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Austrian postcard by Iris Verlag, no. 638. Photo: Domofilm / Westfalia Film. Eugen Klöpfer in Elegantes Pack/The Elegant Bunch (Jaap Speyer, 1925).
Eugen Klöpfer (1886-1950) was a German star character actor. In the 1920s, he appeared in numerous silent films, often in leading or heroic roles. After 1933, he identified himself strongly with National Socialism and was cast in several Nazi propaganda films. This harmed his post-war career.
Eugen Gottlob Klöpfer was born in 1886 in the Talheim residential area of Rauher Stich, Heilbronn. He was the youngest of eleven children of the farmer and innkeeper Karl Klöpfer and his wife Karoline, née Hörsch. Eugen attended the Realschule (secondary school) in Heilbronn. He subsequently attended the Lateinschule (Latin School) in Lauffen and then the Karlsgymnasium in Heilbronn. Although he started an apprenticeship with a lumber business in Munich, Klöpfer soon discovered that his passion was the theatre. He joined the Theatre Association of Munich and performed at various provincial theatres. In 1905 he was cast in his first role in Landshut, afterwards playing in Ingolstadt and Biel. In 1909 he came to the Volkstheater München (Munich People's Theatre). From 1914 to 1918, he performed in Colmar, Erfurt, Bonn and Frankfurt am Main. After the First World War, Klöpfer relocated to Berlin. There he played from 1920 to 1923 at the Deutsches Theater, and soon belonged to the favourite actors of Max Reinhardt's ensemble. From 1925, he played on various stages in Vienna and Salzburg. Finally, he toured Europe and South America. He played the title role in Carl Zuckmayer's 1927 play 'Schinderhannes'. From 1919 he appeared in many silent films like Die Arche/The Arc (Richard Oswald, 1919) and Menschen (Martin Berger, 1920) with Bernhard Goetzke. He acted under the direction of F. W. Murnau in Der brennende Acker/The Burning Soil (Friedrich Wilhelm Murnau, 1922) with Werner Krauss and Lya de Putti. Klöpfer often acted in leading or heroic roles. These included Boris Godunow in Der falsche Dimitri/The False Dimitri (Hans Steinhoff, 1922) and the title role in Götz von Berlichingen zubenannt mit der eisernen Hand/Götz von Berlichingen and the Iron Hand (Hubert Moest, 1925), based on the historical play by Johann Wolfgang von Goethe, set in the Holy Roman Empire.
After the Nazi seizure of power, Eugen Klöpfer was promoted to the Presiding Board of the Reich Film Chamber, under Joseph Goebbels, and was also chairman of Goebbels' artist donation. He also appeared in the Propaganda film Flüchtlinge/Refugees (Gustav Ucicky, 1933) with Hans Albers and Käthe von Nagy. It detailed the plight of ethnic Germans, known as 'Volga Germans', in the Soviet province of Manchuria. In 1934, Klöpfer was designated as a Staatsschauspieler (actor of national importance). He was also appointed the director of the Volksbühne (People's Theatre) in Berlin. In 1935 he was appointed Vice President of the Ministry of Arts and joined the board of Ufa. In 1936 he was appointed general director of Berlin's Theater am Nollendorfplatz. In 1937, Klöpfer joined the Nazi Party. In 1940, he played the role of Landschaftskonsulenten Sturm in Veit Harlan's anti-Semitic Nazi propaganda film Jud Süß/Jew Süss (Veit Harlan, 1940). In August 1944, towards the end of the Second World War, Klöpfer was added by Adolf Hitler to the Gottbegnadeten-Liste, a list of important German artists, which exempted him from military service, including service on the home front. After 1945, Klöpfer was banned and spent two months in prison in 1948. After a denazification trial, he was exonerated from the charge of complicity in the death of Joachim Gottschalk. In 1949, he began performing again with his own ensemble in Cologne and Neustadt in der Pfalz, but he died in 1950 in Wiesbaden, Hesse, of pneumonia. His grave is located in the South Cemetery in Wiesbaden. he was 63. Klöpfer had a long-term relationship with the actress Flockina von Platen.
Sources: Wikipedia (English and German), and IMDb.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
attends the 2009 World Football Challenge game Chelsea FC vs Inter Milan, at the Rose Bowl stadium in Pasadena, California, on July 21, 2009
These are three actors prior to a re-enactment of action during WW II in the South Pacific. A narrator gave us a lesson on the history of some to these battles for our education. He was very well versed.
This "Sailor" was showing the actresses shots he had taken with his camera; probably candids of the two of them earlier. The one in green "fatigues" is shading the screen while the Aviatrix is admiring the photos.
Most of the actors/actresses were volunteers at the Nimitz Museum in Fredericksburg, TX. The show was outstanding and quite realistic of one of the battles. They actually demonstrated some weapons by firing a Thompson Machine Gun, a 12 guage shotgun, a 1903 Springfield rifle and an M1 rifle. During the "battle" they also fired a "flame thrower."
The battle was real enough to cause one to really think about the real thing.
A guest was introduced who sat near us who had been in the battle of Iwo Jima. He had to be in his 90's but, was very spry and animated waving to the crowd,
Actor Forest Whitaker and Popstar Shakira at the Media Welcome Reception at the Annual Meeting 2017 of the World Economic Forum in Davos, January 16, 2017
Copyright by World Economic Forum / Ciaran McCrickard
British Real Photograph postcard, no. 168A. Photo: Paramount Pictures.
Fred MacMurray (1908-1991) was an American actor and singer who appeared in more than 100 films and a successful television series during a career that spanned nearly a half-century, from 1935 to the 1970s. He often played the quintessential nice guy, but some of his strongest and best-remembered performances cast him against type as a villain such as in director Billy Wilder's Film Noir Double Indemnity (1944), with costars Barbara Stanwyck and Edward G. Robinson. From 1959 through the 1960s, MacMurray appeared in numerous Disney films, including The Absent-Minded Professor, The Happiest Millionaire, and The Shaggy Dog. In 1960, he turned to television as Steve Douglas, the widowed father on My Three Sons, which ran on ABC from 1960 to 1965 and CBS from 1965 to 1972.
Fred Martin MacMurray was born in Kankakee, Illinois in 1908. He was the son of Maleta (née Martin) and concert violinist Frederick Talmadge MacMurray. His aunt, Fay Holderness, was a vaudeville performer and actress. Before MacMurray was two years old, his family moved to Madison, Wisconsin, where his father taught music. They then relocated within the state to Beaver Dam, where his mother had been born. He later attended school in Quincy, Illinois before earning a full scholarship to Carroll College in Waukesha, Wisconsin. At Carroll, MacMurray played the saxophone in numerous local bands. He did not graduate from college. In 1930, he played saxophone in the Gus Arnheim and his Coconut Grove Orchestra when Bing Crosby was the lead vocalist and Russ Columbo was in the violin section. As a featured vocalist, he recorded in 1930 with the Gus Arnheim Orchestra on 'All I Want Is Just One Girl' on the Victor label. and with George Olsen on 'I'm In The Market For You' and 'After a Million Dreams'. MacMurray's musical aspirations eventually led him to Hollywood, where he frequently worked as an extra. He later joined the California Collegians and with them, he appeared on Broadway in the hit production 'Three's a Crowd'' (1930-1931) starring Sydney Greenstreet, Clifton Webb, and Libby Holman. He joined Holman on a duet of 'Something to Remember Me By'. He subsequently appeared in 'The Third Little Show' and alongside Sydney Greenstreet and Bob Hope in another hit show, 'Roberta' (1933-1934). In 1934, he signed with Paramount Pictures for the then-standard 7-year contract. At Paramount, he rose to fame in The Gilded Lily (Wesley Ruggles, 1935), a romantic comedy with Claudette Colbert. Seemingly overnight he was among the hottest young actors in town, and he quickly emerged as a favorite romantic sparring partner with many of Hollywood's leading actresses. Although the majority of his films of the 1930s can largely be dismissed as standard fare there are exceptions. Later in the 1930s, MacMurray worked with film directors Billy Wilder and Preston Sturges and actors Barbara Stanwyck, Henry Fonda, Humphrey Bogart, Marlene Dietrich and, in seven films, Claudette Colbert. He co-starred with Katharine Hepburn in Alice Adams (George Stevens, 1935), with Joan Crawford in Above Suspicion (Richard Thorpe, 1943), and with Carole Lombard in four productions: the screwball comedy Hands Across the Table (Mitchell Leisen, 1935), the mystery-comedy The Princess Comes Across (William K. Howard, 1936), the comedy-drama Swing High, Swing Low (Mitchell Leisen, 1937), and the screwball comedy True Confession (Wesley Ruggles, 1937). Usually, he was cast in light comedies as a decent, thoughtful character such as in The Trail of the Lonesome Pine (Henry Hathaway, 1936), an ambitious early outdoor 3-strip Technicolor hit with Henry Fonda. MacMurray spent the decade learning his craft and developing a reputation as a solid actor. In 1939, artist C. C. Beck used MacMurray as the initial model for the superhero character who became Fawcett Comics' Captain Marvel. The 1940s gave him his chance to shine. MacMurray became one of Hollywood's highest-paid actors of the period. By 1943, his annual salary had reached $420,000, making him the highest-paid actor in Hollywood and the fourth-highest-paid person in the nation. He scored a huge hit with the thoroughly entertaining The Egg and I (Chester Erskine, 1947), again teamed with Claudette Colbert and today largely remembered for launching the long-running Ma and Pa Kettle franchise.
Despite being typecast as a "nice guy", Fred MacMurray often said his best roles were when he was cast against type, such as under the direction of Billy Wilder and Edward Dmytryk. Perhaps his best known "bad guy" performance was that of Walter Neff, an insurance salesman who plots with a greedy wife (played by Barbara Stanwyck) to murder her husband in the Film Noir classic Double Indemnity (Billy Wilder, 1944). Another stellar turn in this category is MacMurray's cynical, spineless Lieutenant Thomas Keefer in Edward Dmytryk's The Caine Mutiny (1954). Six years later, MacMurray played Jeff Sheldrake, a two-timing corporate executive in Wilder's Oscar-winning romcom The Apartment (Billy Wilder, 1960) with Jack Lemmon and Shirley MacLaine. Throughout the mid-1950s he appeared primarily in low-budget action pictures, most of them Westerns. In 1958, he guest-starred in the premiere episode of NBC's Cimarron City Western series, with George Montgomery and John Smith. MacMurray's career continued upward the following year when he was cast as the father in the Disney Studios live-action comedy, The Shaggy Dog (Charles Barton, 1959). The film was an enormous hit. Then, from 1960 to 1972, he starred on television in My Three Sons, a long-running, highly rated series. Concurrent with My Three Sons, MacMurray stayed busy in films, starring as Professor Ned Brainard in Disney's The Absent-Minded Professor (Robert Stevenson, 1961) and in the sequel Son of Flubber (Robert Stevenson, 1963). MacMurray was nominated for a Golden Globe for The Absent-Minded Professor (Robert Stevenson, 1961). Using his star-power clout, MacMurray had a provision in his My Three Sons contract that all of his scenes on that series were to be shot in two separate month-long production blocks and filmed first. That condensed performance schedule provided him more free time to pursue his work in films, maintain his ranch in Northern California, and enjoy his favorite leisure activity, golf. Over the years, MacMurray became one of the wealthiest actors in the entertainment business, primarily from wise real estate investments and from his "notorious frugality". After the cancellation of My Three Sons in 1972, MacMurray made only a few more film appearances and one last feature, The Swarm (Irwin Allen, 1978), before retiring. HA lifelong heavy smoker, MacMurray suffered from throat cancer in the late 1970s, and it reappeared in 1987. He also suffered a severe stroke during Christmas 1988 which left his right side paralysed and his speech affected, although with therapy he was able to make a ninety percent recovery. After suffering from leukemia for more than a decade, Fred MacMurray died from pneumonia at age 83 in 1991 at his home in Santa Monica, California. His body was entombed in Holy Cross Cemetery. In 2005, his widow, actress June Haver, died at aged 79, and her body was entombed with him. MacMurray was married twice. He married dancer Lillian Lamont (legal name Lilian Wehmhoener MacMurray) in 1936, and the couple adopted two children, Susan (1940) and Robert (1946). After Lamont died of cancer in 1953, he married actress June Haver the following year. The couple subsequently adopted two more children - twins born in 1956 - Katherine and Laurie. MacMurray and Haver's marriage lasted 37 years, until Fred's death.
Sources: Jason Ankeny (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Aphrodisias (/æfrəˈdɪsiəs/;[1] Ancient Greek: Ἀφροδισιάς, romanized: Aphrodisiás) was a Hellenistic Greek city in the historic Caria cultural region of western Asia Minor, today's Anatolia in Turkey. It is located near the modern village of Geyre, about 100 km (62 mi) east/inland from the coast of the Aegean Sea, and 230 km (140 mi) southeast of İzmir.
Aphrodisias was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. According to the Suda, a Byzantine encyclopedic compilation, before the city became known as Aphrodisias (c. 3rd century BC) it had three previous Greek names: Lelégōn Pólis (Λελέγων πόλις, "City of the Leleges"),[2] Megálē Pólis (Μεγάλη Πόλις, "Great City"), and Ninóē (Νινόη).[3]
Sometime before 640, in the Late Antique period when it was within the Byzantine Empire, the city was renamed Stauropolis (Σταυρούπολις, "City of the Cross").[4]
In 2017, it was inscribed on the UNESCO World Heritage Site list.[5]
History
Aphrodisias was the metropolis (provincial capital) of the region and Roman province of Caria.[6]
White and blue-grey Carian marble was extensively quarried from adjacent slopes in the Hellenistic and Roman periods, for building facades and sculptures.[citation needed] Marble sculptures and sculptors from Aphrodisias became famous in the Roman world. Many examples of statuary have been unearthed in Aphrodisias, and some representations of the Aphrodite of Aphrodisias also survive from other parts of the Roman world, as far afield as Pax Julia in Lusitania.[7]
The city had notable schools for sculpture, as well as philosophy, remaining a centre of paganism until the end of the 5th century.[6] It was destroyed by earthquake in the early 7th century, and never recovered its former prosperity, being reduced to a small fortified settlement on the site of the ancient theatre.[6] Around the same time, it was also renamed to Stauropolis (Greek: Σταυροῡπολις, "city of the Cross") to remove pagan connotations, but already by the 8th century it was known as Caria after the region, which later gave rise to its modern Turkish name, Geyre.[6][8] In Byzantine times, the city was the seat of a fiscal administrative unit (dioikesis).[8]
Aphrodisias was sacked again by the rebel Theodore Mankaphas in 1188, and then by the Seljuk Turks in 1197. It finally fell under Turkish control towards the end of the 13th century...WIKIPEDIA
Aspiring actor and model. I've been stepping out of my comfort zone and doing more photo shoots lately. Watch out for Matthew, I believe he has it in him to do well in the business. Learn more about him here
City Park
New Orleans, Louisiana
.... John Barrymore (born John Sidney Blyth; February 14 or 15, 1882 – May 29, 1942) was an American actor on stage, screen and radio. A member of the Drew and Barrymore theatrical families, he initially tried to avoid the stage, and briefly attempted a career as an artist, but appeared on stage together with his father Maurice in 1900, and then his sister Ethel the following year. He began his career in 1903 and first gained attention as a stage actor in light comedy, then high drama, culminating in productions of Justice (1916), Richard III (1920) and Hamlet (1922); his portrayal of Hamlet led to him being called the "greatest living American tragedian".
After a success as Hamlet in London in 1925, Barrymore left the stage for 14 years and instead focused entirely on films. In the silent film era, he was well received in such pictures as Dr. Jekyll and Mr. Hyde (1920), Sherlock Holmes (1922) and The Sea Beast (1926). During this period, he gained his nickname, the Great Profile. His stage-trained voice proved an asset when sound films were introduced, and three of his works, Grand Hotel (1932), Twentieth Century (1934) and Midnight (1939) have been inducted into the National Film Registry.
Barrymore's personal life has been the subject of much attention before and since his death. He struggled with alcohol abuse from the age of 14, was married and divorced four times, and declared bankruptcy later in life. Much of his later work involved self-parody and the portrayal of drunken has-beens ....
Da un idea di Giulia Catania, progetto attore/doppiatore. Con l'aiuto di Giorgio Violino e Andrea Marietta. Grazie alla collaborazione di Spazio 211 - Torino. L’attore ci affascina, ci conquista, ci fa scegliere un film. È in grado di condizionare con il suo nome, il suo volto, la sua storia, la scelta di uno spettacolo, di inchiodarci alla poltrona. Poi nel buio, quando il racconto ci trattiene, ecco che la fascinazione del volto perde forza ed è la voce che ci conquista, la sua capacità di trasformare un momento di banali sequenze, in recitazione. La storia diventa rifrangenze, sonorità, una malia. Il volto lentamente si stempera e, da quel momento, l’attore diventa la sua voce e quella voce ci seguirà in altre storie, ritornerà altre volte e sempre riandremo a quelle emozioni che hanno saputo conquistarci. A poco a poco ogni attore si sfuma, perde consistenza, quasi si annulla e di lui resta, rimbalzando per altre opere, per momenti anche brevi, la sua voce, come una eco, come un miraggio. La parte è diventata il tutto e quel tutto sarà eterno, insostituibile. Cadono i capelli spuntano le rughe, il volto diviene meno bello, non è più interessante, ma c’è una parte di quel ritratto di Dorian Gray, in una sala di registrazione, che mai invecchia che sempre resta giovane, magari un po’ più maturo, ma migliora, ogni volta, ad ogni appuntamento. E la bravura di chi dietro lo specchio anima la vita professionale di un attore, spesso viene fraintesa, dimenticata, sottovalutata. Ho voluto con questo mio lavoro restituire un volto a una voce, rendere giustizia e chi è costretto a vivere di riflesso. Sovente, finiamo per amare di più quella voce che quell’attore, anzi quell’attore ci piace proprio per quella voce. Loro danno una vita nuova agli attori che doppiano, io ho voluto restituire una vita a chi riesce a farmi continuare un sogno. Quindi, in questo gioco, ho deciso di far doppiare fisicamente in foto l'attore, in questo caso Alex Polidori, che doppia con la voce e nelle mie foto Tom Holland (Spiderman). L'idea è di fare un progetto più completo con un buon numero di doppiatori che potrebbero prendere parte alla mia idea. Se sei un doppiatore e ti interessa chiamami.
Vintage British postcard by Film Weekly, series 'Filmshots'. John Barrymore and Myrna Loy in Topaze (Harry D'Abbadie D'Arrast, RKO 1933).
John Barrymore (1882-1942) was an American stage and screen actor whose rise to superstardom and subsequent decline is one of the legendary tragedies of Hollywood. A member of the most famous generation of the most famous theatrical family in America, he was also its most acclaimed star. He excelled in high drama, in productions of 'Justice' (1916), 'Richard III' (1920) and 'Hamlet' (1922). After a success as Hamlet in London in 1925, Barrymore left the stage for 14 years and instead focused entirely on films.
Roman copy of Greek original from post 4th century BC. Made c100AD, Rome, Quirinal Hill. It shows an actor wearing the woollen costume of Silenus from an Attic satyr play of the classical period. Antikensammlung, Berlin.
Actor
Learn more about Bryan here
www.imdb.com/name/nm6882080/?ref_=nmmd_md_nm
Rivertown
Kenner, Louisiana