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We were at the International Collectors Fair

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This Saturday, we visited the International Collectors Fair in Utrecht and we had a great time. 'De Verzamelaarsjaarbeurs' (the Dutch name) is one of the biggest vintage fairs in the world and located in five huge halls of the Jaarbeurs centre. There are more than 2000 participants who sell old records and Cd's, antiques, bric-a-brac and of course postcards. Here are 15 of Paul's acquisitions.

Adrienne Corri
Adrienne Corri. German postcard by Ufa, Berlin-Tempelhof, no. FK 1333. Photo: J. Arthur Rank Organisation. Publicity still for The Kidnappers (Philip Leacock, 1953).

Constance Dowling
Constance Dowling. Dutch postcard. Photo: Republic.

Der Bettelstudent (1931) with Hans Heinz Bollmann and Fritz Schulz
Hans Heinz Bollmann and Fritz Schulz. German postcard by Ross Verlag, no. 128/3. Photo: Aafa Film. Publicity still for Der Bettelstudent/The Beggar Student (Victor Janson, 1931).

Fatty Arbuckle
Fatty Arbuckle. British postcard in the Pictures Portrait Gallery series, London, no. 9/192.

Gary Oldman in True Romance (1993)
Gary Oldman. British postcard by Heroes Publishing Ltd, London, no. SPC 2788. Photo: publicity still for True Romance (Tony Scott, 1993).

Julie Andrews and Dick Van Dyke in Mary Poppins (1964)
Julie Andrews and Dick Van Dyke. French postcard by Les Presses de Belleville, no.101. Photo: Walt Disney Productions. Publicity still for Mary Poppins (Robert Stevenson, 1964).

Lauren Bacall in The Big Sleep (1946)
Lauren Bacall. Dutch postcard. Photo: Warner Bros. Publicity still for The Big Sleep (Howard Hawks, 1946).

Michael Parks in Wild Seed (1965)
Michael Parks. Vintage American collectors card. Photo: Universal / Pennebaker. Publicity still for Wild Seed ( Brian G. Hutton, 1965).

Red Hot Chili Peppers in Amsterdam
Red Hot Chili Peppers in Amsterdam. British postcard by A Bigger Splash, Manchester, no. K 387. Promotion card for the album Taste the Pain.

Robert Woolsey and Esther Muir in So This Is Africa (1933)
Robert Woolsey and Esther Muir. British postcard in the Filmshots series by Film Weekly. Publicity still for So This Is Africa (Edward F. Cline, 1933).

Roberto Benzi
Roberto Benzi. French postcard. Photo: Raymond Voinquel, Paris.

Serge Gainsbourg and Jane Birkin
Serge Gainsbourg and Jane Birkin. French autograph card.

't Schaep Met De 5 Pooten (1969-1970) with Piet Römer, Adèle Bloemendaal, Leen Jongewaard
Piet Römer, Adèle Bloemendaal and Leen Jongewaard. Dutch promotion card by Philips. Photo: publicity still of the Dutch TV series 't Schaep met de 5 Pooten/The Sheep with the five legs (Joes Odufré, 1969-1970).

Tamara Karsavina
Tamara Karsavina. German postcard by Ross Verlag, Berlin, no. 1275/1, 1927-1928. Photo: Apeda, N.Y. (Alexander W. Dreyfoos).

Walter Brennan
Walter Brennan. Dutch postcard.

We were at the International Collectors Fair, Part 2

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Last Saturday, we visited the International Collectors Fair in Utrecht and yesterday we did a post with 15 of Paul's acquisitions. Today it is Ivo's turn. Paul went from Fatty Arbuckle to the Red Hot Chili Peppers... This time not such a great leap, 15 vintage postcards from La Divine Sarah Bernhardt to Claudia Cardinale.

Sarah Bernhardt in La dame aux camélias
Sarah Bernhardt. French postcard by Croissant, Paris, no. 1530/8. Photo: P. Boyer. Publicity still for a stage production of La Dame aux Camelias.

Ricardo Cortez in The Private Life of Helen of Troy
Ricardo Cortez. German postcard by Ross Verlag, no. 3216/1, 1928-1929. Photo: Delfina. Publicity still for The Private Life of Helen of Troy (Alexander Korda, 1927).

L'empereur des pauvres
L'empereur des pauvres (René Leprince, 1922). French postcard of a scene with Henry Krauss.

Polaire
Polaire. French postcard by F.C. & Cie., no. 250. Photo: Boyer & Bert, Paris.

Emil Jannings
Emil Jannings. German postcard by Ross Verlag, no. 6424/1, 1931-1932. Photo: UFA.

Sylvie
Sylvie. French postcard. Photo: Pathé.

Jean Worms
Jean Worms. French postcard by P.A., no. 312. Photo: Henri Manuel.

Bathing Beauty (Mack Sennett Comedies)
Bathing Beauty. French postcard by Cinémagazine Edition. Photo: Mack Sennett Comedies.

Lupu Pick
Lupu Pick. German postcard by Ross Verlag, no. 23/1. Photo: Atelier Bieber, Berlin.

Ramon Novarro in Ben-Hur
Ramon Novarro. French postcard by Editions Cinémagazine, no. 237. Photo: Metro-Goldwyn-Mayer. Publicity still for Ben Hur: A Tale of the Christ (Fred Niblo, 1925).

Raquel Meller
Raquel Meller. French postcard by R. Guilleminat, Paris.

Gladys Walton
Gladys Walton. French postcard in the Les Vedettes de cinéma series by A.N., Paris, no. 2. Photo: Universal Film Co.

La loi de la jungle
French publicity postcard for the documentary La loi de la jungle, originally titled En djungelsaga (1957), shot in India by the Swedsh filmmaker Arne Suckdorff. While this card is in black and white, the film was in Eastmancolor. The film was shown in France also as L'arc et la flûte, its American title was The Flute and the Arrow.

Bourvil in Le Passe-Muraille
Bourvil. French postcard by Les carbones Korès, no. 21E. Promotion card for the French film Le Passe-muraille (Jean Boyer, 1951).

Claudia Cardinale
Claudia Cardinale. German postcard by UFA.

Claude France

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Claude France (1893-1928) was a star of the French silent cinema of the 1920s. Two months before her greatest triumph opened in the cinemas, she committed suicide by opening the gas.

Claude France
French postcard by Editions Cinémagazine no. 441. Photo: Sartony.

Claude France in L'île d'amour (1929)
French postcard postcard by JRPR, Paris, no. 115. Photo: France-Film. Publicity still for L'île d'amour/Island of Love (Berte Dagmar, Jean Durand, 1929).

Claude France
Belgian postcard by Weekblad Cinema, Antwerpen.

Memorable Films


Claude France was born Jane Joséphine Anna Françoise Wittig in Emden, Germany, in 1893.

In 1920, she made her cinema debut opposite Paul Capellaniand Jaque Catelain in Le Carnaval des Vérités/The carnival of the truths by Marcel L'Herbier.

Afterwards she performed in such memorable films as Le Père Goriot/Father Goriot (Jacques de Baroncelli, 1921) after Honoré de Balzac, Le Diamant vert/The Green Diamond (Pierre Marodon, 1922), Pax Domine (René Leprince, 1923) with Camille Bert, and Violettes impériales/Imperial violet (Henry Roussel, 1923) with the temperamental Spanish star Raquel Meller.

In Germany she appeared in Moderne Ehen/Modern marriages (Hans Otto, 1924) with Helena Makowska, and in Pension Groonen (Robert Wiene, 1925) with Carmen Cartellieri. Back in France she worked on Le prince charmant/Prince Charming (Viktor Tourjansky, 1925) opposite Jaque Catelain, Le Bossu/The hunchback (Jean Kemm, 1925) featuring Gaston Jacquet, and L'Abbé Constantin/Abbot Constantin (Julien Duvivier, 1925) starring Jean Coquelin.

Raquel Meller, André Roanne
Raquel Meller and André Roanne. French postcard by Cinémagazine-Edition. Photo: publicity still for Violettes impériales/Imperial Violets (Henry Roussel, 1924).

Violettes impériales
Raquel Meller. French postcard by Cinémagazine-Edition. Photo: publicity still for Violettes impériales/Imperial Violets (Henry Roussel, 1924).

Charlotte Ander, Claude France, and Carmen Cartellieri
Charlotte Ander, Claude France, and Carmen Cartellieri. Croatian (former Jugoslavian) postcard by Pan-Film, Zagreb. Photo: publicity still for Pension Groonen (Robert Wiene, 1925).

Le bossu
French postcard by Editions Cinématographiques Jacques Haïk, no. 1. Photo: publicity still for Le Bossu/The hunchback (Jean Kemm, 1925). Caption: Scene in the Salon of the Regent.

Madame de Pompadour


Claude France was very busy film actress in the mid-1920s. She played Madame de Pompadour in the adventure film Fanfan-la-Tulipe (Rene Leprince, 1925) featuring Aimé Simon-Girard, Potiphar's wife in Le berceau de dieu/The Cradle of God (Fred LeRoy Granville, 1926) with Léon Mathot, and the title character in Lady Harrington (Hewitt Claypoole Grantham-Hayes, Fred LeRoy Granville, 1926).

Then she had a double role as Mme Cornelis and Mme Termonde in André Cornelis (Jean Kemm, 1926), and she won the female leads in Simone (E.B. Donatien, 1926), and L'ile d'amour/Island of Love (Berthe Dagmar, Jean Durand, 1927), costarring Pierre Batcheff.

In January 1928, two months before her greatest triumph La Madone des Sleepings/Madonna of the Sleeping Cars (Marco de Gastyne, Maurice Gleize, 1928), costarring Olaf Fjord and Vladimir Gajdarov, would open in the cinemas, Claude France's career was cut short.

She committed suicide by opening the gas in her house in Paris. At his wonderful French blog Sniff & Puff, Tom Peeping writes that the press at the time wrote that she died because of a broken heart. Sniff & Puff presents a postcard of France with a dedication to her co-star of Le prince charmant/Prince Charming (1925), Jaque Catelain.

Was he also her dream prince charming in real life? If so, her dream must surely have become a deception: Catelain was gay and the lover of the director who gave France her first role, Marcel L'Herbier. Poor, sweet Claude France, she was only 34 at the time of her horrible death.

Jaque Catelain
Jaque Catelain. French postcard by Cinémagazine, no. 179.

Jaque Catelain
Jaque Catelain. German postcard by Ross Verlag, no. 1936/1, 1927/1928. Photo: Trude Heiringer, Dora Horovitz, Wien.

Claude France
Romanian postcard

Claude France
French postcard postcard in the Les Vedettes de Cinéma series by A.N., Paris, no. 179. Photo: G.L. Manuel Frères.

Sources: Sniff & Puff (French), Wikipedia (French), and IMDb.

Guglielmo Oberdan, il martire di Trieste (1915)

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In 1882, Guglielmo Oberdan was executed after a failed attempt to assassinate Austrian Emperor Francis Joseph. He became a martyr of the Italian unification movement. Thirty years later, silent film star Alberto Collo played him in Guglielmo Oberdan, il martire di Trieste/Guglielmo Oberdan, the martyr of Trieste (Emilio Ghione, 1915), produced by Tiber Films during World War I. Viva L'Italia!

Alberto Collo and Vittorina Moneta in Guglielmo Oberdan, il martire di Trieste (1915)
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione, 1915) with Alberto Collo as Gugliemo Oberdan and Vittorina Moneta as his fiancee Maria. Caption: "The Fatherland above all other affections. From this wet nurse Rome, queen of the world, the spark will part that will free my Trieste."

Alberto Collo in Guglielmo Oberdan (1915)
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione, 1915) with Alberto Collo and Vittorina Moneta. Caption: And if you don't return? There is no nicer sacrifice than dying for the fatherland.

Alberto Collo and Ida Carloni Talli in Guglielmo Oberdan, il martire di Trieste
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione, 1915), with Alberto Collo as Oberdan and famous stage actress Ida Carloni Talli as his mother. Caption: "What shall I do, mamma? I will leave this oppressed land and will take care my sacrifice will be worthwhile to redeem my brothers and sisters."

Alberto Collo and Ida Carloni Talli in Guglielmo Oberdan, il martire di Trieste
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione, 1915), with Alberto Collo as Oberdan and Ida Carloni Talli as his mother. Caption: "And his mother said: 'Go! My most beloved one, remember every suffered insult, every cry of grief. Make sure that the Fatherland will be saved'."

Propaganda


During the First World War, more postcards were mailed than ever before - or ever after. Different European countries decided to use the postcard to advertise films and to create film stars. Governments used the cinema as part of their propaganda machines. Italian producers chose the martyrs of the Italian liberation, like Guglielmo Oberdan, for their patriotic films to justify Italy's participation in the Great War.

Wilhelm Oberdan was born in the city of Trieste, then part of the Austrian Empire. His mother was a Slovene woman from Šempas in the County of Gorizia and Gradisca, while his father, Valentino Falcier, was a Venetian soldier in the Austrian army. He did not recognize his son, so Wilhelm took his mother's surname. He was educated in an Italian cultural milieu and Italianised his name to Guglielmo Oberdan.

In 1877 he enrolled at the Vienna's College of Technology (now Vienna University of Technology) where he studied engineering. As he supported the idea of independence for all of the empire's national groups he resented the occupation of Bosnia-Herzegovina by Austria-Hungary and therefore deserted from the Austro-Hungarian Army because he did not want to take part in military activities there.

Instead, he fled to Rome to continue his studies there. In the Italian capital he adopted irredentist ideas, aiming at the annexation to Italy of the Italian-speaking lands still under Austro-Hungarian rule. In 1882 he met with irredentist leader and co-founder Matteo Renato Imbriani. It was then that he came to the conviction that only radical acts of martyrdom could bring the liberation of Trieste from Austrian rule. And at the same time, Emperor Franz Joseph was planning a visit to Trieste as part of the celebration of the 500th anniversary of Habsburg dominion over the city...

Oberdan and Istrian pharmacist Donato Ragosa plotted an assassination attempt on the Emperor. However, their attempt failed. Oberdan was arrested and sentenced to hang by an Austrian court. His mother, author Victor Hugo and poet Giosue Carducci appealed for clemency - but in vain. Just before the execution, Oberdan cried "Viva l'Italia!" (Long live Italy!), which helped establish his later reputation as a martyr of the Italian National cause. Statues of him were erected throughout unified Italy. The Emperor Franz Joseph, who reigned another thirty-five years, never visited Trieste again. The assassination of Archduke Franz Ferdinand in 1914, harked back to Oberdan's earlier attempt.

Tiber Films produced Guglielmo Oberdan, il martire di Trieste in 1915. Director of this film adaptation of Oberdan's life was Emilio Ghione, who also played the role of the governor of Trieste. Ghione met the irredentist Gabriele D'Annunzio at an invitational showing of the film in Rome and Ghione's inter-titles were praised by D'Annunzio. Guglielmo Oberdan, il martire di Trieste was just one of a number of irredentist films produced in Italy during World War One.  In our coming film special next week, EFSP will feature another example of these patriotic films.

Alberto Collo in Guglielmo Oberdan, il martire di Trieste
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione 1915), with Alberto Collo as Oberdan. Caption: "If it would happen... that I would not return ... here is my testament: Viva L'Italia!"

Alberto Collo in Guglielmo Oberdan (1915)
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione, 1915) with Alberto Collo as Guglielmo Obedan. Caption: Italy! May I see you again having grown bigger... or never see you again.

Alberto Collo in Guglielmo Oberdan, il martire di Trieste (1915)
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione, 1915) with Alberto Collo as Guglielmo Obedan. Caption: "I don't fear you, you cops. If only my act could cause Italy to start war with the enemy."

Alberto Collo and Emilio Ghione in Guglielmo Oberdan, il martire di Trieste (1915)
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione 1915), with Alberto Collo (right) as Guglielmo Oberdan (right) and Emilio Ghione (left) as the governor of Trieste. Caption: "I admit and I swear to have come to Trieste with the exact scope of killing the infamous head of an infamous state. And now I happily challenge your tortures."

Vittorina Moneta in Guglielmo Oberdan, il martire di Trieste
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione 1915), with Vittorina Moneta as Oberdan's fiancee Maria. Caption: "Let your sweet, delightful soul exult for the imminent liberation."

Sources: Wikipedia and IMDb

Massilia

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Massilia ia a little known French label, that published dozens of collectors cards during the 1930s, in colour (hand-coloured cards) and black and white, and in different formats. On 23 April 2012, EFSP did a post with Massilia cards from the collection of American collector Amit Benyovits. Today, a post with Massilia cards from our own collection.

Jean Gabin
Jean Gabin. French collectors card by Massilia.

Annabella
Annabella. French collectors card by Massilia. Photo: Fox.

Fernandel
Fernandel. French collectors card by Massilia.

Jules Berry
Jules Berry. French collectors card by Massilia.

Louis Jouvet
Louis Jouvet. French postcard by Massilia. Photo: Eclair.

A Greek Colony


Wikipedia mentions that Massilia is the Latin name of the Greek colony of Μασσαλία. It was founded by the Ionians of Phocaea in 600 BC. The colony was located on the southern coast of Gaul, at the place of modern Marseilles.

Massilia was also an affiliated label with bonbons Loriot (etablissements UNGEMAC Strasbourg) in the 1930s. Massilia issued ‘Sammelbilder’ (collectors cards) about various subjects, in different formats, in colour and in black and white or sepia.

Many labels used the collectors cards as a gift and promo for their products, including Kivou in Belgium (chocolate), and an incredible amount of cigarettes labels in Germany: Altona, Orami, and so on.

These labels often used Ross Verlag for their film stars albums. Other subjects for the collectors cards were dancers, beautiful women, animals, flags and martial subjects when the NSDAP took over in Germany.

Some of the Massilia cards are large sized (10,5 cm x 15 cm) and printed on high quality card stock. Others are smaller (8 x 11 cm). Almost all of them have vibrantly colour-toned images on front and plain white backs. But there are also series in black and white or sepia. On each card you’ll find a small Massilia logo at the bottom.

Corinne Luchaire
Corinne Luchaire. French collectors card by Massilia. Photo: London Film Productions.

Roger Tréville
Roger Tréville. French collectors card by Massilia. Photo: Paramount.

Pierre Blanchar
Pierre Blanchar. French collectors card by Massilia. Photo: Filmsonor.

Michèle Morgan
Michèle Morgan. French collectors card by Massilia. Photo: Osso.

Elvire Popesco
Elvire Popesco. French collectors card by Massilia.

Different Poses


At the memorabilia site Immortal Ephemera, Cliff Aliperti dates Amit Benyovits' set to approximately 1937-1938 due to inclusion of child stars such as Shirley Temple and Deanna Durbin. At Immortal Ephemera, you 'll find scans of the album cover plus of all the cards of Benyovits, including some cards of pairs.

Cliff Aliperti: “Of these pairs Yvette Lebon and Tino Rossionly appeared in one film together, released 1936; Viviane Romance and Tino Rossi appeared in 2, released in 1937 and much later (1972). Also included are the pair of Jacqueline Delubac and Sacha Guitry who appeared in a whopping 11 films together: 1 in 1935, the other 10 all between 1936-1938.”

Some of the photos look a lot like pictures you can see on similar postcards of other publishers, but the poses are different. What could be the reason?

Collector Didier Hanson: “Keep in mind that 9 times out of 10 the photo atelier took many shots during the photo session, and many or all of them were used to issue postcards, even if the publishers were different. This explains why you can come across similar postcards from different publishing houses.”

Marie Glory
Marie Glory. French card by Massilia.

Armand Bernard
Armand Bernard. French card by Massilia. Photo: A.C.E.

Madeleine Robinson
Madeleine Robinson. French collectors card by Massilia. Photo: Studio Harcourt.

Conchita Montenegro
Conchita Montenegro. French collectors card by Massilia.

Dita Parlo
Dita Parlo. French collectors card by Massilia.

Dolly Mollinger
Dolly Mollinger. French collectors card by Massilia.

Henri Rollan
Henri Rollan. French card by Massilia. Handwritten text at the backside (not entirely readable): "Je suis heureux de pouvoir vous saluer de cette façon un peu inattendue.... aussi inconnue à qui sont dédiés mes efforts, mais qui en pensez... quoi??? Bien sympathiquement... quoi qu'il en soit. Henri Rollan".

Henri Alibert in Titin des Martigues (1938)
Henri Alibert. French card by Massilia. Photo: Film Malsherbes. Publicity still for Titin des Martigues (René Pujol, 1938).

Junie Astor in Les Bas-fonds (1936)
Junie Astor. French postcard by Massilia. Photo: Filma Albatros. Publicity still for Les Bas-fonds/The Lower Depths (Jean Renoir, 1936).

Tino Rossi
Tino Rossi. French card by Massilia.

Marie Glory
Marie Glory. French card by Massilia. Photo: R. Joffres.

René Dary
René Dary. French collectors card by Massilia. Photo: Léo Mirkine.

Maurice Chevalier
Maurice Chevalier. French collectors card by Massilia.

Sources: Didier Hanson, Amit Benyovits, Clifford Aliperti (Immortal Ephemera), and Wikipedia.

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

Erika Remberg (1932-2017)

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It's sad to read that Erika Remberg passed away last week, on 10 November 2017. Long ago we saw the beautiful Austrian film actress in the tearjerker Laila/Make Way for Lila (Rolf Husberg, 1958), as a foundling who is adopted and raised by a Lapland chieftain. Remberg appeared in 31 films between 1950 and 1970, but we want to remember her as lovely Laila.

Erika Remberg (1932-2017)
German postcard by Ufa, Berlin-Tempelhof, no. FK 4340. Photo: Sandrew / Rhombus / Ufa. Publicity still for Laila/Make Way for Lila (Rolf Husberg, 1958).

Erika Remberg (1932-2017)
German postcard by WS-Drück, Wanne-Eickel, no. F 100. Photo: Huster.

Erika Remberg (1932-2017)
German postcard by Bartoschek-Verlag, Stuttgart-Bad Canstatt, no. 1443. Photo: Huster.

Erika Remberg
German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 630. Photo: Deutsche Cosmopol. Publicity photo for the comedy Lockvogel der Nacht/Decoys of the Night (Wilm ten Haaf, 1959).

Turkish Production


Erika Remberg was born Erika Crobath in 1932 in Medan, on the island of Sumatra in the Dutch Indies (now Indonesia). She was the daughter of a tobacco planter. The family returned to Austria during the Second World War.

Erika visited a gymnasium in Innsbruck and there she had her first stage experiences as an amateur actress. After some acting classes and small engagements she worked for the Exl-Bühnein Innsbruck.

There she met Austrian actor Walter Reyerand they married in 1950. That same year their daughter Veronika was born.

In 1950 she also made her film debut in the drama Der Geigenmacher von Mittenwald/The violin maker from Mittenwald (Rudolf Schündler, 1950) with Paul Richter.

Small roles followed in films like the comedy Drei Kavaliere/Three Cavaliers (Joe Stöckel, 1951) and the circus film Salto Mortale (Viktor Tourjansky, 1953), starring Margot Hielscher and Philip Dorn.

As the leading lady, she first appeared in the title role of the Turkish production Nilgün (Münir Hayri Egeli, 1954).

Erika Remberg (1932-2017)
German postcard by Kunst und Bild, Berlin, no. A 778. Photo: Panorama / Komet / Ewald. Publicity still for Salto Mortale (Viktor Tourjansky, 1953).

Erika Remberg (1932-2017)
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 444, 1957. Photo: Komet-Film. Publicity still for Salto Mortale (Viktor Tourjansky, 1953).

Erika Remberg (1932-2017)
German postcard by Ufa, Berlin-Tempelhof, no. FK 3123. Photo: Haenchen / Donau Film. Publicity still for Rosmarie kommt aus Wildwest/Rosmarie comes from Wild West (Wolfgang Becker, 1956).

Erika Remberg (1932-2017)
German postcard by Ufa, Berlin-Tempelhof, no. FK 3342. Photo: Michaelis / Sascha/ Herzog Film. Publicity still for Kaiserjäger/Emperor hunters (Willi Forst, 1956).

Laila


After the Exl-Bühne stopped, Erika Remberg focused completely on the cinema. She became the life partner of the German film actor Klaus Kinski in 1955 and soon she became a star of the German cinema of the late 1950s.

She was the leading lady in such films as the Western comedy Rosmarie kommt aus Wildwest/Rosmarie Comes From the Wild West (Wolfgang Becker, 1956), and three Austrian romantic comedies with Adrian Hoven: Kaiserjäger (Willi Forst, 1956), Wien Du Stadt meiner Träume/Vienna, City of My Dreams (Willi Forst, 1957) and Die unentschuldigte Stunde/The Unexcused Hour (Willi Forst, 1957).

Most of these films were not very interesting artistically, but commercially they were successes. Her biggest hit was the Swedish-German co-production Laila/Make Way for Lila (Rolf Husberg, 1958).

It was the third film version of the tale of Laila, a foundling who is adopted and raised by a Lapland chieftain. Growing to maturity in the frozen Northlands, Laila enjoys an adventuresome existence. Obedient to her adoptive parents, Lila is prepared to settle down and marry the man of their choice - until she falls in love with handsome Joachim Hansen.

Hal Erickson at AllMovie: “Lively ‘mountain drama’ (…) evocatively photographed by Sven Nykvist”. Nykvist was the director of photography of many Ingmar Bergman films.

Erika Remberg (1932-2017)
German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 166.

Erika Remberg
German card by WS-Druck, Wanne-Eickel, no. 143. Photo: Matador-Film.

Erika Remberg (1932-2017)
German postcard by WS-Drück, Wanne-Eickel, no. 406. Photo: Bavaria / Filmpress Zürich.

Erika Remberg
German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 235. Photo: Kolibri / Enzwieser.

Circus of Horrors


In the 1960s, during the decline of the German cinema, Erika Remberg worked often internationally. In 1960 she starred in the Mexican thriller Verano violento/Violent Summer (Alfonso Corona Blake, 1960) opposite Pedro Armendariz. One of her other co-stars was Gustavo Rojo, whom she later married.

That same year she also starred in the French war drama Le bois des amants/Between Love and Duty (Claude Autant-Lara, 1960) with Laurent Terzieff, and in the British horror film Circus of Horrors (Sidney Hayers, 1960).

Circus of Horrors was the third of a series of creepy films from Amalgamated Studios focusing on sadism, cruelty and violence (with sexual undertones). The film details the twisted practises of a deranged German plastic surgeon (Anton Diffring) who hides out in France after mutilating a patient and begins his work anew under an assumed name, travelling with a circus troupe. The previous films in the trilogy were Horrors of the Black Museum and Peeping Tom, both in 1959.

During the 1960s, Erika Remberg mainly appeared on TV. In the cinema she played supporting parts in mediocre fare like the vampire film Der Fluch der grünen Augen/Cave of the Living Dead (Ákos Ráthonyi, 1964) with Adrian Hoven, and the drama À belles dents/Living it Up (Pierre Gaspard-Huit, 1966) starring Mireille Darc.

Her last film was the arty but interesting erotic film The Lickerish Quartet (Radley Metzger, 1970) with Frank Wolff. The reviewer at IMDb writes: “The narrative is interesting and full of tricks. It uses flashbacks, pseudo flashbacks and multiple perspectives. Yes, it's a bit pretentious, but the plot keeps you watching.”

In the USA, The Lickerish Quartet received critical praise upon its release by many critics, including Andy Warhol and Vincent Canby as being one of the first films with graphic sex to have Hollywood-like production values.

In later years, Erika Remberg mainly worked for TV in series like Wie würden Sie entscheiden?/How Would You Decide? (Clemens Keiffenheim, Renate Vacano, 1974) and Les grands détectives/The Great Detectives (Jean Herman, 1975).

Somewhere in the mid-1970s, she said the cinema and the stage farewell. In 1981 she wrote the novel Steckbriefe/Profiles, that was adapted into a TV series.

After this Erika Remberg retired completely and married film director Sidney Hayers, with whom she had made Circus of Horrors in 1960. They lived together in Altea, Spain, where Hayers died of cancer in 2000.

Erika Remberg
German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 901. Photo: Deutsche Cosmopol. Publicity photo for the comedy Lockvogel der Nacht/Decoys of the Night (Wilm ten Haaf, 1959).

Gunnar Möller and Erika Remberg
German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 2838. Photo: publicity still for Drei weiße Birken/Three white birches (Hans Albin, 1961).

Erika Remberg (1932-2017)
German postcard by Ufa, Berlin-Tempelhof, no. FK 3821. Photo: Brünjes / Rhombus / Ufa.


German Trailer of Laila/Make Way for Lila (1958). Source: Pidax (YouTube).


Trailer of Circus of Horrors (1960). Source: WickedVisionMagazin
(YouTube).


Trailer of The Lickerish Quartet (1970). Source: CultEpicsDVD (YouTube).

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

Evi Kent

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Beautiful and sexy Evi Kent (1938) was an Austrian actress and singer who appeared in dozens of German-language films and TV shows of the 1950s, 1960s and 1970s.

Evi Kent
Dutch postcard by P. Moorlag, Heerlen, Sort 14/6. Photo: E. Schneider.

Wallflower


Evi Kent was born in Brünn, Austria (now Brno, Czech Republic) in 1938.

According to the IMDb, Evi Kent’s first appearances were in 1953 on German television, in the comedy Spiel mit dem Glück/Love Game (Peter A. Horn, 1953) and in the musical show Knallbonbons (Hanns Farenburg, 1953).

From early on she worked both as an actress and a singer. In Spiel mit dem Glück, the Trinidad born singer Mona Baptiste starred and Evi was billed fourth. In Knallbonbons some then well-known artists performed like Belgian singer-actress Angèle Durand and the dance group The Hiller Girls.

Evi’s appearances must have been successful, while in the following years some supporting roles followed in theatrical films like the comedy Mamitschka (Rolf Thiele, 1955) starring Rudolf Platte, Friederike von Barring (Rolf Thiele, 1956) starring Nadja Tiller, Mein Vater, der Schauspieler/My Father, the Actor (Robert Siodmak, 1956) with O.W. Fischer, and Jede Nacht in einem anderen Bett/Each Night in Another bed (Paul Verhoeven, 1957) with Gerhard Riedmann.

Among her hit songs was Papa Tanzt Mambo, a German cover of Perry Como's Papa Loves Mambo, which decades later re-appeared on compilations like 100 Goldene Schlager 1930-1955. In 1956 she also made a great German cover version of Teresa Brewer’s hit A Sweet Old Fashioned Girl: Mauerblümchen (Wallflower) - genuine German Rock and Roll.

That same year she also sang the cheeky and equally enjoyable Warum drehn' sich alle Männer nach mir um? (Why Do All the Men Turn Around for Me?). Both can be heard on YouTube (and thanks to Blackeyedjoe also here below).

Evi Kent
German postcard by Kunst und Bild, Berlin, no. I 493. Photo: Filmaufbau / Deutsche London / Lindner. Publicity still for Friederike von Barring (Rolf Thiele, 1956).

Evi Kent
German postcard by F.J. Rüdel, Filmpostkartenverlag, Hamburg-Bergedorf, no. 1773. Photo: Filmaufbau / Deutsche London / Lindner. Publicity still for Friederike von Barring (Rolf Thiele, 1956).

Fluffy and Forgettable


For four years Evi Kent did not appear in films, but in 1961 she played small parts in the Austrian comedy Unsere tollen Tanten/Our Mad Aunts (Rolf Olsen, 1961) with Günter Philipp and Vivi Bach, and the sequel Unsere tollen Nichten/Our Mad Nieces (Rolf Olsen, 1962).

During the early 1960s, she appeared mainly in small roles in Austrian films: in comedies and Schlager films. Some titles are Das haben die Mädchen gern/That’s What the Girls Like (Kurt Nachmann, 1962) with Ann Smyrner, and Tanze mit mir in den Morgen/Dance with Me Into the Morning (Peter Dörre, 1962) with Rex Gildo.

She also played the female lead in the adventure comedy Unter Wasser küßt man nicht/Under Water One Doesn’t Kiss (Erich Heindl, 1962) opposite Gunther Philipp. It would not become her breakthrough role, and in the following years her parts in films became smaller.

Those films included Rote Lippen soll man küssen/Red Lips Should Be Kissed (Franz Antel, 1963) starring Johanna Matz, Allotria in Zell am See/Larking about in Zell am See (Franz Marischka, 1963) and Jetzt dreht die Welt sich nur um dich/The World Turns Around Now (Wolfgang Liebeneiner, 1964), all fluffy and forgettable.

Evi found bigger roles in comedies on television, like next to Hannelore Auerin Eheinstitut Harmonie/Marriage Institute Harmony (Dieter Pröttel, 1964), in Mitternachtszauber/Midnight Magic (Ralph Lothar, 1964) with Beppo Brem, and in Der doppelte Moritz/Thre Double Moritz (Fred Kraus, 1966) starring popular comedian Willy Millowitsch.

She often performed as a singer on TV, like in the Silvester Show (Dieter Pröttel, 1964) and Es funkeln die Sterne - Eine musikalische Silvesterreise um die Welt/Stars Twinkle - A Musical Christmas Trip Around the World (Paul Martin, Dieter Wendrich, 1966).

The following years her appearances became rarer. On TV she was seen next to Georg Thomalla in an episode of Komische Geschichten mit Georg Thomalla/Funny Stories With Georg Thomalla, and in the musical Auf der grünen Wiese/At the Green Meadow (Edwin Zbonek, 1971).

In the cinema she was last seen in Blau blüht der Enzian/Blue Blossoms the Gentian (Franz Antel, 1973), a comedy set in the winter resort of Kitzbühel in Tyrol, Austria, starring TV host Ilja Richter. On television she was last seen in an episode of the Austrian TV series Alfred auf Reisen/Afred on Voyage (1982, Kurt Junek, Hemut Pfandler) featuring Alfred Böhm.

And from then on all traces of beautiful Evi Kent disappeared…

Evi Kent
German postcard by WS-Druck,Wanne-Eickel. Photo: Delos / Constantin/Gabriele.

Evi Kent
German autograph card. Photo: Sponner.


Evi Kent sings Warum drehn' sich alle Männer nach mir um? (1956). Source: Blackeyedjoe (YouTube).


Evi Kent sings Mauerblümchen (1956). Source: Blackeyedjoe (YouTube).

Sources: BlackeyedJoe (YouTube) and IMDb.

Roldano Lupi

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Roldano Lupi (1909-1989) was an acclaimed Italian actor of cinema, television and theatre. Despite being the leading man of many successful films of the 1930s and 1940s, he was never considered a true star by the public.

Roldano Lupi
Italian postcard. Ed. Ballerini & Fratini, Firenze (B.F.F. Edit.), no. 1427. Photo: Vaselli / E.N.I.C.

Jealousy


Roldano Lupi was born in Milan in 1909, as son of Domenico and Maria Tardiani.

He earned a degree as accountant in Milan, and later dedicated himself to acting for sheer delight, becoming part of the cast of some local amateur stage companies.

His transition to professional acting took place relatively late in 1938, when he had the opportunity to enter the celebrated Kiki Palmer company. After this, his career underwent a strong acceleration. He first moved to the company of Guglielmo Giannini, and in 1942 to that of Ruggero Ruggeriand Dina Galli.

In the meantime, Lupi started his career in the cinema. In 1941 he made his film debut in the romance Sissignora/Yes, Madam, directed by Ferdinando Maria Poggioli– whose favourite actor he became. Here he played the role that made him famous, that of the selfish and cynical lover, of Evi Maltagliati in this case, who plays the employer of the protagonist Cristina (Maria Denis).

More success came to Lupi the following year, as the protagonist of the drama Gelosia/Jealousy (Ferdinando Maria Poggioli, 1942). Here he is a marquis who weds his love interest, a farmer girl (Luisa Ferida), to one of his tenants, with the promise the marriage may not be consumed. He shoots the tenant out of jealousy. He confesses his crime to a priest but refuses to denounce himself, hiding in a wedding with a noble lady. Too late, he repents his mistakes.

In 1943-1944, he worked on the film Circo equestre Za-bum/The Za-Bum Circus (Mario Mattoli, 1944). The film was shot clandestinely in Rome during the Italian Social Republic also known as the Republic of Salò (1943-1945), when the country was occupied by the Germans and all cinematic activity was transferred to Venice. Many actors and technicians decided to stay in Rome, some with work permits delivered by the Vatican State, and the not so lucky - like those involved in this film - working clandestinely.

Roldano Lupi
Italian postcard by ASER (A. Scaramaglia Edizioni Roma), no. 353. Photo: Civirani / Lux Film.

Seriousness and professionalism


From that time until the immediate post-war period, Roldano Lupi became one of the leading men of the Italian cinema. He characterised his interpretations with seriousness and professionalism. This earned him strong acclaim by the critics, who, however, sometimes criticised him for sometimes too fixed kinds of expressions.

During the war, Lupi acted in Nessuno orna indietro/Responsibility Comes Back (Alessandro Blasetti, 1943), Il cappello da prete/The priest's hat (Ferdinando Maria Poggioli, 1944) and La porta del cielo/The Gates of Heaven (Vittorio De Sica, 1944). The latter film is the story of a train full of sick and deformed pilgrims on their way to seek miracles at the shrine of Our Lady of Loreto, near the city of Ancona in eastern Italy. La porta del cielo was made during the German occupation of Rome, with support from the Vatican. This allowed Lupi and other actors, under pressure to go north and work in Venice for the film industry of Mussolini's Italian Social Republic, to remain in Rome.

Lupi was equipped with a face with a thick and frowning expression. So, despite being the leading man of many successful films, he was never considered a true star by the public who rather favoured actors like Massimo Girotti, Amedeo Nazzari, Fosco Giachetti, and Andrea Checchi, even if at times they played parts similar to his own.

Precisely the roles he was constrained to - the jealous and crazy lover, the perverted and unwilling nobleman ready for money, the disturbed assassin - became in some respects Lupi’s professional strength. The expression to the limits of the madness that he was able to infuse his characters, and the cloudy air around him signed him deeply, but in other respects these features also limited his career and popularity.

In the postwar period, he was remarkable in the crime film Il testimone/The Testimony (Pietro Germi, 1945) with Marina Berti, L'adultera/The Adulteress (Duilio Coletti, 1946) with Clara Calamai, Il delitto di Giovanni Episcopo/Flesh Will Surrender (Alberto Lattuada 1947), and Altura/Height (Mario Sequi 1949), alongside Mario Girotti and Eleonora Rossi Drago.

In 1950, he appeared in L'edera/Devotion (Augusto Genina 1950) opposite Columba Dominguez, who plays a girl, adopted by a declining aristocratic family. This Italian rural drama was shot in Barbagia, Sardinia. Vitaliano Brancati contributed to the script, based on a novel by Grazia Deledda. The film quite closely follows the novel, which takes place on the province of Nuoro, but offers a less drastic finale. Progressively, in the second half of the 1950s, Lupi was increasingly employed in character roles.

In 1944, he had returned to the theatre. First he worked with the Magnani Ninchi company, then in 1947, with only Carlo Ninchi. He later became the protagonist of the great Medea summer show in 1949. In 1951, with the company of Guido Salvini, he continued his activity on the stage, starting also as radio and voice actor. He dubbed Walter Pidgeon in the cult film Forbidden Planet (Fred Wilcox, 1956), but also Leo Genn, George Montgomery and the famous western film actor Roy Rogers.

Columba Dominguez in L'edera (1950)
Italian postcard by Ed. Mondadori. Photo: Cines / E.N.I.C. / AGAR. Columba Dominguez and Roldano Lupi in L'edera/Devotion (Augusto Genina, 1950).

Peplum


Even in the 1960s, Roldano Lupi continued to work in the cinema in many genres, even as a leading man in a Peplum. He worked with such directors as Riccardo Freda, Domenico Paolella, Primo Zeglio, Umberto Scarpelli and other specialists.

Yet, he also took the pleasure of shooting films with French filmmakers like Claude Autant-Lara, Christian-Jaque, Bernard Borderie and Henri Decoin. He was Captain De Treville in I cavalieri della regina (1954), co-directed by Mauro Bolognini and Joseph Lerner and based on Alexandre Dumas'The Three Musketeers.

In 1952, he also had the opportunity to be a partner of Hollywood star Errol Flynn in Il maestro di Don Giovanni/Crossed Swords (Milton Krims, 1952). Lupi's last film part was in the Peplum film La vendetta dei gladiatori/Revenge of the Gladiators (Luigi Capuano, 1964)

With the emergence of television, Lupi's commitments gradually shifted from the big to the small screen, such as in Mont Oriol (Claudio Fino, 1958), L'isola del tesoro/Treasure Island (Anton Giulio Majano, 1959), Tom Jones (Eros Macchi, 1960), Una tragedia americana/An American Tragedy (Anton Giulio Majano, 1962), La sciarpa/The Scarf (Guglielmo Morandi, 1963), I miserabili/Les Miserables (Sandro Bolchi, 1964), and David Copperfield (Anton Giulio Majano, 1965).

In the same year he took part in Questa sera parla Mark Twain/This evening speaks Mark Twain (Daniele D'Anza, 1965), starring Paolo Stoppa. He was also in other TV dramas including Le mie prigioni/My prisons (Sandro Bolchi, 1968) and Eleonora (Silverio Blasi, 1973). His intense stage and TV career lasted until 1979 when he appeared for the last time in an episode of the TV series Racconti di fantascienza/Science fiction stories by Alessandro Blasetti.

Roldano Lupi was married to the Venetian stage actress Pina Bertoncello. He died in Rome in 1989, and lies buried in the Cimitero Flaminio in Rome.

Columba Dominguez in L'edera (1950)
Italian postcard by Ed. Mondadori. Photo: Cines / E.N.I.C. / AGAR. Columba Dominguez and Roldano Lupi in L'edera/Devotion (Augusto Genina, 1950).

Columba Dominguez in L'edera (1950)
Italian postcard by Ed. Mondadori. Photo: Cines / E.N.I.C. / AGAR. Columba Dominguez in L'edera/Devotion (Augusto Genina, 1950).

Sources: Wikipedia (Italian and English) and IMDb.

Annie Vernay

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Pretty little Annie Vernay (1921-1941) catapulted into stardom at an early age, but the career of the Swiss-French actress was cut short. She died only 19 years old.

Annie Vernay
French postcard by Editions P.I., Paris, no. 25. Photo: Teddy Piaz.

Annie Vernay
French postcard by Viny, no. 40. Photo: Star. With an autograph by Vernay at the flipside, dated 11 May 1940.

Annie Vernay
French postcard by Erpé, no. 568. Photo: Star.

Annie Vernay
French postcard, no. 720. Photo: Harcourt.

Pushing Mother


Annie Vernay was born Annie-Martine-Jacqueline Vermeersch in Genève-Plainpalais, Switzerland, in 1921. Her father, Gaston Vermeersch, was a rich industrialist.

As her mother Germaine Vermeersch couldn't realise an artistic career because of her marriage de raison, she pushed her daughter into an artistic career after her husband died and she inherited his fortune. She applied her daughter for Jugement d’Hélène, a beauty contest in Paris, when the girl was 16 years old.

During holidays at Juan les Pins a friend of film director Victor Tourjansky spotted her and recommended her to him. Tourjansky engaged her for the role of Lisl in his film Le mensonge de Nina Petrovna/The Lie of Nina Petrovna (Victor Tourjansky, 1937), which starred Italian star Isa Miranda and Fernand Gravey. The film had been shot earlier in Germany as Die wunderbare Lüge der Nina Petrowna (Hanns Schwarz, 1929) with Brigitte Helm.

Vernay did so well that she was cast as the leading actress in the Italo-French multilingual La principessa Tarakanova/Betrayal (1938), shot at Cinecittà in Rome and directed by Russian director Fyodor Otsep and the Italian Mario Soldati.

Vernay played a princess who claims the Russian throne. Empress Catherine II (Suzy Prim) sends her lover and best soldier Orloff (Pierre-Richard Willm) to capture the impostor, but he falls for her beauty and innocence. The film had lavish sets of Venice and St. Petersburg and was one of the first Italian films shot in deep focus. It was a box office hit in 1938.

Annie Vernay
French postcard by A.N., Paris, no. 1139. Photo: Harcourt.

Annie Vernay
German postcard by Ross. Photo: Nero-Film.

Annie Vernay
Italian postcard by Rizzoli, Milano, 1938, XVI. Photo: Pesce.

Annie Vernay
Italian postcard by Rizzoli, Milano. Photo: Pesce.

Rick's Café


Annie Vernay’s mother, who had become her agent and coach as well, knew she had gold in her hands. Annie herself, more sober, continued her studies in between shootings. The result was that the famous producer Seymour Nebenzahl of Nero Film engaged Vernay for several films.

The first was Max Ophüls’ adaptation of Johann Wolfgang Goethe’s Die Leiden des jungen Werthers: Le roman de Werther/Sorrow of Werther (Max Ophüls, 1938). It featured Pierre-Richard Willm as Werther and Vernay as Charlotte/Lotte, the girl for whom Werther commits suicide. The film confirmed Vernay’s status as a new French film star, competing with young stars like Danielle Darrieux.

When World War II broke out in the summer of 1939, French film production hesitated but still continued, enabling Vernay to play in more films: the World War One drama Les otages/The Mayor's Dilemma (Raymond Bernard, 1939) with Pierre Larquey, Dédé la musique/Dédé of Montmartre (André Berthomieu, 1939) with Albert Préjean, Chantons quand même/Let us sing all the same (Pierre Caro, 1940), and the crime film Le collier de chanvre/Hangman's Noose (Léon Mathot, 1940) with Jacqueline Delubac.

Because of the pending German invasion of France, Annie Vernay intended to return to Switzerland, but at that moment she received an offer from Hollywood to play the role of a foreign woman in a movie called Rick's Café. Annie’s mother convinced her to accept the offer, so they travelled to the US via Argentine, on one of the last freighters to leave France.

Aboard the ship, though, Annie fell ill of typhoid and died in a hospital after her arrival in Buenos Aires, in August 1941. Annie Vernay was only 19 years old. Germaine Vermeersch never got over the loss of her daughter.

Other candidates for the same role in Rick's Café had been Hedy Lamarr and Michèle Morgan but eventually it would give Ingrid Bergman everlasting fame. The film in which Annie Vernay was supposed to play the female lead was later filmed as Casablanca (Michael Curtiz, 1942).

Annie Vernay
French postcard by A.N., Paris, no. 1139 Photo: Harcourt.

Annie Vernay
French postcard by O.P., Paris, no. 122. Photo: Le Studio.

Annie Vernay
French postcard by P.I., Paris. Photo: Teddy Piaz.

Annie Vernay
French postcard by Collection Chantal, Paris. Photo: Nero Film.

Sources: Thomas Staedeli (Cyranos), Cine Vedette (French), Caroline Hanotte & Philippe Pelletier (CinéArtistes), and IMDb.

Katja Riemann

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German actress and singer Katja Riemann (1963) was a major star of the German cinema of the 1990s, who appeared in such international successful films as Der bewegte Mann (1994) and Comedian Harmonists (1997). Riemann also often worked with the directors Katja von Garnier and Margaretha von Trotta.

Katja Riemann
German postcard by Franz Josef Rüdel, Filmpostkartenverlag, Hamburg. Photo: Mathias Bothor.

Katja Riemann
German postcard by Katja Riemann.de. Photo: Mirjam Knickriem.

The biggest grossing homegrown film


Katja Hannchen Leni Riemann was born in 1963 in Weyhe-Kirchweyhe, Germany. She is the daughter of two teachers and she has a sister, Susanne, and a brother, Jochen.

Riemann grew up in Weyhe, near Bremen. After high school she went to study at the School of Theatre and Music in Hanover from 1984 to 1986 and the Otto Falckenberg Drama School in Munich from 1986 to 1987. She attended the Westphalian Landestheater in Castrop-Rauxel and came to the ensemble of the Münchner Kammerspiele before the end of her training.

She made her screen debut in the TV mini-series Sommer in Lesmona/Summer in Lesmona (Peter Beauvais, 1985-1986). For her role she won two awards. After this success, several TV roles followed, including the title role in the series Regina auf den Stufen (Bernd Fischerauer, 1992) with Mark Kuhn and Serge Avedikian.

She had her breakthrough in the cinema with Abgeschminkt!/Making Up! (Katja von Garnier, 1993) opposite Max Tidof. The film is a satire about women of the 1990s in search of the men of their dreams.

The following year, she appeared as the girlfriend of Til Schweiger in the hilarious romantic comedy Der bewegte Mann/ Maybe, maybe not (Sönke Wortmann, 1994), also with Joachim Król. The comedy was based on the gay comics by Ralf König. At the time of its release, this was the biggest grossing homegrown film at the German box office. Other comedies followed like Nur über meine Leiche/Over My Dead Body (Rainer Matsutani, 1995).

Riemann reunited with director Katja von Garnier for the road movie Bandits (Katja von Garnier, 1997) with Jutta Hoffmann. The story is about members of a female rock band who escape from prison. Riemann even learned to play the drums for her role. Both the film and soundtrack album were commercially successful in Germany, and Riemann won the Deutscher Filmpreis (German Film Award) for her role.

With director Rainer Kaufmann, she made the films Stadtgespräch/Talk of the Town (Rainer Kaufmann, 1995) with Martina Gedeck and Kai Wiesinger, and the comedy Die Apothekerin/The Pharmacist (Rainer Haufmann, 1997) with Jürgen Vogel and August Zirner. An international success was Comedian Harmonists (Joseph Vilsmaier, 1997) about the legendary close harmony sextet, played by a.o. Ben Becker, Kai Wiesinger and Max Tidof.

Katja Riemann
German postcard by Franz Josef Rüdel, Filmpostkartenverlag, Hamburg. Photo: Stefan May.

Katja Riemann
German postcard by Franz Josef Rüdel, Filmpostkartenverlag, Hamburg. Photo: Stefan May, München.

I Am the Other Woman


Beside her acting career, Katja Riemann started singing and released her first album Nachtblende in 2000. In 2003, the English-language jazz album Favourites followed with the Katja Riemann octet.

In the cinema she appeared in the pan-European production Novel (Fabio Carpi, 2001) starring Hector Alterio. She starred with Maria Schrader in the film Rosenstraße (Margarethe von Trotta, 2003) about the Rosenstrasse protest where women waited for seven days and nights outside of a Nazi jail for their Jewish husbands. The protests took place in Berlin during the winter of 1943. In Italy, the film won a David at the David di Donatello Awards.

With Von Trotta, she also worked on the psychodrama Ich bin die Andere/I Am the Other Woman (Margarethe von Trotta, 2006) with Armin Mueller-Stahl and Karin Dor. She played with Moritz Bleibtreu in the drama Agnes und seine Brüder/Agnes & His Brothers (Oskar Roehler, 2004).

With Von Garnier, she made an international production Blood and Chocolate (Katja von Garnier, 2007) with Hugh Dancy and Olivier Martinez, but it was a flop. More interesting was the Swiss-German rural drama Der Verdingbub/The Foster Boy (Markus Imboden, 2011). Filmportal.de: “she gives a stunning performance as a cold-hearted farmer, who holds an orphan boy like a slave on her yard.”

A huge box office success was the comedy Fack ju Göhte/Suck Me Shakespeer (Bora Dagtekin, 2013) starring Elyas M'Barek. Riemann played a strict school principal and received for her performance a Best Supporting Actress Nomination at the 2014 German Film Award.

In the drama Die abhandene Welt/The Misplaced World (Margaretha von Trotta, 2015) she co-starred with Barbara Sukowa and Mathias Habich. She also had a small part in the Hitler-in the-21st-century comedy Er ist wieder da/Look Who's Back (David Wnendt, 2015).

At the moment of writing, several films with her are in production, including Fack ju Göhte 3/Suck Me Shakespeer 3 (Bora Dagtekin, 2017), the comedy Forget About Nick (Margaretha von Trotta, 2017) and Subs (Oskar Roehler, 2018).

Katja Riemann is the mother of actress Paula Riemann (also Paula Romy), whose father is Peter Sattmann. Riemann met Sattmann, on the set of Von Gewalt keine Rede (1991), and they had a relationship from 1990 to 1998. Since 2007, she has been the longtime companion of sculptor Raphael Alexander Beil.

Riemann won the Bavarian Film Award three times. Twice as Best Actress in 1993 and 1995, and once for the Best Film Score in 1997. She wrote two successful children`s books, Der Name der Sonne (The name of the sun) and Der Chor der Engel (The choir of the angels), together with her sister Susanne (2002).

Katja Riemann
German postcard by Franz Josef Rüdel, Filmpostkartenverlag, Hamburg. Photo: Jim Rakete / Photo Selection.


German trailer Abgeschminkt!/Making Up! (1993). Source: alleskino (YouTube).


International trailer for Der bewegte Mann/ Maybe, maybe not (1994). Source: Video Detective (YouTube).

Sources: Filmportal.de, Wikipedia (English and German), and IMDb.

Die goldene Krone (1920)

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Henny Porten, Hermann Thimig and Paul Hartmann star in the German silent film Die goldene Krone/The Golden Crown (Alfred Halm, 1920), produced by Messter-Film GmbH. Ross Verlag presented this series of seven sepia postcards with scenes from the film. None of our usual sources offered a plot of the film, but in Die Freie Deutsche Bühne of 22 August 1920, we discovered a review by acclaimed author Joseph Roth.

Henny Porten in Die goldene Krone (1920)
German postcard by Ross Verlag, no. 640/1. Photo: Messter. Publicity still of Henny Porten in Die goldene Krone (Alfred Halm, 1920).

Henny Porten in Die goldene Krone (1920)
German postcard by Ross Verlag, no. 640/2. Photo: Messter. Publicity still of Henny Porten in Die goldene Krone (Alfred Halm, 1920).

Henny Porten in Die goldene Krone (1920)
German postcard by Ross Verlag, no. 640/3. Photo: Messter. Publicity still of Henny Porten and Paul Hartmann in Die goldene Krone (Alfred Halm, 1920).

Nobody is guilty, it is just fate


In Die goldene Krone/The Golden Crown (1920), Henny Porten plays Marianne, daughter of the owner of the hotel Zur goldene Krone (At the Golden Crown). She loves a duke, Franz Günther (Paul Hartmann), who has tuberculosis and is mortally ill. To prevent the bankruptcy of his hotel, Marianne's father wants her to wed Klaus (Hermann Thimig), son of rich fish trader Stöven. Klaus, who is a good sport, is prepared to compromise and accepts her affair.

But as Joseph Roth writes in Die Freie Deutsche Bühne, Marianne breaks up 'betrothal, best wishes, wedding nights' and flees Klaus to take care of the dying duke, with all her efforts. However, the duke's family arrives and Marianne has to step back, right in the night when he dies. On his deathbed the duke commissions his aide-de-camp to marry Marianne, but the latter shoots himself because of the family. Marianne returns to her father's hotel to help it rise again. There Klaus returns to her and they marry at last.

Of course there is no proof about the reliability of Roth's plot description, and his negative final judgment might have influenced the rest of the text. In his introduction Roth stressed that Olga Wohlbrück, on whose story, published in Die Berliner Woche, the film was based, was a 'Courts-Mahler mit Niveau, und grammatikalischem Deutsch'. Wohlbrück's stories were popular among middle class women, as they always treated young women as protagonists who because of class difference could not marry their beloved aristocrats. Nobody is guilty, it is just fate. It is presented with credibility and cool detachement. Meanwhile the stories give insight in life in the higher classes.

Die goldene Krone had its first night in Berlin on 6 August 1920. The film was scripted by director Alfred Halm and Hans Bennert. Sets were by Ludwig Kainer and cinematography was by Willy Gaebel.

At the end of his critique, Joseph Roth, seriously condemned the film from his left-wing perspective: "Yet, I protest that today, on 7 August 1920, less than 2 years after the revolution, the world view of Die Woche is spread from cosy family circles to the masses by means of cinema. That 'fatzery' tragically works, because Olga Wohlbrück needs to live. I protest." Roth may have been overcharging it a bit, but it is indeed ambiguous that while the Weimar Republic in 1919 stripped the German nobility of all legal privileges and immunities, the aristocracy remained such a focus within the mainstream German cinema.

Henny Porten in Die goldene Krone (1920)
German postcard by Ross Verlag, no. 640/4. Photo: Messter. Publicity still of Henny Porten and Paul Hartmann  in Die goldene Krone (Alfred Halm, 1920).

Henny Porten in Die goldene Krone (1920)
German postcard by Ross Verlag, no. 640/5. Photo: Messter. Publicity still of Henny Porten in Die goldene Krone (Alfred Halm, 1920).

Henny Porten in Die goldene Krone (1920)
German postcard by Ross Verlag, no. 640/6. Photo: Messter. Publicity still of Henny Porten and Paul Hartmann  in Die goldene Krone (Alfred Halm, 1920).

Henny Porten in Die goldene Krone (1920)
German postcard by Ross Verlag, no. 640/7. Photo: Messter. Publicity still of Henny Porten and Hermann Thimig in Die goldene Krone (Alfred Halm, 1920).

Sources: Joseph Roth (Die Freie Deutsche Bühne - German), Filmportal.de, Wikipedia, and IMDb.

Film Partners

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Last month, we had a French postcard series on every Saturday. From today on, we will focus on Great Britain. We start today with a post on a Real Photo (Picturegoer) series called 'Film Partners', published in the 1930s in London. The postcards have either horizontal or vertical formats. Some are in black-and-white; others are hand-coloured. And yes, this was the United Kingdom in the 1930s, so all the couples are strictly male/female.

Leslie Howard and Merle Oberon in The Scarlet Pimpernel (1934)
Leslie Howard and Merle Oberon. British postcard in the Film Partners Series, London, no. P 150. Photo: London Films. Publicity still for The Scarlet Pimpernel (Harold Young, 1934).

Ivor Novello and Elizabeth Allan in The Lodger (1932)
Ivor Novello and Elizabeth Allan. British postcard in the Film Partners series, London, no. P 41. Photo: Stanborough. Publicity still for The Lodger (Maurice Elvey, 1932).

Jack Hulbert and Cicely Courtneidge in Jack's the Boy (1932)
Jack Hulbert and Cicely Courtneidge. British postcard in the Film Partners Series, no. P 42. Photo: Gainsborough Pictures. Publicity still for Jack's the Boy (Walter Forde, 1932).

Ralph Lynn and Winifred Shotter in Summer Lightning (1933)
Ralph Lynn and Winifred Shotter. British postcard in the Film Partners series, London, no. 81. Photo: British & Dominions. Publicity still for Summer Lightning (Maclean Rogers, 1933).

Brian Aherne and Victoria Hopper in The Constant Nymph (1933)
Brian Aherne and Victoria Hopper. British postcard in the Film Partners series, no. P 121. Photo: Gaumont-British. Publicity still for The Constant Nymph (Basil Dean, 1933).

Leslie Howard and Heather Angel in Berkeley Square (1933)
Leslie Howard and Heather Angel. British postcard in the Film Partners Series, London, no. P 123. Photo: Fox. Publicity still for Berkeley Square (Frank Lloyd, 1933).

Tullio Carminati and Grace Moore in One Night of Love
Tullio Carminatiand Grace Moore. British postcard in the Film Partners Series, London, no. P 151. Photo: Columbia. Publicity still for One Night of Love (Victor Schertzinger, 1934).

Madeleine Carroll and Clive Brook in The Dictator (1935)
Madeleine Carroll and Clive Brook. British postcard in the Film Partners series, no. P 166. Photo: Toeplitz. Publicity still for The Dictator (Victor Saville, 1935).

Derrick De Marney and Nova Pilbeam in Young and Innocent (1937)
Derrick De Marney and Nova Pilbeam. British postcard in the Film Partners Series, no PC 236. Photo: Gaumont British. Publicity still for Young and Innocent/The Girl Was Young (Alfred Hitchcock, 1937).

Jack Hulbert and Patricia Ellis in Paradise for Two
Jack Hulbert and Patricia Ellis. British postcard in the Film Partners Series, London, no. P 241. Photo: London Films. Publicity still for Paradise for Two/Gaiety Girls (Thornton Freeland, 1937).

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

Barry K. Barnes and Valerie Hobson in This Man in Paris (1939)
Barry K. Barnes and Valerie Hobson. British postcard in the Film Partners Series, no. PC 284. Photo: Paramount British. Publicity still for This Man in Paris (David MacDonald, 1939).

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

Peter Sellers

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British comedian Peter Sellers (1925-1980) was an incredibly versatile actor. He played Chief Inspector Clouseau in the Pink Panther films with as much ease as Clare Quilty in Lolita (1962). Stanley Kubrick asked him to play three roles in Dr. Strangelove (1964) for which he was nominated for an Academy Award.

Peter Sellers
Spanish postcard by Raker no. 1132, 1965.

Peter Sellers in Being There (1979)
American postcard by Coral-Lee, Rancho Cordova, no. CL/Personality # 95. Photo: Dianne Schroeder / Sygma, 1979. Publicity still for Being There (Hal Ashby, 1979).

Absurd skits and bits


Richard Henry Sellers was born in 1925 in Southsea, a suburb of Portsmouth, England. He was literally born into show business. His parents, William 'Bill' Sellers and Agnes Doreen 'Peg' née Marks, were vaudeville performers in an acting company run by his grandmother, and Peter arrived while they were appearing in Southsea. Although christened Richard Henry, his parents called him Peter, after his elder stillborn brother.

Peter made his stage debut at the Kings Theatre, Southsea, when he was two weeks old. Sellers remained an only child. He began accompanying his parents in a variety act that toured the provincial theatres, causing much upheaval and unhappiness in the young Sellers' life. Sellers studied dance as a child before attending St. Aloysius’ Boarding and Day School for Boys.

As a teenager, Sellers learned to play the drums and played with jazz bands. At the age of 18, he entered the Royal Air Force during World War II. There he became part of a group of entertainers who performed for the troops. Sellers played his drums and did dead-on impersonations of some of the officers.

After the war, Sellers struggled to launch his comic career for several years. After several previous attempts, he managed to land work with the British Broadcasting Corporation (BBC) by winning over radio producer Roy Speer during a phone conversation. His spot-on impersonations helped to make him a beloved radio comedian.

In 1951, Sellers joined fellow comics Spike Milligan, Harry Secombe and Michael Bentine for The Goon Show. The program proved to be hugely popular with listeners who tuned in to hear their absurd skits and bits. The success of The Goon Show helped Sellers break into films.

In 1951 the Goons made their feature film debut in Penny Points to Paradise (Anthony Young, 1951). Sellers and Milligan then penned the script to the short Let's Go Crazy (Alan Cullimore, 1951), the earliest film to showcase Sellers's ability to portray a series of different characters within the same film, and he made another appearance opposite his Goons co-stars in the flop, Down Among the Z Men (Maclean Rogers, 1952).

In 1954, Sellers was cast opposite Sid James, Donald Pleasence and Eric Sykes in the comedy Orders Are Orders (David Paltenghi, 1955). Then he landed a part as one of the oddball criminals in the classic Ealing comedy The Ladykillers (Alexander Mackendrick, 1955) with Alec Guinness. The Ladykillers was a success in both Britain and the US, and the film was nominated for an Academy Award for Best Original Screenplay.

Sellers starred with David Tomlinson and Wilfrid Hyde-White as a chief petty officer in Up the Creek (Val Guest, 1958). In 1959, his career really took off with the satire I’m All Right, Jack (John and Roy Boulting, 1959). For his part as Fred Kite, the dogmatic communist union man, he won the BAFTA Award for Best Actor in a Leading Role. In The Mouse That Roared (Jack Arnold, 1959) with Jean Seberg, Sellers played three characters: the elderly Grand Duchess, the ambitious Prime Minister and the innocent and clumsy farm boy selected to lead an invasion of the United States. This box office hit helped to introduce Sellers to the American audiences.

In 1959 he was also nominated for an Academy Award for the eleven-minute short The Running Jumping & Standing Still Film (Richard Lester, Peter Sellers, 1959). Sellers portrayed an Indian doctor, Dr Ahmed el Kabir opposite Sophia Loren in the romantic comedy The Millionairess (Anthony Asquith, 1960) based on the George Bernard Shaw play. The Goon Show ended its run in 1960, but the program proved to be a strong influence on British comedy. It paved the way for such future comedy shows as Monty Python's Flying Circus.

Peter Sellers
Vintage postcard.

Peter Sellers
American postcard by Portfolio, NY, NY, no. P45. Photo: Louis Goldman, 1963.


The world’s most bumbling detective


Peter Sellers hit his stride in the early 1960s with three of his most famous roles. Stanley Kubrick asked him to play the role of the mentally unbalanced TV writer Clare Quilty in Lolita (Stanley Kubrick, 1962), opposite Sue Lyon, James Mason and Shelley Winters.

Sellers introduced audiences to the world’s most bumbling detective, French Inspector Jacques Clouseau, in Blake Edwards’s The Pink Panther (1963). The film proved to be a huge success, and it was quickly followed by the sequel A Shot in the Dark (Blake Edwards, 1964) again with Herbert Lom as Commissioner Dreyfus and Burt Kwouk as Cato.

Andrew Spicer in The Encyclopedia of British Cinema: “In Clouseau, Sellers combined his vocal ingenuity and skill as a slapstick comedian, yet always retained an essential humanity through the inspector's indefatigable dignity in the face of a hostile universe.”

In Kubricks’s cold war satire Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, 1964), Sellers once again showed his ability to tackle multiple characters the well-meaning US President Merkin Muffley, unflappable RAF Group Captain Lionel Mandrake and the nightmarish Dr. Strangelove himself, the government's adviser on nuclear warfare, who is unable to control his own body. His black gloved hand always tries to make a Nazi salute, expressing an ineradicable desire to dominate and destroy.

Kubrick later commented that the idea of having Sellers in so many of the film's key roles was that "everywhere you turn there is some version of Peter Sellers holding the fate of the world in his hands".

In 1964, Sellers had his first heart attack. He was reportedly clinically dead for two and a half minutes before being revived. This incident marked the beginning of his heart troubles, and he later had a pacemaker installed to help manage his heartbeat. Making a full recovery, Sellers continued to work in the cinema.

What's New Pussycat (Clive Donner, 1965) with Peter O'Toole and Romy Schneider, was another big hit, but a combination of his ego and insecurity made Sellers difficult to work with. When the James Bond spoof, Casino Royale (Ken Hughes, John Huston, Joseph McGrath, Robert Parrish, 1967) ran over budget and was unable to recoup its costs despite an otherwise healthy box-office take, Sellers received some of the blame. His films of the late 1960s and early 1970s had some decidedly mixed results.

Peter Sellers
American postcard by Harlequin Enterprises Ltd., no. 151. Photo: Roddy McDowall. Caption: Peter Sellers, Hollywood, 1967.

Peter Sellers in The Return of the Pink Panther (1975)
American postcard in The Ludlow Collection series by Classico San Francisco, no. 136-239. Photo: Peter Sellers as Inspector Jacques Clouseau in The Return of the Pink Panther (Blake Edwards, 1975).

Struggling with depression and insecurities


It was Inspector Clouseau who gave Peter Sellers a boost at the box office with The Return of the Pink Panther (Blake Edwards, 1975) with Christopher Plummer and Catherine Schell. This hit spawned two more Pink Panther films, The Pink Panther Strikes Again (Blake Edwards, 1976), and Revenge of the Pink Panther (Blake Edwards, 1978).

Sellers earned raves for his subtle, understated turn as the simple gardener Chance who becomes an unlikely trusted adviser to a powerful businessman and an insider in Washington politics in Being There (Hal Asby, 1979), a film adaptation of Jerzy Kosinski's novel. His character spouts ideas and comments based on his years of television-watching, which are confused by others as words of wisdom. Sellers earned a Golden Globe Award and an Academy Award nomination for his performance.

After making this remarkable black comedy, Sellers’s career seemed to be on an upswing. But he never lived to realise this new wave of potential. His last film was The Fiendish Plot of Dr. Fu Manchu (Piers Haggard, 1980), a comedic re-imagining of the eponymous adventure novels by Sax Rohmer; Sellers played both police inspector Nayland Smith and Fu Manchu, alongside Helen Mirren and David Tomlinson. The film, completed just a few months before his death, proved to be another box office flop.

Peter Sellers died in a London hospital in 1980, after suffering another heart attack. Sellers was only 54. In his personal life, Sellers struggled with depression and insecurities. Wikipedia: “An enigmatic figure, he often claimed to have no identity outside the roles that he played. His behaviour was often erratic and compulsive, and he frequently clashed with his directors and co-stars, especially in the mid-1970s when his physical and mental health, together with his alcohol and drug problems, were at their worst.”

Sellers was married four times. He was survived by his fourth wife Lynne Frederick, and three children from his previous marriages. His son Michael and daughter Sarah came from his first marriage to Anne Howe and daughter Victoria came from his second marriage to actress Britt Ekland. He was also briefly married to Miranda Quarry from 1970 to 1974. Sellers was portrayed by Geoffrey Rush in the biopic The Life and Death of Peter Sellers (Stephen Hopkins, 2004).


Trailer The Mouse That Roared (1959). Source: CONELRAD6401240 (YouTube).


Trailer The Pink Panther (1964). Source: Bag Log (YouTube).


Trailer The Party (1968). Source: Movieclips Trailer Vault (YouTube).


Trailer Being There (1979). Source: George Botanos (YouTube).

Sources: Andrew Spicer (The Encyclopedia of British Cinema), Ashley G. Mackinnon (IMDb), Biography.com, Wikipedia and IMDb.

Gitta Alpár

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Hungarian-born Gitta Alpár (1903-1991) was a Jewish opera and operetta singer, who had a successful film career in Germany. Her career and her marriage to film star Gustav Fröhlich were destroyed by the Nazis.

Gitta Alpar
German postcard by Ross Verlag, no. 6683/2, 1931-1932. Photo: FFG.

Gitta Alpar
German postcard by Ross Verlag, no. 7049/1, 1932-1933. Photo: Frhr. von Gudenberg Phot.

Gitta Alpar
German postcard by Ross Verlag, no. 8756/1, 1933-1934. Photo: Angelo Fotos.

Opera


Gitta Alpár was born as Regina Kalisch in Budapest, Austria-Hungary (now Hungary) in 1903 as the daughter of a cantor, a clergy member who fills a diverse role within the Jewish community.

At 16, she studied singing and pianoforte at Liszt Ferenc Zeneművészeti Egyetem, the conservatory of Budapest. With it she laid the foundations of a successful singing career.

Her first public appearance as a coloratura soprano under the name of Alpár was in 1923 at the  Magyar Állami Operaház (Hungarian State Opera House) in Budapest.

In 1927 she started to sing at the Wiener Staatsoper (Vienna State Opera).  Her career there was promoted by eminent conductors such as Erich Kleiber

Later she moved on to Berlin, where she sang in operas like Die Zauberflöte (The Magic Flute) by W.A. Mozart as the Queen of the Night, Il barbiere di Siviglia (The Barber of Seville) by Gioacchino Rossini, and Rigoletto and La Traviata, both by Giuseppe Verdi.

Gitta Alpar
Dutch postcard by Remaco, no. 236. Publicity still for Gitta entdeckt ihr Herz/Gitta Discovers Her Heart (Carl Froelich, 1932).

Gitta Alpar, Gustav Fröhlich
Dutch postcard by Jospe, no. 379. Photo: Remaco. Gitta Alpár and Gustav Fröhlich co-starred in Gitta entdeckt ihr Herz/Gitta discovers her heart (Carl Froelich, 1932).

Gitta Alpar
Dutch postcard by Remaco, no. 291. Photo: publicity still for Gitta entdeckt ihr Herz/Gitta Discovers Her Heart (Carl Froelich, 1932).

The New Operetta Diva


In 1930, Gitta Alpaá had a huge success in the operetta Der Bettelstudent (The Beggar Student) by Carl Millocker at the Metropol Theater in Berlin, and she was hailed as 'the new operetta diva'.

At the Metropol Theater, she next created the role of Princess Elisabeth in the operetta Schön is die Welt (The World is Beautiful, 1930), a reworking of Endlich allein (Alone at Last) by Franz Lehár. Her co-star was Richard Tauber, and they recorded several excerpts for the Odeon Records company.

At the Admiralspalast in Berlin, she then played Marie Jeanne Bécu, a milliner, later Comtesse Dubarry in Die Dubarry (The Dubarry, 1931), the radically revised version of Gräfin Dubarry (Dubarry) by Carl Millöcker. The new version was prepared by Theo Mackeben with music from the original Gräfin Dubarry as well as other works, and a new text was written by Paul Knepler, Ignaz Michael Welleminsky and Hans Martin Cremer.

Also in 1931, Gitta Alpar married film star Gustav Fröhlich, with whom she had a child, Julika Fröhlich. She had been married before to a businessman in Budapest.

The film industry became aware of the new darling of the public. For Carl Froelich-Film GmbH (FFG), she made films like Gitta entdeckt ihr Herz/Gitta Discovers Her Heart (Carl Froelich, 1932) with Gustav Fröhlich, and Die - oder keine/She, or Nobody (Carl Froelich, 1932), in which she co-starred with Max Hansen.

Gitta Alpar in Die - oder keine (1932)
German postcard by Ross Verlag, no. 154/3. Photo: FFG. Publicity still for Die - oder keine/This One or None (Carl Froelich, 1932).

Max Hansen and Gitta Alpar in Die - oder keine (1932)
German postcard by Ross Verlag, no. 7159/1, 1932-1933. Photo: FFG. Publicity still for Die - oder keine/This One or None (Carl Froelich, 1932) with Max Hansen.

Gustav Fröhlich, Gitta Alpar
With Gustav Fröhlich. German postcard by Ross Verlag, no. 7926/1, 1932-1933. Photo: Niedecken, St. Moritz.

Illegal


In 1932, Gitta Alpár had another stage success at the Großes Schauspielhaus, Berlin, when she created the part of Madeleine de Faublas in the operetta Ball im Savoy (Ball at the Savoy) by Paul Abraham to a libretto by Alfred Grünwald and Fritz Löhner-Beda. This was Abraham's last major success, but also Alpár's.

At the top of her success, Gitta Alpár's career abruptly came to an end because of the rise to power of Adolph Hitler. Alpár was Jewish and despite her popularity she was forced to leave Germany.

Her marriage to Gustav Fröhlich was dissolved in 1935 because it was illegal in National Socialist Germany. Fröhlich distanced from his wife because he didn't want to endanger his career. He later tried to apologise for his behaviour but Gitta Alpár was not able to answer his prayers. A circumstance which, according to IMDb, gave Fröhlich a hard time in his last leaving years and which beclouded his lust for life.

Alpár first emigrated to Austria where she took part in the film Ball im Savoy/Ball at Savoy (Steve Sekely, 1935) with Rose Barsony, another Jewish film actress who was forced to flee Nazi Germany.
Alpár also acted in the British film I Give My Heart/The Loves of Madame Du Barry (Marcel Varnel, 1935), a faithful adaptation of the stage opera Die Dubarry (The Dubarry) with Owen Nares.

Hal Erickson reviews at AllMovie: "The seamier aspects of DuBarry's rise to prominence (notably her brief stopover at a house of ill repute) are neatly glossed over, but that was to be expected. Among those responsible for adapting The Dubarry to the screen was Curt Siodmak, who together with his brother Robert went on to a rewarding Hollywood career".

Until 1936, Alpár worked in Austria, but then she had to emigrate again, first to Great Britain and one year later via Argentina to California. In Great Britain, Alpár appeared in Guilty Melody (Richard Pottier, 1936) with Nils Asther, and Everything in Life (J. Elder Wills, 1936). Guilty Melody (1936) was an alternative language version of the French film Le disque 413/Disk 413 (Richard Pottier, 1937) in which Alpar also starred, now opposite Jules Berry.

Her final film appearance was an appearance as an opera singer in the Universal Pictures period comedy/drama The Flame of New Orleans (René Clair, 1941) with Marlene Dietrich. Much of the film takes place with a background derived from Donizetti's Lucia, the love duet in the beginning of the opera.

According to IMDb, her Hollywood career ultimately failed as a result of her heavy accent and poor command of the English language. In 1939 she married Niels Wessel Bagge. They divorced in 1951.

After the war Gitta Alpár earned her living as a singing teacher. She seemed to be forgotten, but in 1987 Germany honoured her with the Filmband in Gold for her contributions to the German cinema.

In 1991 Gitta Alpár passed away in Los Angeles, just before her 88th birthday.

Gitta Alpar and Gustav Fröhlich
With Gustav Fröhlich. German postcard by Ross Verlag, no. 6810/1, 1931-1932. Photo: Angelo Photos.

Gitta Alpar and Julika Violetta Fröhlich
Dutch postcard by JosPe, no. 585. Sent by mail in 1935. Caption: Gitta Alpár and her little daughter Julika Violetta Fröhlich.

Gitta Alpar
German postcard by Ross Verlag, no. 7505/2, 1932-1933. Photo: Frhr. von Gudenberg Phot.


Gitta Alpár sings In meinen weißen Armen in Ball im Savoy (1935). Source: Alparfan (YouTube).

Sources: Thomas Staedeli (Cyranos), Karin Nusko (Universität Wien), Hal Erickson (AllMovie), Wikipedia and IMDb.

Uwe Friedrichsen

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German film, stage and television actor Uwe Friedrichsen (1934-2016) was best known for his roles in several popular TV series. He was also known as the German voice of Peter Falk’s Columbo.

Uwe Friedrichsen
German postcard by Franz Josef Rüdel, Filmpostkartenverlag, Hamburg. Photo: Constantin / Rialto. Publicity still for Der Gorilla von Soho/The Gorilla of Soho (Alfred Vohrer, 1968).

Uwe Friedrichsen
German postcard by Franz Josef Rüdel, Filmpostkartenverlag, Hamburg, no. F-73. Photo: Jürgen Fritsch. Pobably a publicity still for the TV series Elephant Boy (Bill Bain a.o., 1973). The little monkey is probably a toque macaque.

A rare example of a West-German Science Fiction film


Uwe Friedrichsen was born in 1934 in Altona (now Hamburg), Germany. He was the son of an engineer. After graduation, he completed a commercial apprenticeship at a Hamburg porcelain company.

In the amateur playgroup of the Hamburg Volkshochschule he discovered acting. Against the will of his parents he started a private acting school, which he financed as a harbour worker and newspaper boy. In 1953 he founded the theatre 53 together with Marcus Scholz and others.

After three years at this theatre, actress and stage director Ida Ehre spotted him in 1956 and engaged him for the Deutsche Schauspielhaus in Hamburg under Gustaf Gründgens. Until 1968, he was one of the ensemble members, while he was a guest at many other theatres.

In 1957, he started his film career with two small roles as a student. He made his debut in the West-German comedy Lemkes sel. Witwe/Lemke's Widow (Helmut Weiss, 1957) starring Grethe Weiser. It was a remake of the silent comedy Lemkes sel. Witwe/Lemke's Widow (Carl Boese, 1928) with Lissi Arna.

He played another student in the Austrian comedy Die unentschuldigte Stunde/The Unexcused Hour (Willi Forst, Rolf Kutschera, 1957) with Adrian Hoven and Erika Remberg. He also had a small part in the West German musical comedy Die Nacht vor der Premiere/The Night Before the Premiere (Georg Jacoby, 1959) starring Marika Rökk and Theo Lingen.

Although in his mid-twenties, Friedrichsen appeared as a pupil in the West-German film Faust (Peter Gorski, 1960), based on Goethe's Faust and adapted from the theatre production at the Deutsches Schauspielhaus. The film starred director Gorski's adoptive father Gustaf Gründgens as Mephistopheles and Will Quadflieg as Faust.

Jan Onderwater at IMDb: “In 1957 Gustaf Gründgens staged a new production of Goethe's Faust in which he once again played Mephisto, a part he had played since 1932. The brilliant production was a huge success and ran for a couple of years. In 1959 Peter Gorski captured the performance on film in his directorial film debut. Basically it is a registration of the production, but Gorski did manage to accentuate the details of the acting by using enough medium and close-up shots which give a view on the acting you normally would not able to see in a theater.” The film won a Deutscher Filmpreis (German Film Award).

Another supporting role followed for Friedrichsen in the West German adventure film Unser Haus in Kamerun/Our House in Cameroon (Alfred Vohrer, 1961), with Johanna von Koczian and Götz George. He played a leading role opposite Maria Perschy in Der Chef wünscht keine Zeugen/No Survivors, Please (Hans Albin, Peter Berneis, 1964), a rare example of a West-German Science Fiction film! Aliens attempt to take over the Earth by taking over the bodies of humans at the moment of their death, and using them as tools for their invasion plans. However, the film was a commercial flop.

In the early 1960s, the German film industry imploded and like many of his colleagues, Friedrichsen focused on working for TV. He had a hit with the detective series John Klings Abenteuer/John Kling (Hans-Georg Thiemt, 1965-1970) in which he played the side-kick of the title figure (Helmut Lange), who played a detective working for an American secret service. John Kling was originally a pulp fiction hero, whose novels were very popular in Germany from 1924 till 1939 and from 1949 till 1954.

In the meanwhile Friedrichsen also appeared as Sergeant Jim Pepper in the West German crime film Der Gorilla von Soho/The Gorilla of Soho (Alfred Vohrer, 1968) opposite Horst Tappert and Uschi Glas. It was part of Rialto Film's long-running series of Edgar Wallace adaptations, and was shot on location around London and at the CCC Studios in Berlin.

Uwe Friedrichsen in Einer spinnt immer (1971)
German postcard by Franz Josef Rüdel, Filmpostkartenverlag, Hamburg. Photo: Constantin / Neue Delta / Appelt. Publicity still for Einer spinnt immer/One is always nutty (Franz Antel, 1971).

Uwe Friedrichsen
German postcard by Franz Josef Rüdel, Filmpostkartenverlag, Hamburg. Photo: Hans-Peter Bartling, Hamburg.

A great advocate of the Low German language


Uwe Friedrichsen co-starred in the Austrian/West German comedy Einer spinnt immer/One is always nutty (Franz Antel, 1971) with Georg Thomalla and Teri Tordai. He also appeared opposite Horst Tappert in the naughty comedy Bleib sauber, Liebling/The Love Keys (Rolf Thiele, 1971), but Friedrichsen found more interesting work on television.

He played opposite Esrom (Esram Jayasinghe) as the elephant boy Toomai in the British-Australian-German youth series Elephant Boy (Bill Bain a.o., 1973), based on a story from Jungle Book by Rudyard Kipling. For the series the location was not India but Ceylon and the story was moved from the 19th century to the present.

He also appeared with Horst Frank and Jürgen Prochnow in the TV film Operation Ganymed (Rainer Erler, 1977). A spaceship returns to Earth after several years of space exploration and finds it desolate. Landing in what they believe is Mexico, the crew decides to travel north, and try to find out what happened to Earth during the years they were gone. The film won an award at a Science Fiction Festival in Triëst and was so popular that it was also released in the cinema in 1980.

Among little children he became known as Uwe in the German version of the children’s series Sesame Street, Sesamstraße (1979–1982), in which he appeared together with Liselotte Pulver and Horst Janson. He then starred as customs officer Hans Zaluskowski in 18 episodes of the Krimi series Schwarz Rot Gold/Black Red Gold (1982-1996).

Through the years, he guest starred in all of Germanys favourite Krimi series, including Der Alte (1985-1996), Tatort (1986) and Derrick (1989, 1996). He also played mayor Hinrich Oppen in the TV series Oppen and Ehrlich alongside Andreas Schmidt-Schaller. The series showed the lives of two dissimilar half-brothers, mayor Hinrich Oppen and manufacturer Ottwin Ehrlich, and was situated in Sauerland in the early 1990s.

In the cinema Uwe Friedrichsen could be seen in a small part in the German comedy Die wilden Fünfziger/The Roaring Fifties (Peter Zadek, 1983), starring Juraj Kukura and Boy Gobert. The film, based on the novel Hurra, wir leben noch by Johannes Mario Simmel, is set around the German Wirtschaftswunder economic miracle of the 1950s, with the title alluding to the Roaring Twenties.

He also appeared in the comedy Go Trabi Go 2 – Das war der wilde Osten (Wolfgang Büld, Reinhard Klooss, 1992), a bland sequel to the hit Go Trabi Go (Peter Timm, 1991). His final film was the youth film Das Haus der Krokodile/Victor and the Secret of Crocodile Mansion (Cyrill Boss, Philipp Stennert, 2012), which won the Bavarian Film Award.

Friedrichsen was a popular voice actor who gave a German voice to amongst others Ringo Starr in Yellow submarine (George Dunning, 1968), Donald Sutherland in MASH (Robert Altman, 1970), Danny Clover in Lethal Weapon films (1987-1998) and to Peter Falk in the TV series Columbo (1969). He also worked for many radio plays.

However, the main focus of his professional activity remained the stage. For several years he had a permanent place in the ensemble of the Ernst-Deutsch-Theater in Hamburg. In the 2005/2006 season, he played in the Theater im Rathaus Essen. In addition, Uwe Friedrichsen was a great advocate of the Low German language, which he learned as a small boy with his grandparents.

Uwe Friedrichsen died in 2016 in Hamburg, at the age of 81. In 1988 he married the Swiss actress Nathalie Emery, with whom he had a daughter. They divorced in 1995 and in 2002 he married Ute Papst. With his second wife, he later lived in Seevetal near Hamburg. He had three children from earlier relationships. Friedrichsen died of the consequences of a tumour on the cheek and at his request, he was given a burial in the Baltic Sea.


DVD Trailer John Klings Abenteuer (1965-1970). Source: POLAR Film (YouTube).


Scene from Operation Ganymed (1977). Source: Rapidherzfeld (YouTube). Sorry, no subtitles!

Sources: Jan Onderwater (IMDb), Wikipedia (German and English), and IMDb.

Yvonne de Fleuriel

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Italian Yvonne De Fleuriel (1889-1963) was a singer and actress of variety and silent films. She was very popular during the Belle Époque.

Yvonne de Fleuriel
Italian postcard by Fotocelere, Torino (Turin), no. 125.

Yvonne de Fleuriel
Italian postcard, no. 124. Collection: Didier Hanson.

Traditional Neapolitan Songs


Yvonne De Fleuriel was born as Adele Croce in Teano (according to Wikipedia) or Frosinone (IMDb), both in Italy, in 1889.

At a young age, she made her stage debut as a ‘generic actress‘ in the company of Eduardo Scarpetta. In her early twenties, she met the actor Nicola Maldacea, who introduced her to the world of the chanson. He also suggested her to take the stage name of Yvonne De Fleuriel.

The beautiful singer became popular among the public, when she performed in the best-known café-concerts in Naples. She was now one of the most famous Italian singers. She interpreted the traditional Neapolitan songs, most of them written by Giovanni Capurro, Rocco Galdieri and Gennaro Pasquariello. Among the best known songs of De Fleuriel were Nini and Girala la rota (Turn the wheel), both from 1908 and written by Luigi Mattiello.

The beautiful Yvonne De Fleuriel had many lovers. She rejected Carlo Meretti who - with Galdieri -  had procured her her success Thérèsine in Paris. He committed suicide. Hence De Fleuriel's reputation as a femme fatale started.

In 1915, De Fleuriel began her cinema career with the film 120 HP (Augusto Genina, 1915), produced by Napoli Film and co-starring Guido Trento. But the press didn't like this adaptation of a stage comedy by Amerigo Guasti. Three years later, De Fleuriel tried her luck again...

Yvonne De Fleuriel
Italian postcard by Premiato Stabilimento Fotografico Ditta G. Meretti, Firenze.

Yvonne De Fleuriel
Italian postcard by Ed. A. Traldi, Milano, no. 557.

A 'devilish' liveliness and a unique sentimentality


From 1918, Yvonne de Fleuriel tried her luck in the cinema again, now at the Roman film studios. First, she worked at Tiber Film, where she played the female lead opposite Tullio Carminati in Il trono e la seggiola/The throne and the chair (Augusto Genina, 1918).

In this romantic comedy, Carminati plays a Merry King, who is bored by court life and finds happiness in the arms of a Roman countryside girl, Cecilia (Le Fleuriel), State affairs recall the king to his Blue Reign, where he is urged to marry a lady of noble kin, to save the crown. But the Merry King has never forgotten his Cecilia. He abandons crown and reign and returns to Rome, to embrace his simple and good country girl again. Il trono e la seggiola had its first night in Rome on 20 September 1918, two months before the First World War ended.

At the time, Dino Lombardo wrote in the Neapolitan journal La Cine-Fono (25-12-1918) that this comedy was successful in every which way. Lombardo praised the script by Genina and Piero Romolotti for its straight forwardness, while still keeping the combination of sentimentality with liveliness. Lombardo also praised the direction by Genina and the production by Tiber Film. Finally he lauded he actors Carminati, Oreste Bilancia and in particular Yvonne de Fleuriel. Despite her fresh start in film after her career in vaudeville Lombardo noted: "She has given a 'devilish' liveliness and a unique sentimentality."

Later de Fleuriel played a minor part in L'ondina (A. Albertoni, 1917) starring the Milanese star Bianca Virginia Camagni, and she had lead roles in such films as Il veleno del piacere/The poison of pleasure (Gennaro Righelli, 1918) with Diomira Jacobini.

In 1920, De Fleuriel moved to Turin, where she had the female lead in Io sono fatta cosí! (Alessandro Rosenfeld, Paolo Ambrosio, 1921), a sentimental comedy which was well received by the Turinese press. She also appeared in La modella di Tiziano/Titian's model (Paolo Trinchera, 1921) with Mario Voller-Buzzi, for which the press considered De Fleuriel too cold.

Both Madame l'Ambassadrice/Madame the Ambassadrice (Ermanno Geymonat, 1921) also with Roberto Villani, as well as De Fleuriel's performance were praised by the Turinese press, although a critic thought De Fleuriel's make-up horrible. She also was a corrupting femme fatale in Le braccia aperte/The open arms (Guido di Sandro, 1921) opposite Mary-Cléo Tarlarini as the mother who tries to save her son.

De Fleuriel played her last parts in two Roman silent films. The first was L'ignota (Guglielmo Zorzi, 1923) with Fabienne Fabrèges, which despite the names of the actresses went almost unnoticed. She also appeared in La madre folle/The Crazy Mother (Carmine Gallone, 1923) with Soava Gallone and Arnold Kent (aka Lido Manetti).

Because of the crisis of the Italian cinema in the 1920s, Yvonne de Fleuriel moved to Germany. She had lost her famous physical beauty by then and only found work as an extra. In the following years, she returned to Italy, where she fell into disgrace. She settled in Rome, the city where she lived the last years of her life, poor and lonely.

Forgotten, Yvonne de Fleuriel passed away in 1963 in Rome. She was 74.

Yvonne De Fleuriel
Italian postcard by G. Vettori, Bologna, no. 376.



Yvonne De Fleuriel sings Nini (1908). Source: rigoletto90 (YouTube).

Sources: Wikipedia (Italian) and IMDb.

Dominique Sanda

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Seductive and mysterious Dominique Sanda (1951) is a French actress and former fashion model. During the 1970s she appeared in such noted Italian films as Bernardo Bertolucci's Il conformista/The Conformist (1970) and Novecento/1900 (1976), Vittorio de Sica's Il Giardino dei Finzi-Contini/The Garden of the Finzi-Continis (1970), and Liliana Cavani's Al di la del bene e del male/Beyond Good and Evil (1977).

Dominique Sanda in Une femme douce (1969)
Romanian postcard by Casa Filmului Acin, no. 429. Publicity still for Une femme douce/A Gentle Creature (Robert Bresson, 1969).

Dominique Sanda
Romanian postcard by Casa Filmului Acin.

Dominique Sanda and Richard Berry in Une chambre en ville (1982)
French postcard by Ciné-Temaris. Photo: M. Jamet. Publicity still for Un chambre en ville/A Room in Town (Jacques Demy, 1982) with Richard Berry.

Miss Arcachon 1966


Dominique Sanda was born as Dominique Marie-Françoise Renée Varaigne in Paris in 1951 (according to some sources in 1948 or 1949) within a middle-class Catholic family. Her parents were Lucienne (née Pichon) and Gérard Varaigne. She went to school at the École des Sœurs de Saint-Vincent-de Paul in Paris.

In the summer of 1966 she was chosen Miss Arcachon at the Casino Mauresque in this sea resort in the South of France. When she was 16, she left her upper-class family and married, but divorced two years later. After a short time as a Decorative Arts student, she worked as a model for Dorian Leight, whose photos appeared in Glamour, Elle and Vogue.

She started her film career in 1969 when director Robert Bresson offered her the lead part of a tormented young woman, too beautiful and too gentle to bear everyday banality, in Une femme douce/A Gentle Creature (Robert Bresson, 1969), based on a novel by Fjodor Dostojevsky. The film launched her international career.

Only 18, she appeared as Anna Quadri, the sensual wife of an anti-fascist professor in Il conformista/The Conformist (Bernardo Bertolucci, 1970) featuring Jean-Louis Trintignant. That same year she also starred as the provocative daughter of a rich Jewish family in Il giardino dei Finzi-Contini/The Garden of the Finzi-Continis (Vittorio De Sica, 1970) which won the Oscar for Best Foreign Language Film.

Because of her cool beauty, she was nicknamed ‘The French Garbo’. In Hollywood she appeared in the spy thriller The Mackintosh Man (John Huston, 1973) with Paul Newman, and in the Herman Hesse adaptation Steppenwolf (Fred Haines, 1974) with Max von Sydow.

She soon returned to Europe and worked in Italy with such major directors as Luchino Visconti on Gruppo di famiglia in un interno/Conversation Piece (1974) and with Bernardo Bertolucci on Novecento/1900 (1976) as Ada, the great love of Robert de Niro’s character. That year she won the award for Best Actress at the Cannes Film Festival, but strangely not for the epic Novecento but for her part as Irene Carelli, an Italian patriarch's daughter-in-law, in the much lesser known L'eredita Ferramonti/The Inheritance (Mauro Bolognini, 1976).

She made another splash with her portrayal of Lou Andreas-Salome in Al di la del bene e del male/Beyond Good and Evil (Liliane Cavani, 1977). Hollywood lured again and she appeared in the 20th Century Fox production Damnation Alley (Jack Smight, 1977) and the disastrous Casablanca imitation Caboblanco (Jack Lee Thompson, 1980) with Charles Bronson.

Dominique Sanda
Romanian postcard by Casa Filmului Acin.

Dominique Sanda, Isabelle Huppert
With Isabelle Huppert in Les ailes de la colombe/The Wings of the Dove (Benoît Jacquot, 1981). Romanian postcard by Casa Filmului Acin.

Dominique Sanda
Romanian postcard by Casa Filmului Acin.

Small But Interesting European Productions


During the next decade, Dominique Sanda mainly appeared in French films. Some were shown internationally, such as Le voyage en douce/Sentimental Journey (Michel Deville, 1980), the musical Une chambre en ville/A Room in Town (Jacques Démy, 1982), and the Jorge Luis Borges adaptation Guerriers et captives/Warriors and Prisoners (Edgardo Cozarinski, 1989) with Leslie Caron.

Jacques Demy had already directed Sanda in her first role for television as Hélène in La naissance du jour/Daybreak (Jacques Démy, 1981), adapted from Colette's novel. She continued to appear in small, but interesting European productions. Examples are In una notte di chiaro di luna/Up to Date (Lina Wertmuller, 1990) with Nastassia Kinski, Yo, la peor de todas/I, the Worst of All (Maria Luisa Bemberg, 1990) and the thriller Les rivieres pourpres/The Crimson Rivers (Mathieu Kassovitz, 2000) starring Jean Reno and Vincent Cassel.

Meanwhile she regularly appeared on TV, such as in the series Warburg, un homme d'influence/Warburg: a man of influence (Moshe Mizrahi, 1990) with Jean-Pierre Cassel, and the American mini-series The Bible: Joseph and Joseph in Egypt (Roger Young, 1994) starring Ben Kingsley.

From 1993 on, she also worked in the theatre: she then appeared at the Théâtre de la Commune, in Aubervilliers, France, as Melitta in Madame Klein (Mrs. Klein by Nicolas Wright), directed by Brigitte Jaques-Wajeman. Two years later, she played in Italy the marquise de Merteuil in Le relazioni pericolose (Dangerous Liaisons), based on Choderlos de Laclos' novel and directed by Mario Monicelli. In 1995-1996, she played more than 500 times Lady Chiltern in Un mari ideal, a French production of An Ideal Husband by Oscar Wilde, directed by Adrian Brine. And in 2002-2003 she made another long theatre tour through Northern Italy in Amleto (Hamlet) by William Shakespeare, in which she interpreted Queen Gertrude under the direction of Federico Tiezzi.

In the 1970s, Dominique Sanda lived with actor/director Christian Marquand, with whom she had a son, Yann Marquand (1972). In 2000, she married Nicolae Cutzarida, a philosopher and University professor of Romanian origin. Dominique Sanda was made Chevalier de l'ordre national du Mérite (Dame of the National Order of Merit) in 1990, Officier des Arts et des Lettres (Officer of the Order of Arts and Letters) in 1996, and Chevalier de la Légion d'honneur (Dame of the Legion of honour) in 2003.

Dominique Sanda
French postcard by Editions Marion-Valentine, Paris, no. N-179. Photo: Dominique Issermann. Caption: Dominique Sanda et le chat Horus.


Trailer Il Giardino dei Finzi-Contini/The Garden of the Finzi-Continis (1970). Source: FabioTestiOfficial (YouTube).


Trailer Il conformista/The Conformist (1970). Source: pckg21c (YouTube).

Sources: Thanassis Agathos (IMDb), Dominique Sanda.com, Film Reference, Wikipedia and IMDb.

L'ultima avventura (1932)

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Diomira Jacobini and Armando Falconi were the stars in the Cines-Pittaluga production of L'ultima avventura/The Last Adventure (Mario Camerini, 1932). The postcards for this early Italian sound film have French-written captions at the backside, but are Italian.

Diomira Jacobini and Armando Falconi in L'ultima avventura (1932)
Italian postcard, no. 26. Photo: Prod. Cines-Pittaluga. Diomira Jacobini and Armando Falconi in L'ultima avventura (Mario Camerini, 1932).

Diomira Jacobini and Armando Falconi in L'ultima avventura (1932)
Italian postcard, no. 52. Photo: Prod. Cines-Pittaluga. Diomira Jacobini and Armando Falconi in L'ultima avventura (Mario Camerini, 1932).

An old and rich Don Juan


In L'ultima avventura/The Last Adventure (Mario Camerini, 1932), Armando Falconi plays count Armando, an old and rich Don Juan, who hopes to have a final adventure with the charming Lilly (Diomira Jacobini). He takes her on vacation to seaside resort Rapallo, situated on Italy’s Ligurian Coast

When for once in his lifetime Armando is too timid to confess his love, the young woman is courted by a second man of her own age (Carlo Fontana).

When the young man declares his love to Lilly, the young woman leaves the old nobleman, who hesitated too long. The old Don Juan thus lets escape his 'last adventure'.

Jacobini and Falconi had both been stars of the Italian silent cinema. And although Falconi was much older than his female colleague in real life too, he had a longer career in the sound cinema and  starred in films till the late 1940s.

L'ultima avventura/The Last Adventure's sets were designed by the art director Gastone Medin and the photography was done by Ubaldo Arata.

Diomira Jacobini and Armando Falconi in L'ultima avventura (1932)
Italian postcard, no. 54. Photo: Prod. Cines-Pittaluga. Diomira Jacobini and Armando Falconi in L'ultima avventura (Mario Camerini, 1932).

Diomira Jacobini and Carlo Fontana in L'ultima avventura (1932)
Italian postcard, no. 64. Photo: Prod. Cines-Pittaluga. Diomira Jacobini and Carlo Fontana in L'ultima avventura (Mario Camerini, 1932).

Sources: Wikipedia (Italian and English) and IMDb.

Lilywhite Photographic Series

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Last week we started with a new theme for our Friday posts: British film postcard series. Then we did a post on the Film Partners series by Picturegoer produced in the 1930s. Today we present you a series from the silent era, the Lilywhite Photographic series. They are all hand-coloured and have white The series was issued by Lilywhite Photo Ltd., Halifax.

Gaby Deslys
Gaby Deslys. British postcard in the Lilywhite Photographic Series, Halifax, no. L 28. Photo: Claude Harris.

Isobel Elsom
Isobel Elsom. British postcard in the Lilywhite Photographic Series, no. LE 1. Photo: Lilywhite.

Fay Compton
Fay Compton. British postcard in the Lilywhite Photographic series, no. LR 4. Photo: Halifax.

Theda Bara
Theda Bara. British postcard in the Lilywhite Photographic series, no. CM 29. Photo: Fox. Caption: Fox Picture Star. Collection: Didier Hanson.

Peggy Hyland
Peggy Hyland. British postcard in the Lilywhite Photographic series, no. CM 31. Photo: Fox. Caption: Fox Picture Star.

When collecting postcards was in vogue in Great Britain


At the turn of the 20th century, postcards were a relatively new phenomenon but all over Europe they quickly became a popular method of communication for those away from home.

In Great Britain, the pastime of collecting postcards was in vogue. Some liked to collect a particular publisher or photographer and others decided on the actors and actresses of the Edwardian era.

The postcards were made directly from photographic negatives and were known as real photo postcards. They were generally made by professional photographers who allowed their images to be used by postcard publishers such as Lilywhite.

Most of the postcards of the Lilywhite Photographic Series, produced in the late 1910s or early 1920s, were hand coloured by lithographic processes. The numbers indicate there were different series. LE could stand for Light Entertainment - many of the stars are theatrical. CM stands for Cinema Star Postcards.

The images of the British and American actors and actresses at the Lilywhite postcards became a permanent reminder of the film stars of the era. And of course, they also served as advertising and promotions for the stars at the time.

Peggy Hyland
Peggy Hyland. British postcard in the Lilywhite Photographic series, no. CM 35. Photo: Fox. Caption: Fox Picture Star.

Isobel Elsom
Isobel Elsom. British postcard in the Lilywhite Photographic Series, no. CM 51. Photo: Lilywhite. Caption: of Cinema Fame.

Renée Kelly
Renée Kelly. British postcard in the Lilywhite Photographic series, no. CM 59. Photo: Lilywhite. Caption: Star in Cinema.

Stewart Rome
Stewart Rome. British postcard in the Lilywhite Photographic Series, no. CM 146. Photo: Broadwest. Caption: Broadwest Film Star.

Alma Taylor
Alma Taylor. British postcard in the Lilywhite Photographic Series, no. CM 175. Photo: Lilywhite. Caption: A Well Known Picture Player.

Peggy Hyland
Peggy Hyland. British postcard in the Lilywhite Photographic series, no. CM 406a. Photo: Fox. Caption: Fox Picture Star.

Sources: University of Calgary, Ross Postcards and Our Cinema Postcards.

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

Antonietta Calderari

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Little is known about the private life of Itian silent film actress Antonietta Calderari, but it is clear that she was a regular actress at Turinese film companies all through her career.

Antonietta Calderari
Italian postcard by Ed. G. Vettori, Bologna, no. 2016.

A Silent Italian Western


Dates of the birth and death of Antonietta Calderari lack, but we know she made her film debut in 1911 at the Ambrosio film company of Turin.

She first acted there in a series of short film adaptations of books and plays by Gabriele D'Annunzio: La figlia di Jorio/Jorio's Daughter (1911), La fiaccola sotto il moggio/Blood Vengeance (1911), Sogno di un tramonto d'autunno/An Autumn Sunset Dream (1911), all directed by Luigi Maggi, and La nave/The Ship (Edoardo Bencivenga, 1912). In the latter film she had the lead as the femme fatale Basiliola.

Apart from more shorts at Ambrosio, Calderari also acted in some 17 other shorts by the Turinese company Aquila Films, mostly directed by Roberto Roberti, the father of Sergio Leone. Sometimes Achille Consalvi was the director. These films include Un sogno/A Dream (1912), La contessa Lara/The countess Lara (1912), Gente onesta/Honest People (1913) based on a story by Guy de Maupassant, L'assassina del Ponte S. Martin/The Mystery of St. Martin's Bridge (Roberto Roberti, 1913), La torre d'espiazione/Tower of Terror (Roberto Roberti, 1913), and the silent Western La vampira Indiana/Indian Vampire (Roberto Roberti, 1913).

After a few more films at Ambrosio, Calderari did some 13 more films at Aquila in the years 1916-1917, including La cavalcata dei sogni/The Cavalcade of Dreams (Roberto Roberti, 1917) starring Bice Valerian, the wife of Roberto Roberti and the mother of Sergio Leone. 

In the years 1917-1919, Antonietta Calderari appeared in a few films at Savoia Film and other companies. She had a part in Sansone e la ladra di atleti/Samson and the Thief of Athletes (Amedeo Mustacchi, 1919), starring Luciano Albertini, his girlfriend Linda Albertini and then famous cyclist Costante Girardengo as one of the kidnapped cyclists of the film's title. A fragment of this film was found at the Dutch EYE Filmmuseum.

Antonietta Calderari
Italian postcard by Ed. A. Vettori, Bologna, no. 1025. Antonietta Calderari in Naufragio (Luigi Mele, 1920) for Albertini-Film. Naufragio was praised in the Italian press, in particular for Calderari's performance. The film about a female sinner, was at the time better known as Calze di seta (Silk Stockings) and meant death for one of the actors, Vittorio Casali. Director Mele was accused of having neglected the danger to which Casali was exposed during a scene, causing Casali to succumb to a state of depression and finally die of cardiac arrest.

Antonietta Calderari
Italian postcard. Photo: Unione Cinematografica Italiana. Antonietta Calderari in Il pontd dei sospiri (Domenico Gaido, 1921). Caption: The most beautiful Imperia, empress of the courtesans.

Wealthy Courtesan


Antonietta Calderari acted in a series opposite strongman Celio Bucchi and directed by Luigi Mele, Lotte nell'aria/Cracked in the air (Luigi Mele, 1920) also with Alfredo Boccolini, Il tempio del sacrificio/The Temple of Sacrifice (1920), and Naufragio/Shipwreck (1921).

Calderari is best remembered for her part of the wealthy courtesan Imperia in the four-part episode-film Il ponte dei sospiri/The Bridge of Sighs (Domenico Gaido, 1921), starring Luciano Albertini.

In the film, she first has an affair on the road with a bandit called Scalabrino, from which a daughter rises. Yet, back in her hometown Venice, the proud Imperia, when rejected by Rolando Candiano (Luciano Albertini), son of the Doge, takes revenge by accusing him of a murder she herself committed.

The political enemies of Candiano and his father exploit this to dethrone and blind the Doge and arrest his son on the day of his marriage and throw him in prison, beyond the Bridge of Sighs. But like the Count of Monte Christo, Rolando escapes and takes revenge on his enemies, with the help of Scalabrino (Onorato Garaveo). By doing so he also saves Imperia's daughter from the clutches of one of the conspirators.

The Italian censors not only cut too gruesome scenes of the blinding of the Doge but also erotic images of Imperia undressing and showing her nude behinds.

Antonietta Calderari's last film was Il mistero in casa del dottore/Mystery at the doctor's house (Alessandro De Stefani, 1922) produced by Pasquali Film.

Unknown is what she did afterwards nor when she died. Who knows more?

Il ponte dei sospiri
Italian postcard. Photo: Unione Cinematografica Italiana. Photo: Unione Cinematografica Italiana. Publicity still for Il ponte dei sospiri/The Bridge of Sighs (Domenico Gaido, 1921). Caption: Imperia,the most beautiful Roman courtesan, will select the bandit Scalabrino for one night of love, causing the hate and jealousy of Sandrigo.

Il ponte dei sospiri
Italian postcard. Photo: Unione Cinematografica Italiana. Photo: Unione Cinematografica Italiana. Publicity still for Il ponte dei sospiri/The Bridge of Sighs (Domenico Gaido, 1921). Caption: In the cave of the bandits Imperia becomes the lover of Scalabrino.

Il ponte dei sospiri
Italian postcard. Photo: Unione Cinematografica Italiana. Photo: Unione Cinematografica Italiana. Publicity still for Il ponte dei sospiri/The Bridge of Sighs (Domenico Gaido, 1921). Caption: Imperia, the empress of the courtesans, is dressed in ball attire, for her famous dances.

Il ponte dei sospiri
Italian postcard. Photo: Unione Cinematografica Italiana. Photo: Unione Cinematografica Italiana. Publicity still for Il ponte dei sospiri/The Bridge of Sighs (Domenico Gaido, 1921). Caption: Imperia tries to seduce Rolando, but she is rejected, and will vilely take revenge.

Sources: Vittorio Martinelli ( Il cinema muto italiano, 1921-1922 - Italian), Wikipedia and IMDb.
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