favourite singer, for which he was criticised, but it was cleared that he had never been a collaborator. So, in the postwar era he could play without any problems in Voglio bene soltanto a te/I only care for you (Giuseppe Fatigati, 1946), and Una voce nel tuo cuore/A Voice in Your Heart (Alberto d'Alversa, 1949) which starred Vittorio Gassmann.

He also appeared on the stages and the audience acclaim was greater and more clamorous than ever. Gigli had his last film lead in Taxi di notte/Singing Taxi Driver (Carmine Gallone, 1950), a comedy about a singing taxi driver who finds a baby but not its mother.

Gigli's last performance was a small part in Puccini (Carmine Gallone, 1953), a biopic on the famous composer played by Gabriele Ferzetti. Gigli played an opera singer, of course. Before his retirement in 1955, Gigli undertook an exhausting world tour of Farewell Concerts. This impaired his health in the two years that remained to him, during which time he helped prepare his Memoirs (based primarily on an earlier Memoir, fleshed out by a series of interviews).

Beniamino Gigli died in Rome in 1957, because of a heart attack. Gigli lied in his Memoirs of 1957, saying that he was married six months earlier than he really was. This was to conceal that his wife Costanza was pregnant before reaching the altar. Gigli had two children with Costanza: Enzo Gigli and Rina Gigli. (The latter was a well-known soprano in her own right.) Later, Gigli had a second family with Lucia Vigarani, producing three children. Gigli is rumoured to have had at least three other children with as many different women. Gigli's exact number of offspring is unknown.


Beniamino Gigli sings O sole mio in Non ti scordar di me!/Vergiss mein nicht/Forget Me Not (1935). Source: Tenor65 (YouTube).


Beniamino Gigli sings Mamma. Source: Kyoto Melody (YouTube).


Beniamino Gigli sings La giubba from I pagliacci/Laugh Pagliacci (1947) while the heart broken Paul Hörbiger watches the stage. Source: Greek Callas (YouTube).

Sources: Stephanie D'heil (Steffi-line - German), gary170459 (IMDb), Filmportal.de, Wikipedia (Italian, English, German and Dutch), and IMDb.

Karin Ingmarsdotter (1920)

$
0
0
The Swedish silent film Karin Ingmarsdotter/God's Way/Karin Daughter of Ingmar (1920) was a production by Svenska Biografteatren AB. It is the second part in Victor Sjöström's large-scale adaptation of Selma Lagerlöf's novel Jerusalem, and the sequel to Ingmarsönerna/Sons of Ingmar (1919) which Sjöstrom had directed a year earlier. Karin Ingmarsdotter depicted chapter three and four from the novel, and featured Tora Teje as Karin.

Karin Ingmarsdotter (1920)
Swedish postcard by Nordisk Konst, Stockholm, no. 1093/1. Photo: Tora Teje in Karin Ingmarsdotter/God's Way (Victor Sjöström, 1920).

Karin Ingmarsdotter (1920)
Swedish postcard by Nordisk Konst, Stockholm, no. 1093/2. Photo: Tora Teje in Karin Ingmarsdotter/God's Way (Victor Sjöström, 1920).

Karin Ingmarsdotter (1920)
Swedish postcard by Nordisk Konst, Stockholm, no. 1093/3. Photo: publicity still for Karin Ingmarsdotter/God's Way (Victor Sjöström, 1920) with Tora Teje and Tor Weijden.

Karin Ingmarsdotter (1920)
Swedish postcard by Nordisk Konst, Stockholm, no. 1093/4. Photo: publicity still for Karin Ingmarsdotter/God's Way (Victor Sjöström, 1920) with Tora Teje and Tor Weijden.

Karin Ingmarsdotter (1920)
Swedish postcard by Nordisk Konst, Stockholm, no. 1093/5. Photo: publicity still for Karin Ingmarsdotter/God's Way (Victor Sjöström, 1920) with Nils Lundell and Victor Sjöström.

I don't think they will need any coffee!


Karin Ingmarsdotter/God's Way (Victor Sjöström, 1920) is situated in the Dalarna region in Sweden, where the workers are stern believers. Karin (Tora Teje) is the daughter of the rich farmer Big Ingmar (Victor Sjöström). She is courted by young Halvor (Tor Weijden) who wants to marry her.

Ingmar is willing to give Halvor Karin's hand, provided the future groom should not be like his father: a drunkard. In the scheduled probation by Ingmar, Halvor is once weak and takes to the bottle when he and Karin visit the city of Falun. After shopping Halvor is fed drunk by rascals, while Eljas Eloff Ersson (Nils Lundell) and his greedy father exacerbate the situation. Disgusted, Karin rejects Halvor, despite his protests.

Then the dream bursts and Karin marries Eljas. But Karin gets from bad to worse, her decision proves to be wrong. While Halvor's slip remains unique, Elias is slipping rapidly into alcoholism. During a flood Big Ingmar saves children but is hit himself by a floating log. He notices his watch has been ruined by the blast and realises he will die. Afterwards Eljas inherits all and becomes the main farmer. Not hindered by his own father and his father-in-law anymore, he succumbs to alcoholism.

Things become worse when Karin's little brother Lill-Ingmar (Bertil Malmstedt) crushes the liquor bottle of Eljas and his drinking buddy. Eljas tricks Little Ingmar in drinking vodka. Karin is fed up and manages to host her kid brother with schoolmaster Storm and his wife, who will take up his education. Little Ingmar gives his father's watch to Halvor, as he made his son promise to give the watch to someone he wronged in his lifetime. Halvor repairs the watch and gives Little Ingmar a new one.

When Eljas hears about the clock he visits Halvor, but falls from the stairs so badly, he is bedridden in Halvor's house. His alcoholism and misbehaviour increase. When he finally dies, Halvor is suspected to have 'helped' him. As a widow, many suitors show up to Karin, so Halvor finally presents himself too, but Karin hesitates because of all what happened. Finally, Big Ingmar's ghost reminds her that Ingmar's sons just need to ask for God's ways. Karen hastily dismisses the suitors and keeps Halvor. Little Ingmar leaves them behind for the stove in the kitchen, but turning to the camera he says: I don't think they will need any coffee!

The critical reception for Karin Ingmarsdotter/God's Way (Victor Sjöström, 1920) was unenthusiastic. Victor Sjöström decided to not direct any more parts of Selma Lagerlöf's novel Jerusalem. Eventually the film adaptation of the novel was finished by Gustaf Molander with Ingmarsarvet/The Ingmar Inheritance (1925) and Till österland/To the Orient (1926) with Lars HansonJenny Hasselqvist and Mona Mårtenson. Molander had started his career as a scriptwriter for Sjóström.


Karin Ingmarsdotter (1920)
Swedish postcard by Nordisk Konst, Stockholm, no. 1093/6. Photo: publicity still for Karin Ingmarsdotter/God's Way (Victor Sjöström, 1920) with Victor Sjöström and Bertil Malmstedt.

Tora Teje
Swedish postcard by Nordisk Konst, Stockholm, no. 1093/7. Photo: publicity still for Karin Ingmarsdotter/God's Way (Victor Sjöström, 1920) with Tora Teje.

Karin Ingmarsdotter (1920)
Swedish postcard by Nordisk Konst, Stockholm, no. 1093/8. Photo: publicity still for Karin Ingmarsdotter/God's Way (Victor Sjöström, 1920) with Tora Teje and Nils Lundell.

Tora Teje in Karin Ingmarsdotter
Swedish postcard by Nordisk Konst, Stockholm, no. 1093/9. Photo: publicity still for Karin Ingmarsdotter/God's Way (Victor Sjöström, 1920) with Bertil Malmstedt and Tora Teje.

Karin Ingmarsdotter (1920)
Swedish postcard by Nordisk Konst, Stockholm, no. 1093/10. Photo: publicity still for Karin Ingmarsdotter/God's Way (Victor Sjöström, 1920) with Bertil Malmstedt and Tora Teje.

Karin Ingmarsdotter (1920)
Swedish postcard by Nordisk Konst, Stockholm, no. 1093/11. Photo: publicity still for Karin Ingmarsdotter/God's Way (Victor Sjöström, 1920) with Tora Teje.

See also our post on Ingmarssönerna/Dawn of Love/Sons of Ingmar (Victor Sjöström, 1919).

Sources: Svenska Filminstitutet (Swedish), IMDb and Wikipedia (German and English). N.B. The description on German Wikipedia is quite different from the content in the database of the Svenska Filminstitutet.

Jean Desailly

$
0
0
French actor Jean Desailly (1920-2008) was a member of the Comédie-Française from 1942 to 1946, and later participated in about ninety films. He achieved his greatest popularity in the 1940s and 1950s. For sixty years, he formed a celebrated married theatrical couple with his second wife, Simone Valère.

Jean Desailly
French postcard by Editions P.I., Paris, no. 113. Photo: Pathé Cinéma.

A sensitive and heart-warming performance


Jean Desailly was born in Paris in 1920. His father was the composer Reynaldo Hahn’s secretary.

Jean studied at the École nationale supérieure des Beaux-Arts with the intention of becoming a commercial artist. At the same time he was acting in an itinerant theatre company, La Roulette, and then chose to attend the Conservatoire de Paris where he left with the first acting prize.

In 1942, he joined the Comédie-Française. In 1943, he created Paul Claudel's Soulier de satin with Madeleine Renaud under the direction of Jean-Louis Barrault.

In the cinema he starred in the murder mystery Le voyageur de la Toussaint/Traveler on All Saints' Day (Louis Daquin, 1943) about a young man who returns to his hometown of La Rochelle and becomes the unexpected heir to a large fortune. He is confronted with ‘the syndicate’, a powerful bourgeois family who has always despised his parents because they were music hall artists. The film was an adaptation of a story by Georges Simenon, Desailly’s favourite writer and co-starred Assia Noris, Jules Berry and Simone Valère, with whom he fell in love.

D.B. Dumonteil at IMDb: “Jean Desailly (debut) as the innocent young man gives a sensitive and heart-warming performance. His smile lightens this dark atmosphere along with that of his uncle 's young widow, an ex-usherette whom the whole family despises as well.”

Jean Desailly and Madeleine Sologne in Une grande fille toute simple (1948)
French postcard. This postcard was made for the exclusive release at the Madeleine cinema. Photo: Prod. CAPAC. Jean Desailly and Madeleine Sologne in Une grande fille toute simple/Just a Big Simple Girl (Jacques Manuel, 1948). The sets were by Robert Gys.

Madeleine Sologne and Jean Desailly in Une grande fille toute simple
Belgian postcard. Prod. CAPAC. Artistes Associés. Madeleine Sologne and Jean Desailly in Une grande fille toute simple (Jacques Manuel 1948). This card was for the showing of the film at the Palais des Arts/Feestpaleis.

An ideal juvenile lead


In 1946 Jean Desailly became a leading member of the Jean-Louis Barrault-Madeleine Renaud company at the Théâtre Marigny. There he played in a wide repertoire from Les Fausses Confidences, Bérénice and Le Songe d'une nuit d'été. With the Renaud-Barrault at the Odéon-Théâtre de France, he played both leading roles in le Mariage de Figaro: Figaro on tour in the provinces and Count Almaviva in Paris.

In the cinema, Desailly made an ideal juvenile lead such as the shy suitor of Odette Joyeux, who is enamoured by the ghost of a dead nobleman (Jacques Tati) in Sylvie et le fantôme/Sylvie and the ghost (Claude Autant-Lara, 1946). That year, Desailly also appeared as Pierre Blanchar’s best friend in the costume drama Patrie/Homeland (Louis Daquin, 1946) which was entered into the 1946 Cannes Film Festival, and he played Blanchar’s son in the drama La symphonie pastorale/Pastoral Symphony (Jean Delannoy, 1946).

In the latter, a minister and his son both fall for the same blind young woman (Michèle Morgan). Three years later, the comedy Occupe-toi d'Amélie/Keep an Eye on Amelia (Claude Autant-Lara, 1949) was entered into the Cannes Film Festival. In this Georges Feydeau adaptation, Desailly starred opposite Danielle Darrieux as Amélie.

He then played the title role of Colette's inexperienced gigolo in Chéri (Pierre Billon, 1950). One of his best films is the bittersweet Les Grandes Manœuvres/The Grand Maneuver (René Clair, 1955), starring Michèle Morgan and Gérard Philipe.

It is a charming romantic comedy-drama set in a French provincial town just before World War I. Another success was Maigret tend un piège/Maigret Sets a Trap (Jean Delannoy, 1958) with Jean Gabin as Simenon’s fictional detective Jules Maigret. Desailly shines as the poor but dangerous Maurice, a neurotic, mother-fixated artist. For this role he was nominated for a BAFTA award, the British Oscar.

Jean Desailly
French postcard by Editions O.P., Paris. Photo: Studio Harcourt.

Jean Desailly
French postcard by Editions O.P., Paris, no. 47. Photo: Studio Harcourt.


His discreet bourgeois charm


During the 1960s and 1970s, Jean Desailly continued to combine the stage with the cinema. He starred in another Simenon adaptation, the murder mystery La mort de Belle/The End of Belle (Édouard Molinaro, 1961) with Alexandra Stewart, and he played a commissioner opposite criminals Jean-Paul Belmondo and Serge Reggiani in the classic crime film Le Doulos/The Finger Man (Jean-Pierre Melville, 1962). ‘Doulos’ refers both to a kind of hat and to the slang term for a police informant.

Desailly had the leading role in La Peau douce/The Soft Skin (François Truffaut, 1964). He played successful, married publisher and lecturer Pierre, who meets a beautiful air hostess (Françoise Dorléac) with whom he has a love affair. He is hiding the affair, but Pierre cannot stand staying away from her.

In The Guardian, Ronald Bergan describes it as Desailly’s ‘most famous film portrayal, in which he displayed his discreet bourgeois charm’: “Truffaut described the character as ‘having something childish about him ... a man who is strong in social life but weak in love,’ which is exactly what Desailly depicts.”

Truffaut's own life followed the same path as Desailly’s character when the director left his wife for Françoise Dorléac. Desailly played another man in a marriage crisis in the little known Dutch film De dans van de reiger/The Heron Dance (Fons Rademakers, 1966) with Gunnel Lindblom.

Desailly was married twice. With his first wife, Nicole, he had two children. In 1998, he married actress Simone Valère after 48 years of living together. In 1968, the couple had left the Jean-Louis Barrault-Madeleine Renaud company and together they formed a new theatre company which they directed successively at successively the Théâtre Hébertot, the Théâtre Edouard-VII and the Théâtre de la Madeleine. In the following decades, a wide repertoire was played by them at these theatres. Their favourite play was L'Amour Fou by André Roussin, which they performed 450 times.

Desailly’s later films include Un flic/A Cop (1972), the last film directed by Jean-Pierre Melville. Desailly played a small part opposite Alain Delonand Catherine Deneuve, as a distinguished gentleman who is robbed of a statue. A box-office hit was Le Professionnel/The Professional (Georges Lautner, 1981) in which Desailly played a Minister opposite Jean-Paul Belmondo. He also appeared in the comedy La dilettante (Pascal Thomas, 1999), featuring Catherine Friot.

In 2001, he and Simone Valère celebrated their 60 years together in the theatre with their final stage success, La Maison du lac (On Golden Pond), by Ernest Thompson, directed by Georges Wilson. Desailly was awarded the prestigious Molière acting prize in 2002 and he retired. Six years later, in 2008, Jean Desailly died in Paris. He was 87.

Jean Desailly
French postcard by Editions du Globe, Paris, no. 176. Photo: Studio Harcourt.

Jean Desailly
French postcard by Editions P.I., Paris, no. 113. Photo: Pathé Cinéma.

Sources: Ronald Bergan (The Guardian), D.B. Dumonteil (IMDb), Wikipedia (English and French) and IMDb.

EFSP's Dazzling Dozen: published by Takken

$
0
0
In the city of Utrecht, in the heart of the Netherlands, a little publishing company produced dozens of interesting film star postcards during the 1950s and 1960s. They often worked together with Photo press bureau 't Sticht, also in Utrecht. Recently I found Takken's superb Marilyn Monroe postcard with a publicity still for The Asphalt Jungle (1950). There is little known about 'Uitg. Takken', but twelve dazzling postcards were easily selected.

Alida Valli
Alida Valli. Dutch postcard by Takken, Utrecht, no. 1683. Photo: publicity still for Senso (Luchino Visconti, 1954).

Marilyn Monroe in The Asphalt Jungle (1950)
Marilyn Monroe. Dutch postcard by Uitg. Takken, Utrecht, no. 1708. Photo: Metro-Goldwyn-Mayer. Publicity still for The Asphalt Jungle (John Huston, 1950).

Bing Crosby and Grace Kelly in High Society (1956)
Grace Kelly and Bing Crosby. Dutch postcard by Uitg. Takken, Utrecht, no. 3021. Photo: Metro Goldwyn Mayer. Publicity still for High Society (Charles Walters, 1956).

Margaret Lockwood
Margaret Lockwood. Dutch postcard by Uitgeverij Takken, Utrecht, no. 3239. Photo: Eagle Lion.

Rita Hayworth
Rita Hayworth. Dutch postcard by Takken / 't Sticht, no. 3317. Photo: Columbia. Publicity still for Down to earth (Alexander Hall, 1947).

Giulietta Masina
Giulietta Masina. Dutch postcard by Uitg. Takken, Utrecht, no. 3381. Photo: N.V. Standaardfilms. Publicity still for La strada (1954).

Romy Schneider
Romy Schneider. Dutch postcard by Uitg. Takken, Utrecht, no. 3573. Photo: publicity still for Sissi - Schicksalsjahre einer Kaiserin/Sissi: The Fateful Years of an Empress (Ernst Marischka, 1957).

Mickey Hargitay and Jayne Mansfield
Mickey Hargitay and Jayne Mansfield. Dutch postcard by Uitgeverij Takken, no. 3674. Photo: 20th Century Fox.

Marlon Brando in Sayonara (1957)
Marlon Brando. Dutch postcard by Uitgeverij Takken, Utrecht, no. 3730. Photo: Warner Bros. Publicity still for Sayonara (Joshua Logan, 1957).

Tommy Steele, Elvis Presley, Lizabeth Scott
Tommy Steele, Elvis Presley, Lizabeth Scott. Dutch multi-view postcard by Uitgeverij Takken, Utrecht, no. 3823, 1958. The photo of Elvis with Lizabeth Scott was a publicity still for the film Loving You (1957, Hal Kanter).

Peter Kraus
Peter Kraus. Dutch postcard by Uitg. Takken, Utrecht, no. AX 4445. Photo: Hafbo. Publicity still for Die Frühreifen/The precocious (Josef von Báky, 1957).

Elke Sommer
Elke Sommer. Dutch postcard by Uitg. Takken, Utrecht, no. AX 4982. Collection: Geoffrey Donaldson Institute.

This is a post for Postcard Friendship Friday, hosted by Beth at the The Best Hearts are Crunchy. You can visit her by clicking on the button below.

Imported from the USA: Kirk Douglas

$
0
0
No, he is not dead, as People Magazine announced in 2014. Cleft-chinned, gravelly voiced and steely-eyed American actor, producer, director, and author Kirk Douglas (1916) lives! He was a leading box-office star throughout the 1950s and 1960s, known for his strong characters in serious dramas, Westerns and war films. During a sixty-year acting career, he appeared in over 90 films, and in 1960 he helped to end the Hollywood Blacklist. So today we import on EFSP: the last surviving superstar from the Golden Age of Hollywood.

Kirk Douglas
German postcard by ISV, no. A 42. Photo: 20th Century Fox. Publicity still for The Racers (Henry Hathaway, 1955).

Kirk Douglas in Lust for Life (1956)
French postcard in the Collection Cinema Couleur by Editions La Malibran, Paris/Nancy, 1989. Photo: John Bryson. Publicity still for Lust for Life (Vincente Minnelli, 1956).

Kirk Douglas
Israelian postcard by Editions de Luxe. Photo: publicity still for The Last Sunset (Robert Aldrich, 1961).

The ragman's son


Kirk Douglas was born as 'the ragman's son' (the name of his 1988 autobiography) known as Issur Danielovitch Demsky, in Amsterdam, New York, in 1916. His parents, Bryna (Sanglel) and Herschel Danielovitch, were Jewish immigrants from Chavusy, Mahilyow Voblast (now in Belarus). Kirk had six sisters.

Growing up in a poor ghetto, 'Izzy' Demsky sold snacks to mill workers and delivered newspapers to earn enough to buy milk and bread to help his family. He was a fine student and wrestled competitively during his time at St. Lawrence University. He worked at more than forty different jobs before getting an acting job. The American Academy of Dramatic Arts gave him a special scholarship, but he only appeared in a handful of minor Broadway productions before joining the US Navy in 1941. He then legally changed his name to Kirk Douglas.

After the war, Douglas returned to New York City and found work in radio, theatre and commercials. His stage break occurred in Kiss and Tell, which led to other roles. On the insistence of ex-classmate Lauren Bacall producer Hal B. Wallis screen-tested Douglas and cast him opposite Barbara Stanwyck in The Strange Love of Martha Ivers (Lewis Milestone, 1946). He played a young, insecure man, stung with jealousy, whose life was dominated by a ruthless older woman, and he hid his feelings with alcohol. It would be the last time that Douglas portrayed a weakling in a film role.

His performance received rave reviews and further work quickly followed, including an appearance in the Film Noir I walk alone(Byron Haskin, 1948). It was the first time he worked alongside Burt Lancaster. They appeared in seven films together, including the dynamic western Gunfight at the O.K. Corral (John Sturges, 1957), the John Frankenheimer political thriller Seven Days in May (1964) and their final pairing in the gangster comedy Tough Guys (Jeff Kanew, 1986).

Kirk Douglas and Ruth Roman in Champion (1949)
Spanish postcard by Soberanas, no. 280. Photo: publicity still for Champion (Mark Robson, 1949) with Ruth Roman.

Kirk Douglas
Belgian collectors card by De Beukelaer, Antwerp, no A 43. Photo: Warner Bros.

Kirk Douglas
Italian postcard by Bromostampa, Milano, no. 55.

Vincent van Gogh


Douglas scored his first Oscar nomination playing the tough, unscrupulous boxing hero Midge Kelly in the gripping The Champion (Mark Robson, 1949). His acting style, relying on expressing great concentration, realism, and powerful emotions, made him a star. Among his early films were the musical drama Young Man with a Horn (Michael Curtiz, 1950) opposite Lauren Bacall, Billy Wilder's Film Noir on the press Ace in the Hole (1951) which won a best foreign film award at the Venice Film Festival, and the Film Noir Detective Story (William Wyler, 1951), nominated for four Academy Awards.

The quality of his work continued to garner the attention of critics. He was again nominated for an Oscar for his role as a film producer in The Bad and the Beautiful (Vincente Minnelli, 1952) opposite Lana Turner. Douglas plays a hard-nosed film producer who manipulates and uses his actors, writers, and directors. The film won five Academy Awards out of six nominations.

Douglas showed a lighter, comic touch in 20,000 Leagues Under the Sea (Richard Fleischer, 1954). In this adaptation of Jules Verne's 19th-century novel, he played a happy-go-lucky sailor who was the opposite in every way to the brooding Captain Nemo (James Mason). The film was one of Walt Disney's most successful live-action films, won two minor Oscars and was a major box-office hit.

He got another Oscar nomination for his portrayal of Dutch painter Vincent van Gogh in Lust for Life (Vincente Minnelli, 1956), based on Irving Stone's best-seller and filmed in France. Douglas was noted not only for the veracity of van Gogh's appearance but for how he conveyed the painter's massive creative power and his tortured soul. His moving and memorable Van Gogh is considered one of his finest roles. Douglas won a Golden Globe award.

Douglas demonstrated his independent streak and broke his contracts with Hal Wallis and Warner Brothers to gain total control over his projects. In Italy, he made the successful Ulisse/Ulyssus (Mario Camerini, 1954) an adaptation of Homer's second epic, that describes Ulysses' efforts to return to his home after the end of ten years of war. Douglas formed his own film company, Bryna Productions, named after his mother. The company was behind two pivotal film roles in his career. The first was as French army officer Colonel Dax in then relatively unknown director Stanley Kubrick's brilliant anti-war epic Paths of Glory (1957). During World War I, Dax tries to save three soldiers from the firing squad. While Paths of Glory did not do well at the box office, it has since become one of the great anti-war films.

Douglas reunited with Kubrick for yet another epic, the magnificent Spartacus (Stanley Kubrick, 1960). The film also marked a key turning point in the life of screenwriter Dalton Trumbo, who had been blacklisted during the McCarthy communist witch hunt in the 1950s. At Douglas' insistence Trumbo was given on-screen credit for his contributions. This began the dissolution of the infamous blacklisting policies begun almost a decade previously that had destroyed so many careers and lives. However, Trumbo's family later claimed that Douglas overstated his role.

Kirk Douglas and Peter Ustinov in Spartacus (1960)
Romanian collectors card. Photo: publicity still for Spartacus (Stanley Kubrick, 1960) with Peter Ustinov.

Kirk Douglas
Italian postcard by Bromofoto, Milano, no. 1268. Photo: Paramount Films.

Kirk Douglas
German postcard by WS-Druck, Wanne-Eickel, no. 253. Photo: Centfox.

It Runs in the Family


Douglas remained busy throughout the 1960s, starring in many films. He produced and starred as a rebellious modern-day cowboy in Lonely Are the Brave (David Miller, 1962), considered a cult classic. He acted in the mystery The List of Adrian Messenger (John Huston, 1963), alongside John Wayne in the World War II story In Harm's Way (Otto Preminger, 1965), and in the tongue-in-cheek Western The War Wagon (Burt Kennedy, 1967).

On stage, he starred in 1963 in the Broadway production pf Ken Kesey's One Flew Over The Cuckoo's Nest. He bought the film rights, but no Hollywood studio could be convinced to bring the story to the screen. Kirk's son Michael Douglas finally filmed the tale, One Flew Over The Cuckoo's Nest (Milos Forman, 1975), starring Jack Nicholson. The film won all five major Academy Awards (Best Picture, Actor in Lead Role, Actress in Lead Role, Director, and Screenplay).

Although Douglas wasn't as busy as previous years, he made nearly 40 films and appeared on various television shows between 1970 and 2008. In 1970, he starred in the Western There Was a Crooked Man... (Joseph L. Mankiewicz, 1970) alongside Henry Fonda. In 1973, he directed his first film, Scalawag. In 1978, he costarred with John Cassavetes and Amy Irving in the excellent horror film The Fury, directed by Brian De Palma. In 1980, he starred in The Final Countdown (Don Taylor, 1980), playing the commanding officer of the aircraft carrier USS Nimitz, which travels through time to the day before the 1941 attack on Pearl Harbor. It was produced by his son Peter Douglas.

His other films included the Western comedy The Villain (Hal Needham, 1979) with Arnold Schwarzenegger, the Sci-fi thriller Saturn 3 (Stanley Donen, 1980) and the Australian Western The Man from Snowy River (George Miller, 1982), which received a fair degree of critical acclaim and was the most popular Australian film of all time until Crocodile Dundee (Peter Faiman, 1986). In 1986, he also reunited with his longtime costar Burt Lancaster in the crime comedy Tough Guys (Jeff Kanew, 1986), with Eli Wallach. Less known are his roles in such European films as Un uomo da rispettare/The Master Touch (Michele Lupo, 1972) with Giuliano Gemma, and Veraz (Xavier Castano, 1991).

Douglas has long been involved in humanitarian causes and has been a Goodwill Ambassador for the US State Department since 1963. France honoured him with the Chevalier of the Legion of Honour. He was presented with a honorary Academy Award by Steven Spielberg in 1996. Despite a helicopter crash and a stroke suffered in the 1990s, Douglas focused on renewing his spiritual and religious life since. He underwent years of voice therapy and made the film Diamonds (John Mallory Asher, 1999), in which he played an old prizefighter who was recovering from a stroke. It costarred his longtime friend from his early years, Lauren Bacall.

Kirk Douglas is the last surviving superstar from the Golden Age of Hollywood. He lives with Belgium-born producer Anne Buydens, his wife of over 60 years. They had two children, television and film producer Peter Douglas (1955) and actor and stand-up comedian Eric Douglas. In 2004, Eric died of an accidental drug overdose at the age of 46. With his first wife, Bermudian actress Diana Dill, Kirk Douglas also has two children, Michael Douglas (1944) and Joel Douglas (1947). In 2003, Michael and Joel produced It Runs in the Family (Fred Schepisi, 2003), in which Kirk starred with Michael, Michael's son Cameron Douglas, and Diana Dill, playing his wife. His most recent film appearance was in a strong non-speaking role in Meurtres à l'Empire State Building (William Karel, 2008), a French tribute and doc-crime-drama celebrating American Film Noir and the icons of the Hollywood golden age.


Trailer Ulysses (1954). Source: junkiefix (YouTube).


Trailer Spartacus (1960). Source: Movieclips Trailer Vault (YouTube).

Sources: firehouse44 (IMDb), Pedro Borges (IMDb), Ella Alexander (The Independent), Wikipedia and IMDb.

Maria Sebaldt

$
0
0
Maria Sebaldt (1930) is a German actress who appeared in many lightweight entertainment films of the 1950 and 1960s. Her parts were often flirtatious and playful. Highlights were the comedies Der Hauptmann von Köpenick/The Captain from Köpenick (1956) and Die Zürcher Verlobung/The Zurich Engagement (1957), both directed by Helmut Käutner. Later she was very popular on TV.

Maria Sebaldt
German postcard by Kunst und Bild, Berlin-Charlottenburg, no. I 297. Photo: Kurt Ulrich-Film / Deutsche Film Hansa (DFH) / Wesel. Publicity still for Der Greifer/The Copper (Eugen York, 1958).

A touch of realism that is very refreshing


Maria Katharina Helene Sebaldt was born in 1930 in Berlin-Steglitz. Her father was a portrait painter and flute soloist, who worked after the war as the department head of Paramount film distribution.

From 1946 to 1949 Maria took private acting lessons from actress Anne Marie Asmus and studied at the Weimar Stanislawsky School. In 1947 she already made her stage debut in Maximilian Böttcher’s Krach im Hinterhaus. It was followed by numerous stage engagements in such cities as Sondershausen, Berlin and Munich.

Her film debut was a small part as a room maid in the farce So ein Affentheater/Monkey business (Erik Ode, 1953), followed by a part next to Rudolf Prack in the Heimatfilm Wenn am Sonntagabend die Dorfmusik spielt/Sunday Night when the village music plays (Rudolf Schündler, 1953). From then on she focused on film and television.

She appeared in musical films like the film operetta Der Zigeunerbaron/The Gypsy Baron (Arthur Maria Rabenalt, 1954), starring Paul Hörbiger, Der Zarewitsch/The Little Czar (Arthur Maria Rabenalt, 1954) and Tausend Sterne leuchten/A Thousand Stars Aglitter (Harald Philipp, 1959) starring Germaine Damar, but she also played in dramas such as Anastasia, die letzte Zarentochter/The Story of Anastasia (Falk Harnack, 1956) featuring Lilli Palmer. This film is based on the true story of a woman in Berlin who was pulled from the Landwehr Canal in 1920 and who later claimed to be Anastasia, the youngest daughter of Czar Nicholas II of Russia.

Sebaldt appeared with Heinz Rühmann in the funny Carl Zuckmayer adaptation Der Hauptmann von Köpenick/The Captain from Köpenick (Helmut Käutner, 1956). Ray Cooper at IMDb: “Heinz Rühmann excels in one of his most popular roles as ex-con who puts on the uniform of a Captain and fools the whole German army. Very funny, smart, beautifully realized, colorful comedy drama with great cast overshadowed by Rühmann's one-of-a-kind turn“.

Another highlight among Sebaldt’s films is the comedy Die Zürcher Verlobung/The Zurich Engagement (Helmut Käutner, 1957) with Lilo Pulver. At IMDb, Stefan Kahrs writes: “The film has dated much less badly than other romantic comedies from this era. Amongst other reasons is that the central characters are not meant to be perfect, not even perfect for each other, and this adds a touch of realism that is very refreshing. The cast is excellent, in both supporting and leading roles.”

Other comedies with Sebaldt are Vater, Mutter und neun Kinder/Father, Mother and nine Children (Erich Engels, 1958) with Heinz Erhardt, and the Peter Alexander vehicle Peter schießt den Vogel ab/Peter shoots the bird (Géza von Cziffra, 1959). Eddie Constantine was her co-star in the gangster parody Hoppla, jetzt kommt Eddie/ Hoopla, Now Comes Eddie (Werner Klingler, 1958).

She also had a small role in the literary adaptation Die Buddenbrooks (Alfred Weidenmann, 1959) based on the famous novel by Thomas Mann. She played the cunning gangster Virginia Peng in Nick Knattertons Abenteuer - Der Raub der Gloria Nylon/The Kidnapping of Miss Nylon (Hans Quest, 1959), the live-action version of Manfred Schmidt's popular comic series Nick Knatterton.

Maria Sebaldy
East-German postcard by VEB Progress Film-Vertrieb. Berlin, no. 321. Photo: Real-Film. Publicity still for Der Kaufmann von Köpenick/The Captain from Köpenick (Helmut Käutner, 1956).

Maria Sebaldt
German postcard by Kunst und Bild, Berlin-Charlottenburg, no. T 890. Photo: Arthur Grimm / Bavaria / Schorcht. Publicity still for Eine Frau die weiss wass sie will/Mother of Pearl (Arthur Maria Rabenalt, 1958).


Western action, comical elements, thrills, shoot'em up, brawls


In 1960, Maria Sebaldt reunited with Heinz Rühmann in the Father Brown mystery Das schwarze Schaf/The Black Sheep (Helmuth Ashley, 1960). She appeared in the operetta film Der Vogelhändler/The Bird Seller (Géza von Cziffra, 1962) next to Conny Froboess.

Jan Onderwater at IMDb: “The plot of the operetta was changed to fit into 90 minutes, but maybe also for the original being unacceptably corny; but it is all to no avail. Von Cziffra directed without imagination and spirit and he is hopelessly inadequate in using the Ultrascope format. The result is a dull film, not helped much by an average cast; Conny Froboess seems not at all to be comfortable with her part and Ruth Stephan and Rudolf Platte, both always good for comic interludes, are very disappointing; it is only Maria Sebaldt who sometimes brings some life into the film.“

She reunited with Peter Alexander for the Austrian comedy Charley's Tante/Charley's Aunt (Géza von Cziffra, 1963), an adaptation of the British farce Charley's Aunt by Brandon Thomas. The result was also disappointing.

Better was the exciting and cynical Euro-Western Pistoleros de Arizona/5.000 dollari sull'asso/Five Thousand Dollars on One Ace (Alfonso Balcázar, 1965). Ma-cortes at IMDb: “The film packs Western action, comical elements, thrills, shoot'em up, brawls, and results to be quite entertaining.”

Interesting was also the comedy …aber Jonny!/...But Johnny! (Alfred Weidenmann, 1973) with Horst Buchholz as a callboy.

On television, Sebaldt became popular with her part in the series Ich heirate eine Familie/I marry a family (1983-1986). Between 1986 and 1991, she played the worrying Hannelore Wichert in Die Wicherts von nebenan/The Wicherts next door, now a cult-series in Germany.

She also guest-starred in German series like Der Kommissar (1969, 1973), Derrick (1976, 1978, 1980, 1981), Der Alte/The Old Fox (1978, 1982), Tatort (1979) and Das Traumschiff/The Dream Ship (1991, 1993, 2003, 2006, 2010, 2014).

In France, she appeared in the TV Miniseries Toutes griffes dehors/Claws (Michel Boisrond, 1982) with Sophie Desmarets. More recently she appeared in the documentary Germaine Damar - Der tanzende Stern/Germaine Damar – The Dancing Star (Michael Wenk, 2011) in which she tells about her former colleague from Luxemburg. Sebaldt worked extensively for the radio and as a voice actress she was the German voice for foreign colleagues as Antonella Lualdi, Eva Marie Saint and Joanne Woodward.

From 1965 until his death in 2010 Maria Sebaldt was married with her Austrian-Swiss colleague Robert Freitag. In 1997, she published with Freitag’s first wife, the actress Maria Becker, the cookbook Essen und trinken und fröhlich sein (Eat and drink and be merry). Maria Sebaldt has a daughter, sculptor Katharina Freitag (1967) and a grandson, Julian, and she lives in Grünwald near Munich.

Maria Sebaldt
German postcard by Franz Josef Rüdel, Filmpostkartenverlag, Hamburg. Photo: Hilde Zemann, München.


Trailer for Hoppla, jetzt kommt Eddie/ Hoopla, Now Comes Eddie (1958). Source: Film- und Fernsehjuwelen (YouTube).


Trailer for Nick Knattertons Abenteuer - Der Raub der Gloria Nylon/The Kidnapping of Miss Nylon (1959). Source: Film- und Fernsehjuwelen (YouTube).

Sources: Stephanie D’heil (Steffi-Line- German), Jan Onderwater (IMDb), Ma-cortes (IMDb), Stefan Kahrs (IMDb), Ray Cooper (IMDb), Wikipedia (German and English) and IMDb.

Doris Duranti

$
0
0
Doris Duranti (1917-1995) was a beautiful star of the Italian cinema of the late 1930s and early 1940s, and the main competitor of actress Clara Calamai. She was also the lover of a notorious fascist.

Doris Duranti
Italian postcard by B.F.F. Edit, no. 2092. Photo: Venturini, Roma.

The quarrel of the first naked breast


Dora Franca Duranti was born in Livorno (Leghorn), Italy, in 1917.

From 1935 on, so at a young age, she started her film career as extra or in minor parts in films like Aldebaran (Alessandro Blasetti, 1935) starring Gino Cervi, the Tito Schipa vehicle Vivere/To Live (Guido Brignone, 1937) and La gondola delle chimere/The Phantom Gondola (Augusto Genina, 1936) with Fosco Giachetti. She collaborated again with Genina and Giachetti in Lo squadrone bianco/White Squadron (Augusto Genina, 1936), shot in Libya.

Essential for her career was the film agent Eugenio Fontana, who for years arranged her deals with directors and producers. In Sentinelle di bronzo/Sentinels of Bronze (Romolo Marcellini, 1937) Duranti obtained her first real success as the protagonist,  a coloured woman.

From that moment on she became a film star, famous for her elegant movements but also her aggressive behaviour. Between Sentinelle di bronzo and 1945, Duranti made some 17 films.

Among her major performances were Lola in Cavalleria rusticana (Amleto Palermi, 1939) adapted from the famous opera by Mascagni, and the title roles in La contessa Castiglione (Flavio Calzavara, 1942) and Carmela (Flavio Calzavara, 1942).

In the latter, Duranti showed a naked breast, which gave life to a famous quarrel between Duranti and her rival star Clara Calamai who also flashed one breast in the period piece La cena delle beffe/The Jester's Supper (Alessandro Blasetti, 1941). Duranti, however, claimed she was the first showing her breast standing up, proud and without make up, in contrast to Calamai who showed while lying down. Anyway, neither of the two was first, as Vittoria Carpi had already flashed a breast in the fantasy film La corona di ferro/The Iron Crown (Alessandro Blasetti, 1940).

Doris Duranti
German postcard by Film-Foto-Verlag, no. A 3793/1, 1941-1944. Photo: DIFU.

Doris Duranti
German postcard by Film-Foto-Verlag, no. G 208, 1941-1944. Photo: DIFU.

The actress par excellence for His Excellence


Doris Duranti had become one the best payed and highest esteemed actresses of the fascist regime, but, unwisely, she also started an affair with Alessandro Pavolini.

In 1938, this notorious fascist had become Minister of Popular Culture in the government of Repubblica Sociale Italiana led by Benito Mussolini. Pavolini for instance rejected the neorealist scripts by Luchino Visconti, Giuseppe De Santis and others.

Duranti became known as ‘the actress par excellence/for His Excellence’. Mussolini first opposed, then accepted the affair. He seems to have been smitten with Duranti’s performance in Il re si diverte/The King's Jester (Mario Bonnard, 1941), an adaptation of the opera Rigoletto, with Michel Simon as Rigoletto and Duranti as Margot.

When the fascist regime fell in 1943, Duranti followed her lover Pavolini to the North, where they first lived in Venice, where the so-called Repubblica Sociale Italiana thought of reviving Rome’s Cinecittà.

After that they moved to Lake Como, Pavolini was one of the main leaders in mobilising the fascists against the Allies. He was responsible for a brutal massacre in Ferrara in November 1943, revenging the killing of a high official (it was never revealed whether partisans really had been responsible). Pavolini also had a major part in the execution in January 1944 of the members of the Grand Council who had Mussolini arrested in July 1943. Among them was Mussolini’s son-in-law Galeazzo Ciano.

Doris Duranti
Italian postcard by B.F.F. Edit. (Casa Editore Ballerini & Fratini, Firenze), no. 20910. Photo: Venturini.

Doris Duranti
Italian postcard by Armando Terzoli, Roma. Photo: Venturini, Roma.

Passage to Switzerland


When things went bad for the fascist Republic and the Allies were heading north, Pavolini managed to get Doris Duranti a passage to Switzerland and she moved to Lugano. Here she was imprisoned and she tried to kill herself by opening her veins.

Pavolini was captured in April 1945 by the Partisans, shot and hung in public in Milan next to the corpse of Mussolini. Duranti later on married a police lieutenant and moved with him to South America, where she remained for many years.

In 1950 Duranti returned to Italy, where audiences apparently had forgiven her her past. She played in several Italian films and even had quite a few leads in films like the comedy Il voto/The Vote (Mario Bonnard, 1950), the crime drama I falsari/The Counterfeiters (Franco Rossi, 1950) with Fosco Giachetti, and the romantic war drama Clandestino a Trieste/Fugitive in Trieste (Guido Salvini, 1951).

All in all she played in some 14 films between 1950 and 1954, including one French film: La minute de vérité'/The Moment of Truth (Jean Delannoy, 1952). She then met the famous journalist and radio reporter Mario Ferretti, the two fell in love and they moved to Santo Domingo in the Dominican Republic, where they opened up a restaurant.

Duranti’s last performance was in the film Divina creatura/The Divine Nymph (Patroni Griffi, 1976) starring Laura Antonelli. In 1995 Doris Duranti died in Santo Domingo at the age of 78 years. Her life has been the subject of the TV-series Doris, una diva di regime (Alfredo Giannetti, 1991) with Elide Melli playing Duranti.


A little homage to Duranti. Source: Marco Sisi (YouTube).

Sources: Wikipedia (Italian), and IMDb.

Ewan McGregor

$
0
0
Scottish actor Ewan McGregor (1971) first received worldwide acclaim with his role as heroin addict Mark Renton in Trainspotting (1996). Later, he played the young Obi-Wan in the Star Wars prequel trilogy, and poet Christian in the musical Moulin Rouge! (2001).

Ewan McGregor
British postcard by Editions Limited, no. PRT-019.

Energetic, powerful and photogenic


Ewan Gordan McGregor was born in 1971 in Crieff, Scotland, just a few miles north of Edinburgh. His parents were the schoolteachers James Charles Stuart McGregor and Carole Diane Lawson. His uncle is actor Denis Lawson. He also has a brother Colin, who became a RAF pilot.

As a child, Ewan did little acting, but enjoyed singing, and became a soloist for his school's orchestra and choir. At age 16, he left Morrison Academy in Crieff to join the Perth Repertory Theatre. His parents encouraged him to leave school and pursue his acting goals rather than be unhappy. Ewan worked as a stagehand and had small roles in the productions of the Perth Repertory Theatre. Then, he studied three years at the Guildhall School of Music and Drama in London.

Six months prior to his graduation from Guildhall, he landed a major role as Private Mick Hopper in the excellent TV series Lipstick on Your Collar (Renny Rye, 1993), written by Dennis Potter. McGregor then starred in the miniseries The Scarlet & The Black (Ben Bolt, 1993), an adaptation of Henri Beyle Stendhal's 1830 novel.

In that same year, McGregor made his film debut with a bit part in the American drama Being Human (Bill Forsyth, 1993), which starred Robin Williams. The film undeservedly flopped and closed almost as soon as it opened, which limited McGregor's exposure. He continued to make television appearances in the United States and Britain, including Family Style (Justin Chadwick, 1993), Doggin' Around (Desmond Davis, 1994) and an episode of the crime series Kavanagh QC (Colin Gregg, 1995).

He got his first major film role in the Noir Shallow Grave (Danny Boyle, 1994), which was received well by the critics. Samuli Launonen at IMDb: “A great modern thriller containing all the necessary ingredients of a decent suspense story: constantly growing tension, sly humour, and genuinely surprising plot twists. (…) The three leads are all great, but there's no question about who the movie belongs to: Ewan McGregor is energetic, powerful and photogenic in his portrayal of a young journalist.”

In 1995, McGregor married, French production designer Eve Mavrakis. He continued to work in British films as the surfing parable Blue Juice (Carl Prechezer, 1995) with Catherine Zeta-Jones, and Peter Greenaway's The Pillow Book (1996).

Then he had his big break with Trainspotting (1996), his second film with director Danny Boyle. McGregor shaved his head and lost 30 lbs to play the main character and heroin addict Mark Renton. The film, an adaptation of Irvine Welsh's novel, and McGregor's role received worldwide critical acclaim.

Following this success, he took a completely different role as Frank Churchill in the Jane Austen adaptation Emma (Douglas McGrath, 1996), starring Gwyneth Palthrow. His next films included Brassed Off (Mark Herman, 1996), The Serpent's Kiss (Philippe Rousselot, 1997), A Life Less Ordinary (Danny Boyle, 1997), and Nightwatch (Ole Bornedal, 1998). He also acted opposite Jonathan Rhys Meyers and Christian Bale in Velvet Goldmine (Todd Haynes, 1999), as a 1970s-era glam rocker in the mode of Iggy Pop.

Ewan McGregor landed the largest role of his career when he signed on in 1998 as Obi-Wan Kenobi in the Star Wars prequel trilogy. McGregor already had a connection with the iconic movie series as his uncle, Denis Lawson, appeared as Wedge Antilles in the original three films. He studied Alec Guinness' films in preparation for his role as Obi-Wan Kenobi to ensure accuracy in everything from his accent to the pacing of his words. Star Wars: Episode I–The Phantom Menace (George Lucas, 1999) was a box-office blockbuster, which launched the then 28-year-old actor into mega stardom. The next two instalments of the trilogy would follow years later.

Ewan MacGregor
British postcard by Heroes Publishing Ltd., London, no. SFC 3096.

Ewan MacGregor
British postcard by Pyramid, Leicester, no. PC 2111.

Another challenging role


In the early 21st century, Ewan McGregor started his own production company called Natural Nylon. He founded it with fellow actors Jude Law, Sadie Frost, Jonny Lee Miller and Sean Pertwee. The group's first film was the biopic Nora (Pat Murphy, 2000), which dramatised the real-life relationship between Irish author James Joyce and Nora Barnacle. McGregor starred as Joyce opposite Susan Lynch as Barnacle.

McGregor took on another challenging role in the musical Moulin Rouge! (Baz Luhrmann, 2000), set in Paris in 1899. McGregor starred as the young poet Christian, who falls in love with the terminally-ill courtesan Satine, played by Nicole Kidman.

Perry Seibert at AllMovie: “A bold artistic statement, Moulin Rouge is Baz Luhrmann's first masterpiece. Frantically edited, paced, and photographed, the film is not an easy undertaking; it forces the viewer to accept it on its terms. The sets, costumes, and sound are stylish in the extreme. The greatest risk the film takes is having the characters speak predominantly in song lyrics. The young writer Christian (Ewan McGregor) and the doomed performer Satine (Nicole Kidman) argue about whether they will fall in love while telling each other, 'Love lifts us up where we belong' and 'I will always love you.' When they aren't speaking in song lyrics, they sing to each other, with McGregor doing a better than credible job with Elton John's 'Your Song'.”

McGregor was nominated for a Golden Globe Award for Best Actor for his part and a Screen Actors Guild Award for Outstanding Performance by a Cast. Later that same year, the war film Black Hawk Down (Ridley Scott, 2001) was released with McGregor among an ensemble cast. He continued his role as Obi-Wan Kenobi in the second film of the trilogy, Star Wars: Episode II–Attack of the Clone (George Lucas, 2002), which was another commercial success.

McGregor was able to parlay his popularity into many more films. When Tim Burton was looking for someone in McGregor's age range to play Albert Finney as a young man in the fantasy film Big Fish (2003), he was given the part. The film was a critical and commercial success as well. McGregor also starred in the drama Young Adam (David Mackenzie, 2003). He played Joe Taylor, one of two barge workers who pull up the corpse of a young woman from a river. Also that year, McGregor and Renée Zellweger starred in Down With Love (Peyton Reed, 2003), a homage to 1960s romantic comedies.

During 2004, McGregor and his best friend Charley Boorman created a documentary about riding their motorcycles from London to New York. The pair travelled east through Europe and Asia, and then flew to Alaska to finish the journey to New York. The entire journey, entitled Long Way Round, covered over 19,000 miles and 12 countries. The project was conceived partly to raise awareness of the worldwide efforts of UNICEF.

McGregor reprised his role as Obi-Wan Kenobi for the final time for Star Wars: Episode III–Revenge of the Sith (George Lucas, 2005). He also lent his voice to the animated family film Robots (Chris Wedge, Carlos Saldanha, 2005), starred with Scarlett Johansson in the big-budget Sci-Fi actioner The Island (Michael Bay, 2005), and filmed the psychological thriller Stay (Marc Forster, 2005).

Ewan MacGregor
British postcard by Anabas, Essex, no. AP 749, 1999.

Ewan McGregor in Moulin Rouge (2001)
British postcard by Go Card. Photo: 20th Century Fox. Publicity still for Moulin Rouge! (Baz Luhrmann, 2001)

Amazingly good


After multiple commercial and critical successes, Ewan McGregor tried his hand at two arthouse films in 2006. His first was Scenes of a Sexual Nature, Ed Blum's directorial debut about a day in the life of seven British couples. The second was Miss Potter (Chris Noonan, 2007), a biopic on the life of popular author Beatrix Potter (Renée Zellweger). McGregor portrays Norman, her editor and paramour.

He also tried his hand at stage acting. From 2005 till 2007 he played Sky Masterson in the revival of Guys & Dolls at London's Piccadilly Theatre, and for this part, he was nominated for a Laurence Olivier Award for Best Actor in a Musical in 2007. He also appeared on stage as Iago in Othello (2007–2008).

In between, McGregor and Boorman created a follow-up documentary to their 2004 trip. For Long Way Down (2007), they rode their motorcycles from John o' Groats in northern Scotland to Cape Town, South Africa. Next he appeared in the films Cassandra's Dream (Woody Allen, 2007) with Colin Farrell, Incendiary (Sharon Maguire, 2008) and Deception (Marcel Langenegger, 2008) with Hugh Jackman.

McGregor starred with Jim Carrey as a gay couple in I Love You Phillip Morris (Glenn Ficarra, John Requa, 2009), and appeared in the blockbuster Angels & Demons (Ron Howard, 2009), the sequel to the popular Dan Brown novel and film, The DaVinci Code. For the title role in Roman Polanski's The Ghost Writer (2010), he won the Best Actor award at the 23rd European Film Awards.

Bruce Eder at AllMovie: “McGregor is amazingly good in a role that gives him relatively little to work with - his is a character that not only has no name, but no past to speak of and no family entanglements, so his experience shouldn't resonate much with the audience. But what should become a cipher that few can penetrate instead becomes a kind of big-screen everyman for audience members to relate to - up to a point. This is a very cold movie at its center, very distant, despite McGregor's success at fleshing out a character that is hardly more than a skeleton, in terms of what he brings to us. He's just vulnerable enough, and surprised and skeptical enough - about what he's been asked to do, and the world of politics to which he's been asked to enter - to give us something to grab on to.”

His later films include Beginners (Mike Mills, 2010), Perfect Sense (David Mackenzie, 2011) opposite Eva Green, the British romantic comedy-drama Salmon Fishing in the Yemen (Lasse Hallström, 2011), Lo imposible (J.A. Bayona, 2012), and August: Osage County (John Wells, 2013).

He was awarded the OBE (Officer of the Order of the British Empire) in the 2013 Queen's New Years Honours List for his services to drama and charity. Ewan McGregor and his wife have three daughters: Clara Mathilde (1996), Esther Rose (2001), and 4-year-old Jamiyan adopted from Mongolia in 2006.

His recent films include the Miles Davis biopic Miles Ahead (Don Cheadle, 2015) and the British thriller Our Kind of Traitor (Susanna White, 2016). For 2017 is scheduled T2: Trainspotting, in which he will return as Mark Renton, again under the direction of Danny Boyle. On TV he will star in the third season of the hit series Fargo, now set in 2010.


Trailer Trainspotting (1996). Source: Movieclips Trailer Vault (YouTube).


Trailer Moulin Rouge! (2001). Source: Athena Stamos (YouTube).


Trailer The Ghost Writer (2010). Source: Movieclips Trailer Vault (YouTube).

Sources: Samuli Launonen (IMDb), Perry Seibert (AllMovie), Bruce Eder (AllMovie), Biography.com, AllMovie, Wikipedia and IMDb.

La preda (1921)

$
0
0
La preda/The prey (Guglielmo Zorzi, 1921) was an Italian silent melodrama starring diva Maria Jacobini, Amleto Novelli and the young Carmen Boni.

Maria Jacobini in La preda (1921)
Italian postcard by G.B. Falci, Milano, no. 33. Photo: Fotominio. Maria Jacobini and Carmela Bonicatti (Carmen Boni) in La preda (1921).

Maria Jacobini in  La preda (1921)
Italian postcard by G.B. Falci, Milano, no. 34. Photo: Maria Jacobini, Carmela Bonicatti (Carmen Boni) and Maria Moreno in La preda (1921).

Maria Jacobini and Amleto Novelli in La preda (1921)
Italian postcard by G.B. Falci, Milano, no. 46. Photo: Fotominio. Publicity still for La preda (1921) with Maria Jacobini and Amleto Novelli.

She doesn't hesitate and kills him


In La preda/The prey (Guglielmo Zorzi, 1921), the explorer Cesare Colleoni (Amleto Novelli) returns to Italy after a long stay in Africa.

At his father's place he meets his three cousins Anna (Mara Cassano), Maria (Maria Jacobini) and Gioietta (Carmela Bonicatti aka Carmen Boni), whom he all courts at the same time.

He gets engaged with Anna, but right on the day before his wedding he tries to seduce Maria. She resists, though.

Afterwards, when Cesare has married Anna, Maria discovers he has managed her youngest sister Gioietta to hopefully fall in love with him and wanting to elope with him. She doesn't hesitate and kills him. The script of La Preda was written by Camille de Morlhon.

Maria Jacobini in La preda (1921)
Italian postcard by G.B. Falci, Milano, no. 51. Photo: Fotominio. Maria Jacobini and Amleto Novelli in La preda (1921).

Maria Jacobini in La preda (1921)
Italian postcard by G.B. Falci, Milano, no. 153. Photo: Maria Jacobini and Alfonso Cassini in La preda (1921).

The interior dilemma of the female protagonist


La preda/The prey (Guglielmo Zorzi, 1921) was produced by the Roman company Fert, and premiered in Rome on 10 January 1922.

The Naples journal La Cine-fono praised Maria Jacobini's acting but the critic thought the characters were not individualized enough and the script had better be used for a stage play, where the interior dilemma of the female protagonist would have been expressed better.

Instead, the Turin journal La vita cinematografica praised both director and actors - Maria Jacobini in the first place - and thought only the cinematography could have been better.

NB While film historian Vittorio Martinelli mentions Mara Cassano playing Anna, one postcard suggests this could have been Maria Moreno. And although both English Wikipedia and IMDb claim that La Preda is a French-Italian coproduction, the production company, Fert Film, was an Italian studio. Italian Wikipedia and Vittorio Martinelli write that it's an Italian production.

Maria Jacobini in La preda (1921)
Italian postcard by G.B. Falci, Milano, no. 154. Photo: Maria Jacobini and Carmela Bonicatti (Carmen Boni) in La preda (1921).

Amleto Novelli in La preda (1921)
Italian postcard by G.B. Falci, Milano, no. 191. Photo: Amleto Novelli and Maria Moreno in La preda (1921).

Maria Jacobini in La preda (1921)
Italian postcard by G.B. Falci, Milano, no. 315. Photo: Maria Jacobini in La preda (1921).

Sources: Vittorio Martinelli (Il cinema muto italiano: I film degli anni venti, 1921 - Italian), Wikipedia (English and Italian) and IMDb.

Renzo Ricci

$
0
0
Renzo Ricci (1899-1978) was an Italian stage and screen actor and also stage director. The modern theatre, focused so strongly at the introspection of the characters, found in Ricci one of its most careful forerunners. At the end of his career he worked with the great film directors Michelangelo Antonioni, Roberto Rosselini and Luchino Visconti.

Renzo Ricci
Italian postcard by SIF, no. 49. Photo: Vettori Bologna.

Renzo Ricci
Italian postcard, no. 3067. Photo: Vettori, Bologna.

Always looking for new experiences


Renzo Ricci was born in Firenze (Florence), Italy in 1899. He was trained at the Accademia dei Fidenti. Ricci started working as a professional in 1915 at the famous Gramatica-Carini-Piperno company with actress Emma Gramatica.

He married the stage actress Margherita Bagni, daughter of Ambrogio Bagni and Ines Cristina. Their daughter, Nora Ricci, would also become an important prose actress and first wife of Vittorio Gassman. Ricci later remarried with actress Eva Magni, with whom he formed a stage company after World War II.

He worked with some of the great innovating directors of the Italian theatre. Guido Salvini directed him in La Nave by Gabriele d'Annunzio, which in 1928 opened the season of the Italian director's renewal. Renato Simoni directed him in Adelchi by Alessandro Manzoni in 1940. He also worked with Luchino Visconti on his famous production of Troilus and Cressida staged in the Boboli Gardens in Florence in 1949.

In 1946 Ricci proposed to the young Giorgio Strehler to re-stage Caligula by Albert Camus for which he had presented the world premiere in Geneva, at the Théâtre de la Comédie. For Strehler, Ricci would also play Richard III, at the Piccolo Teatro in 1950, Firs in The Cherry Orchard by Anton Chekhov (1972) and the Plenipotentiary in Jean Genet's Balcony (1976), which would also be his last performance.

Always looking for new and current experiences, Ricci created a vast and committed repertory, which included the major classic and modern authors from Italy and from abroad. He starred in the Italian premiere of Long Day's Journey Into Night by Eugene O'Neill, for which he also did the direction, in collaboration with Virginio Puecher in 1957. For his performance, he won the San Genesio Prize, an Italian stage award which existed between 1954 and 1968.

From the mid-1930s till the 1960s, Ricci also was active as a voice actor. He also did performances of stage plays on RAI radio in the 1950s, including The Fourposter by Jan de Hartog, directed by Ricci himself.

Renzo Ricci
Italian postcard by SIF, no. 979. Photo: Vettori, Bologna.

Renzo Ricci in Otello.
Italian postcard by Fotostampa Angeli, Terni. Photo: A. Terzoli, Roma. Ricci played a mature Otello (Othello) under direction of Maner Lualdi in 1964, at the Teatro San'Erasmo in Milan.

Marcella Albani in Corte d'Assise (1930)
Italian postcard. Photo: Produzione Cines-Pittaluga. From left to right: Lya Franca, Renzo Ricci, Marcella Albani, Mercedes Brignone, and far right Elio Steiner, in the court case melodrama Corte d'Assise (Guido Brignone, 1931).

The great modern actor


When sound cinema set in in Italy, Renzo Ricci started his career as film actor. His first part was in the court case drama Corte d’Assise/Before the Jury (Guido Brignone, 1930), starring Elio Steiner, Lya FrancaMarcella Albani and Carlo Ninchi. It was the second Italian sound feature after La canzone dell’amore/The Song of Love (1930) directed by Gennaro Righelli. The film is now seen as a precursor to the later genre of Giallo films.

Ricci reunited with Ninchi in the mountain drama La Wally (Guido Brignone, 1932), starring Germana Paolieri, and with Ricci as her jealous suitor. After two more films in the early 1930s, the comedy Ninì Falpalà (Amleto Palermi, 1933) with Dina Galli and Ricci in the lead, and Aurora sul mare (Giorgio SImonelli, 1934), Ricci stopped acting in film.

In 1940, he returned to play ‘the great modern actor’ next to Ermete Zacconi, Irma Grammatica, Memo Benassi and other ‘monstres sacrés’ of the Italian stage in L’Orizzonte dipinto/The Painted Horizon (Guido Salvini, 1940). Valentina Cortese had her debut in this film. After another film, Turbamento/Perturbation (Guido Brignone, 1941), Ricci stayed off the film set for more than a decade.

In 1953, he returned to the screen as Petronius in the historical epic Nerone e Messalina/Nero and the Burning of Rome (Primo Zeglio, 1953), with Gino Cervi and Yvonne Sanson in the title roles. In the Italian-French biopic Casta Diva (Carmine Gallone, 1954) on the life of composer Vincenzo Bellini (played by Maurice Ronet), Ricci was the judge Fumaroli, with whose daughter Maddalena (Antonella Lualdi) Bellini falls in love.

Perhaps most famous Ricci is for his supporting parts in a series of films of the early 1960s made by famous directors. In L’Avventura (Michelangelo Antonioni, 1960) he was the father of Anna (Lea Massari), the girl who mysteriously disappears at the start of the film. In Viva l’Italia/Garibaldi (Roberto Rossellini, 1961), Ricci played the legendary Giuseppe Garibaldi, leading his military campaign of volunteers, the Thousand (I Mille), who embarked for Sicily to free Southern Italy from the Bourbon rule. This was the film director Rossellini stated he was proudest of.

After the peplum Io, Semiramide/I am Semiramis (Primo Zeglio, 1962), starring Yvonne Furneaux, Ricci played in Luchino Visconti’s Vaghe stelle dell’Orsa/Sandra (1965) the family lawyer Gilardini, stepfather of the protagonists Sandra (Claudia Cardinale) and Gianni (Jean Sorel). Particularly Sandra hates Gilardini, as she suspects that her mother (Marie Bell) and he are responsible for the death of her father, the Jewish scientist Wald-Luzzati, killed in a concentration camp. Instead Gilardini accuses Sandra and Gianni of incest. The film won the Golden Lion at the Venice Film Festival.

After this, Ricci quitted the film set again, but he returned for one last performance, a small part in Patrice Chéreau’s excellent thriller La chair de l’orchidée/The Flesh of the Orchid (1975), starring Charlotte Rampling. Renzo Ricci died in Milan, Italy in 1978. He was 79.

Germana Paolieri and Renzo Ricci in La Wally (1932)
Italian postcard, no. 70. Photo: Cines-Pittalugafor. Publicity still for La Wally (Guido Brignone 1932), starring Germana Paolieri as Wally and with Renzo Ricci as her jealous lover.

Renzo Ricci and Laura Adani
Italian postcard. Publicity card for Fiat, La nuova Balilla. The actors Renzo Ricci and Laura Adani in a Fiat car.

Renzo Ricci
Italian postcard by A. Terzeli, Roma, no. 59. Photo: Foto Luxardo.

Sources: Wikipedia (Italian and English) and IMDb.

EFSP's Dazzling Dozen: photos by Atelier Schenker

$
0
0
This Dazzling Dozen post is inspired by Marlene Pilaete. Recently she did a 'La chambre obscure' post at La Collectionneuse on Atelier Schenker. This was one of the most famous German photo studios between the early 1910s and early 1930s. The two main photographers of the studio, Karl Schenker and Mario von Bucovich had many German film stars of the era for their cameras. The exhibition 'Master of Beauty' on the work of Karl Schenker can be seen at the Museum Ludwig in Cologne till 8 January 2017. And here at EFSP, 12 dazzling film star postcards with pictures by Atelier Schenker.

Gunnar Tolnaes
Gunnar Tolnaes. German postcard by Verlag W.J. Mörlins, Berlin / Vertrieb Ross-Verlag, Berlin, no. 9001/3. Photo: Karl Schenker.

Mia May
Mia May. German postcard by Rotophot in the Film Sterne series, no. 70/1. Photo: Karl Schenker, Berlin / May Film.

Alwin Neuss
Alwin Neuss. German postcard by Rotophot in the Film Sterne series, no. 83/2. Photo: Karl Schenker, Berlin.

Lotte Neumann
Lotte Neumann. German postcard by Rotophot in the Film Sterne series, no. 94/2. Photo: Karl Schenker / NBFMB.

Rosa Porten
Rosa Porten. German postcard in the Film Sterne series by Rotophot, no. 97/1. Photo: Karl Schenker, Berlin / Treumann- Larsson Film, Berlin.

Alfred Abel as Voltaire in Fridericus Rex
Alfred Abel is not listed as playing Voltaire in any of the Frederick the Great films, but the back of this postcard states this is for the Fridericus Rex series (1922-1923) by Arzén von Cserépy for his Cserepy Film Co.
German postcard by Ross Verlag, no. 647/9. Photo: Karl Schenker. Caption: Alfred Abel as 'Voltaire, the genial friend of Frederick [the Great]'.

Who was Karl Schenker?


Karl Schenker was born in Bukovina in Romania in 1886. He moved to Berlin via Lviv and Mu­nich around 1912 and opened an 'atelier', a photo studio, in the German capital. Atelier Schenker quickly became a great success and ev­ery­body who was any­body had their por­trait tak­en in his stu­dio on the fa­mous Kur­fürs­ten­damm. He also did fashion photography for magazines like Die Dame.

Cu­ra­tor Miri­am Hal­wani of the Museum Ludwig: "Af­ter all, no one made their sub­jects look bet­ter, and there was no greater mas­ter of re­touch­ing. He wrapped ac­tress­es, dancers, and so­ci­e­ty ladies in tulle and furs be­fore tak­ing their pic­ture—or he paint­ed the fur in­to the pic­ture af­ter­wards."

In 1925, Schenker left for the US, where he stayed for five years. In New York, he main­ly il­lus­trat­ed and paint­ed por­traits un­der the name Karol Schenk­er. His atelier in Berlin was then taken over by Mario von Bucovich. Von Bucovich was born in 1884 in Pula in Istria.

Schenker returned to Berlin in 1930, but when the Nazis took the power in 1933 the Jewish Schenker could not stay in Berlin. He emigrated to England in 1938. There he opened a studio in London on Regent Street and he died in the British capital in 1954.

Mario von Bucovich worked during the 1930s in Wiesbaden, London, Paris and the US, before settling at the end of the decade in Mexico. There he died in a car accident in 1947.

The Mu­se­um Lud­wig re­cent­ly ac­quired around 100 por­traits and took this as an oc­ca­sion to trace Schenk­er’s life and work for the first time and to re­dis­cov­er an un­just­ly for­got­ten artist. Around 250 works are pre­sent­ed in Cologne, in­clud­ing in­ter­na­tio­n­al loans: pho­to­graph­ic por­traits of once-fa­mous wo­m­en and men, fashion and wax fig­ure pho­to­graphs, mag­azine cov­ers de­signed by Schenk­er, an orig­i­nal draw­ing, a paint­ing, and yes, even film star post­card­s.

Ossi Oswalda
Ossi Oswalda. German postcard by Photochemie, Berlin, no. K. 3310. Photo: Karl Schenker, Berlin.

Leni Riefenstahl
Leni Riefenstahl. German postcard. Photo: Karl Schenker. Collection: Didier Hanson.

Aud Egede Nissen
Aud Egede Nissen. German postcard by Ross Verlag, no. 1144/1, 1927-1928. Photo: Karl Schenker, Berlin.

Elisabeth Bergner
Elisabeth Bergner. German postcard by Ross Verlag, no. 3228/2, 1928-1929. Photo: M. v. Bucovich (Atelier K. Schenker). Publicity still for Doña Juana (Paul Czinner, 1928).

Gustav Fröhlich
Gustav Fröhlich. German postcard by Ross Verlag, no. 3018/1, 1928-1929. Photo: M. v. Bucovich (Atelier K. Schenker).

Renate Müller
Renate Müller. German postcard by Ross Verlag, no. 8751/2, 1933-1934. Photo: Atelier Schenker, Berlin.

This is a post for Postcard Friendship Friday, hosted by Beth at the The Best Hearts are Crunchy. You can visit her by clicking on the button below.



Sources: Marlene Pilaete (La Collectionneuse - French), Museum Ludwig and Wikipedia (French).
Viewing all 4136 articles
Browse latest View live




Latest Images

Pangarap Quotes

Pangarap Quotes

Vimeo 10.7.0 by Vimeo.com, Inc.

Vimeo 10.7.0 by Vimeo.com, Inc.

HANGAD

HANGAD

MAKAKAALAM

MAKAKAALAM

Doodle Jump 3.11.30 by Lima Sky LLC

Doodle Jump 3.11.30 by Lima Sky LLC