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German postcard printed by WS-Druck, Wanne-Eickel, no. F 39. Photo: Bayer.
Winnie Markus (1921-2002) was in the 1950s and 1960s one of Germany’s most famous actresses.
At 16 she went to Vienna to be trained by Max Reinhardt and soon she made a name for herself on the Viennese stage. Her film debut was a small part in Mutterliebe (1939, Gustav Ucicky). During WW II she became a Ufa star with such films as Das alte Lied (1945, Fritz Peter Buch), based on a novel by Theodor Fontane and filmed in Amsterdam and The Hague. The Mozart biography Wenn die Götter lieben (1942, Karl Hartl), in which she played his wife Konstanze, was shelved, unfinished when the war began. After the war, producer Abrasha Haimson bought the rights, hired director Frank Wisbar and filmed new scenes to finish the picture. In 1948 he released it as a new film, The Mozart Story.
Despite her past as an Ufa star, Winnie Markus could go on playing in many stage plays and films after the war, even in such anti-Nazi films as In jenen Tagen (1947, Helmut Käutner), Zwischen gestern und morgen (1947, Harald Braun) and Morituri (1948, Eugen York). Her best known films are the crime thriller Teufel in Seide (1956, Rolf Hansen), Der Priester and das Mädchen (1958, Gustav Ucicky) and Was eine Frau in Frühling träumt (1959, Erik Ode, Arthur Maria Rabenalt). Her co-stars were actors like Curd Jürgens, O.W. Fischer and Paul Hubschmid. In 1961 she retreated, but when she made her come-back in 1980 she was still popular and in demand. She worked often for tv. In 1986 the German film world awarded her with the Filmband in Gold for her entire career and in 1988 she was awarded with the Bundesfilmkreuz.
Sources: AbsoluteFacts.nl, Wikipedia, and IMDb.
German postcard by Ross Verlag, no. A 3271/1, 1941-1944. Photo: Quick/Tobis.
German actress Käthe Dorsch (1890 - 1957) was a famous stage actress in Vienna and Berlin. She also made several silent and sound films.
Katharina Dorsch was born in 1890, in Neumarkt in der Oberpfalz, Germany. She was the daughter of a gingerbread baker from Nürnberg (Neurenberg). After commercial school she followed piano classes and as a fifteen year old she started singing in a chor in neurenberg, and subsequently in operettas in Hanau and Mannheim. Her career really started in 1908 as an operetta soubrette with a performance in Wiener Blut/Vienna Blood in Mainz, and in 1911 she moved to Berlin for an engagement at the Neue Operettentheater. More Berlin engagements followed in theatres like the Lessingtheater and the Deutschen Theater. In 1927 she started to work in Vienna and appeared there at the Volkstheater. From 1939 till her death she was a permanent member of the Burgtheater. From 1951 she also appeared again on the stages of Berlin.
As early as 1913 Käthe Dorsch had her first film role in the short, silent comedy Wenn die Taxe springt (1913, Danny Kaden). In 1920 she married colleague film star Harry Liedtke, with whom she had appeared in the fairy tale Dornröschen/Sleeping Beauty (1917, Paul Leni). They were a couple for eight years. She played in several films, including Der Blusenkönig/The King of Blouses (1917, Ernst Lubitsch), Erborgtes Glück/Hided Happiness (1919, Arthur Wellin) with Alexander Moissi, and the August Strindberg adaptation Fräulein Julie/Miss Julie (1921, Felix Basch) with Asta Nielsen. Then followed a long interval till 1930, when she appeared in Die Lindenwirtin/The Linden Tree Landlady (1930, Georg Jacoby) with Hans Heinz Bollmann. The sound film offered her more possibilities to express herself. She impersonated important women like Maria Theresia in Trenck, der Pandur/Trenck, the Pandur (1940, Herbert Selpin) and Friederike Caroline Neuber in the melodrama Komödianten/The Comedians (1941, Georg Wilhelm Pabst). Other popular films in which she appeared were Drei Tage Liebe/Three Days of Love (1931, Heinz Hilpert) with Hans Albers, the murder mystery Savoy-Hotel 217 (1936), the Oscar Wilde adaptation Eine Frau ohne Bedeutung/A Woman of No Importance (1936, Hans Steinhoff), Mutterliebe/Mother Love (1939, Gustav Ucicky), and Morgen werde ich verhaftet/Tomorrow I Will Be Arrested (1939, Karl-Heinz Stroux) with Ferdinand Marian. During the war she played a heroic role by saving colleagues in trouble. For this she used her friendship with Hermann Göring, whom she know from her childhood.
After the war Käthe Dorsch devoted her self to the Burgtheater for which she played major parts in classic plays. Incidentally she appeared in films like Singende Engel/Singing Angels (1947, Gustav Ucicky) with Hans Holt, Fahrt ins Glück/Journey Into Happiness (1948, Erich Engel) with Rudolf Forster and Hildegard Knef, the melodrama Der Bagnosträfling/ The Bagno Convict (1949, Gustav Fröhlich) with Paul Dahlke, Winnie Markus, and Paul Hörbiger, Das Kuckucksei/The Cuckoo’s Egg (1949, Walter Firner) with Curd Jürgens, and Regine (1955) with Horst Buchholz. In 1956 she caused a media scandal, when she slapped Vienna theatre critic Hans Weigel in the face in broad daylight. In the following trial she was condemned to pay 500 Schilling. Käthe Dorsch died in 1957, in Vienna, Austria. She determined her heritage for a foundation to help poor artists. This foundation still exists today. In Vienna there is now a Käthe-Dorsch-Gasse, and in Berlin a street is called the Käthe-Dorsch-Ring.
Sources: Thomas Staedeli (Cyranos), Steffi-line.de,Wikipedia, and IMDb.
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 3393 17, 1956. Photo: DEFA / Wunsch.
Sturdy and blond Henny Porten (1890-1960) was one of Germany's most important and popular film actresses of the silent cinema. She was also the producer of many of her own films. She became the quintessence of German womanhood, ladylike yet kindhearted.
Frieda Ulricke 'Henny' Porten was born in Magdeburg, Germany in 1890. She was the second daughter of Franz Porten, an opera baritone and actor-director at the Stadtheater of Magdeburg, and his wife Wincenzia, whose maiden name was Wybiral. Her older sister was actress and script-writer Rosa Porten. In January 1906, Franz Porten was engaged by film pioneer Oskar Messter to direct six Biophon-Sound Pictures. These were short early sound films that were projected with synchronously playing gramophone records. So Henny made her film debut in Apachentanz/Apache Dance (Oskar Messter, 1906). This made her one of the earliest film actresses anywhere in the world. She went on to perform in numerous sound pictures mostly for the Deutsche Mutoskop- und Biograph GmbH, which included her work also in their Mutoskop-peepboxes. Her work involved singing in three different languages by moving her lips in a synchronised fashion to a gramophone record. Despite having no training in acting, this work allowed her to become a highly experienced actress. Five years later audiences were clamouring to know the name of the blonde (and blind) girl in Das Liebesgluck der Blinden/The joy of love of the blind (Heinrich Bolten Baeckers, Curt A. Stark, 1911), a melodrama written for her by her sister Rosa Porten. In 1912 she married Curt A. Stark, who would direct most of her films until his death in 1916. In 1912 Messter concluded a one month contract with her, which had been repeatedly extended. After the success of Eva (Curt A. Stark, 1913), she started the Henny Porten Film Star Series, beginning with Der Feind im Land/The enemy in the country (Curt A. Stark, 1913).
Following the exodus in the film industry at the beginning of the First World War, Henny Porten initiated, as if personally, the renaissance of the German cinema with Das Ende vom Liede/The end of the Song (Rudolf Biebrach, 1915) with Ludwig Trautmann. Rudolf Biebrach, who in earlier films often played her father, now took on the job of film director. The Porten films were at the peak of their success. Henny Porten embodied the ultimate Wilhelminian actress, with her long, blond hair, her innocent-looking face and her rounds. Though she often performed as the tragic, self-sacrifying woman, tormented by class conflicts and evil men, like in Alexandra (Curt A. Stark, 1915), she also proved to be an able comedienne, like in Gräfin Küchenfee (Robert Wiene, 1918) with Ernst Hofmann. In 1916, her husband and director Curt Stark died on the Western Front.
Henny Porten reached a new height of her screen career under the gentle guidance of Ernst Lubitsch, who cast her as the title characters in Anna Boleyn (Ernst Lubitsch, 1920), a biopic on the ill-fated second wife of the English king Henry VIII (Emil Jannings), and the comedy Kohlhiesels Töchter/Kohlhiesel's Daughters (Ernst Lubitsch, 1920) in which Porten played both Liesel the ugly daughter as well as her beautiful sister Gretel. The success of these films resulted in an invitation for Porten and her co-star Emil Jannings to come to Hollywood, but Henny remained in Germany. In March 1921, she established the company Henny Porten Films GmbH, and that year she also remarried, to doctor Wilheim von Kauffman. After the box office hit Die Geierwally/Wally of the Vultures (Ewald André Dupont, 1921) with Wilhelm Dieterle, Porten produced the highly ambitious studio film Hintertreppe/Backstairs (Paul Leni, Leopold Jessner, 1921). While highly praised by critics, the film was financially unsuccessful. After three further years of rather unsuccessful films, Henny Porten's film company went bankrupt in 1923. In spite of this she continued to have a longstanding and prolific acting career throughout the 1920s with films like Gräfin Donelli/Countess Donelli (Georg Wilhelm Pabst), 1924 and Mutter und Kind/Mother and Child (1924) with Friedrich Kayssler, the first of a series of films directed and produced by by her former director of photography, Carl Froelich.
Henny Porten seemed to pass from silent to sound cinema without any obstacles. She starred in such films as Mutterliebe/Mother Love (Georg Jacoby, 1929) with Gustav Diessl, Die Herrin und ihr Knecht/The Boss and Her Servant (Richard Oswald, 1929) with Mary Kid, and a remake of Kohlhiesels Töchter/Kohlhiesel's Daughters (Hans Behrendt, 1930) opposite Fritz Kampers. The following year she achieved her long planned for project, the film Luise, Königin von Preußen/Luise, Queen of Prussia (Carl Froelich, 1931) with Gustaf Gründgens, which ultimately bankrupted her company in the summer of 1932. After this project, Porten was considered to be a risk within the film industry. With no film engagements coming, she sought refuge on stage. She achieved renewed film success in the autumn of 1933, with the sound film remake of Mutter und Kind/Mother and Child (Hans Steinhoff, 1933). She had become the quintessence of German womanhood, ladylike yet kindhearted and a not a little petit bourgeois. There were years Henny Porten had done twelve films a year, but the Nazi takeover of Germany in 1933 brought her career to an almost standstill. Her refusal to divorce her Jewish husband Wilhelm von Kaufmann got her in trouble with propaganda minister Josef Goebbels. When she resolved on emigration to join Ernst Lubitsch in Hollywood, he denied her an exit visa to prevent a negative impression. Goebbels tried to ban her from the film industry, but she made a few films after Allied bombardment started, and her placid and reassuring persona helped calm audiences. In 1937 she was taken on by the Tobis company on a work for money basis, but was never offered any work. Porten was permitted to work in such Austrian-made films as the comedy Der Optimist/The Optimist (E.W. Emo, 1938) with Viktor de Kowa and Theo Lingen, and the crime drama War es der im Dritten Stock/Was It Him on the Third Floor? (Carl Boese, 1938).
Henny Porten was hired by old friend G.W. Pabst to play the duchess in Komödianten/The Comedians (Georg Wilhelm Pabst, 1941) with Käthe Dorsch and Hilde Krahl, and she was reunited with Carl Froelich for the homey comedy Familie Buchholz/The Buchholz Family (Carl Froelich, 1944). In 1944, after an aerial mine destroyed their home, Porten and her husband were out on the streets, as it was forbidden to shelter a full Jew. After the war, offers remained poor. Henny Porten lived in Ratzeburg and performed in Lübeck and the Hamburg Theater in 1947. She was given a small role in the comedy Absender unbekannt/Sender unknown (Ákos Ráthonyi, 1950). So in 1953 she followed an invitation made by the DEFA studio to go east to the new DDR. There she played leading roles in Carola Lamberti - Eine vom Zirkus/Carola Lamberti - One From the Circus (Hans Müller, 1954) and the crime drama Das Fräulein von Scuderi/The Miss from Scuderi (Eugen York, 1955), which would prove to be her last film. In the Western press her step was branded as that of a 'deserter'. When Porten and her husband returned to Ratzeburg in 1955, they were evicted by their landlord. Von Kaufmann lost his practice. Through the press, Porten unsuccessfully asked for work in film. They moved to Berlin in 1957, where Von Kaufmann died in 1959. In 1960, Henny Porten finally was awarded the Bundesverdienstkreuz, but she died after suffering a severe illness a few months later. Between 1906 and 1955 Henny Porten had appeared in over 170 films.
Sources: Thomas Staedeli (Cyranos), Hans J. Wollstein (AllMovie), Denny Jackson (IMDb), Filmportal.de, Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Ross-Verlag, no. A 3096/1, 1941-1944. Photo: Tobis / Quick.
German actor Paul Henckels (1885-1967) appeared in over 230 films, often as a supporting actor. He played in films by directors like Fritz Lang, Jacques Feyder, and G.W. Pabst. He also worked as a stage actor, a stage director, and as a theatre manager.
Paul Henckels was born in 1885 in Hürth, near Köln (Cologne), Germany. His father was the industrialist and painter Paul Abraham Henckels and his mother was the actress Cäcilia Warszawska. Paul studied from 1905 till 1907 at the Hochschule für Bühnenkunst at the Düsseldorfer Schauspielhaus. He made his first stage appearance in Kotzebue’s Die deutschen Kleinstädter; and was a great success in the title role of Schneider Wibbel (1913), written by his school buddy Hans Müller-Schlösser. The great Max Reinhardt invited him in 1920 to come to Berlin. In 1921, Henckels was a co-founder and the artistic director of the Schlosspark-Theater in Berlin. Here he appeared in 1922 as Molière’s Der Geizige/The Miser. He later would work for the Volksbühne, Deutschen Theater and many other Berlin stages. From 1936 till 1945 he was engaged at the prestigious Preußischen Staatstheater in Berlin under intendant Gustaf Gründgens. In 1921 film star Henny Porten discovered him for the cinema. After a minor part as "O. Henckels" in Das Geheimnis der sechs Spielkarten, 5. Teil – Herz König (1921), Porten gave him the male lead as the evil antagonist Jasper in Das Geheimnis von Brinkenhof (Svend Gade, 1923).
Among his other silent films are INRI (Robert Wiene, 1923) with Porten, Staatsanwalt Jordan (Karl Gerhardt, 1926) with Hans Mierendorff, Thérèse Raquin (Jacques Feyder, 1928) starring Gina Manès, Der Biberpelz/The Beaver Fur (Erich Schönfelder, 1928) opposite La Jana, Die große Liebe (Revolutionshochzeit) (A.W. Sandberg, 1928) with Diomira Jacobini and Karina Bell, Ariadne in Hoppegarten (Robert Dinesen, 1928) with Maria Jacobini, Der Unüberwindliche (Max Obal, 1928) with Luciano Albertini, Geschlecht in Fesseln (Wilhelm Dieterle, 1928), § 173 St.G.B. Blutschande/Culpable Marriages (James Bauer, 1929), and the Henny Porten films Liebfraumlich (Carl Froehlich, 1928-29) and Mutterliebe (Georg Jacoby, 1929). When the sound film was near at hand he was enthusiastic about the idea of a talking picture. He worked at the ‘practice of the sound film actor’, and directed a short film, Paul Graets als Berliner Zeitungsjunge (1929). The early sound film offered him leading parts in such films as Skandal um Eva/Scandal Around Eva (Georg Wilhelm Pabst, 1930) starring Henny Porten, Er und sein Diener/He and His Servant (Steve Sekely, 1931), and Flachsmann als Erzieher/Flachsmann as Educator (Carl Heinz Wolff, 1930) opposite Charlotte Ander. He directed himself in Schneider Wibbel/Tailor Wibbel (Paul Henckels, 1931).
Typical for Paul Henckels film characters is their accent and humour from the Rhineland region. He often played cranky and stubborn fellows. Among his films were Das Testament des Dr. Mabuse/ The Testament of Dr. Mabuse (Fritz Lang, 1933), Ein idealer Gatte/An Ideal Husband (Herbert Selpin, 1935) starring Brigitte Helm; Napoleon ist an allem Schuld/Napoleon is to Blame for Everything (Curt Goetz, 1938), Der Maulkorb/The Muzzle (Erich Engel, 1938) and Zwei in einer großen Stadt/Two in a Big City (Volker von Collande, 1942). Unforgettable was his character Professor Bommel in Die Feuerzangenbowle (Helmut Weiss, 1944). This is the second film version of Heinrich Spoerl's novel about pupils playing various tricks and jokes on their teachers. The twist in the story is the leader of the pack, the major cause of the teachers' headaches: Johannes Pfeiffer (Heinz Rühmann) is not a real pupil at all. He is a successful playwright with a PhD. One evening at the pub his friends discover that he never went to a school but was educated privately. Their stories of their boyhood years persuade him to see for himself and 'be a boy again'. The film was made in 1944, so it is a bit astonishing that the Nazi censors were prepared to pass a film with such an anti-authoritarian message. Die Feuerzangenbowle is very well made and today enjoys a cult status in Germany.
Paul Henckels’ first post-war film was Wozzeck (Georg C. Klaren, 1947), based on the famous play by Georg Büchner. In this early DEFA production he played a cold and cynically experimenting doctor. His later roles were more stereotypical characters. To his last films belong Pension Schöller (Georg Jacoby, 1952) starring Camilla Spira, Hollandmädel (J. A. Hübler-Kahla, 1953), Staatsanwältin Corda/Prosecutor Corda (Karl Ritter, 1954), Kirschen in Nachbars Garten/Cherries in the Neighbour’s Garden (Erich Engels, 1956), and Bekenntnisse des Hochstaplers Felix Krull/Confessions of Felix Krull (Kurt Hoffmann, 1957) featuring Horst Buchholz. He focussed on his stage work and did recital tours, performing Wilhelm Busch and German classics. During the 1950s and 1960s he also appeared often on TV, like in Die fröhliche Weinrunde/The Cheerful Wine Bout with singer Margit Schramm, and in Nachsitzen für Erwachsene/Detention for Adults as a professor, who explained interesting phenomenons for a class with four adults (among them was film actor Hans Richter). In 1962 he was awarded the Filmband in Gold for his longtime and important contributions to the German cinema. Paul Henckels died in 1967 in Kettwig, now Essen. He was married with actress Thea Grodtzinsky. His first wife was Cecilia Brie, a former actress, with whom he had three children.
Sources: Thomas Staedeli (Cyranos), Stephanie D'heil (Steffi-line.de), Wikipedia, Filmportal.de, and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Ross-Verlag, no. A 2691/1, 1939-1940. Photo: Tobis / Quick.
German actor Paul Henckels (1885-1967) appeared in over 230 films, often as a supporting actor. He played in films by directors like Fritz Lang, Jacques Feyder, and G.W. Pabst. He also worked as a stage actor, a stage director, and as a theatre manager.
Paul Henckels was born in 1885 in Hürth, near Köln (Cologne), Germany. His father was the industrialist and painter Paul Abraham Henckels and his mother was the actress Cäcilia Warszawska. Paul studied from 1905 till 1907 at the Hochschule für Bühnenkunst at the Düsseldorfer Schauspielhaus. He made his first stage appearance in Kotzebue’s Die deutschen Kleinstädter; and was a great success in the title role of Schneider Wibbel (1913), written by his school buddy Hans Müller-Schlösser. The great Max Reinhardt invited him in 1920 to come to Berlin. In 1921, Henckels was a co-founder and the artistic director of the Schlosspark-Theater in Berlin. Here he appeared in 1922 as Molière’s Der Geizige/The Miser. He later would work for the Volksbühne, Deutschen Theater and many other Berlin stages. From 1936 till 1945 he was engaged at the prestigious Preußischen Staatstheater in Berlin under intendant Gustaf Gründgens. In 1921 film star Henny Porten discovered him for the cinema. After a minor part as "O. Henckels" in Das Geheimnis der sechs Spielkarten, 5. Teil – Herz König (1921), Porten gave him the male lead as the evil antagonist Jasper in Das Geheimnis von Brinkenhof (Svend Gade, 1923).
Among his other silent films are INRI (Robert Wiene, 1923) with Porten, Staatsanwalt Jordan (Karl Gerhardt, 1926) with Hans Mierendorff, Thérèse Raquin (Jacques Feyder, 1928) starring Gina Manès, Der Biberpelz/The Beaver Fur (Erich Schönfelder, 1928) opposite La Jana, Die große Liebe (Revolutionshochzeit) (A.W. Sandberg, 1928) with Diomira Jacobini and Karina Bell, Ariadne in Hoppegarten (Robert Dinesen, 1928) with Maria Jacobini, Der Unüberwindliche (Max Obal, 1928) with Luciano Albertini, Geschlecht in Fesseln (Wilhelm Dieterle, 1928), § 173 St.G.B. Blutschande/Culpable Marriages (James Bauer, 1929), and the Henny Porten films Liebfraumlich (Carl Froehlich, 1928-29) and Mutterliebe (Georg Jacoby, 1929). When the sound film was near at hand he was enthusiastic about the idea of a talking picture. He worked at the ‘practice of the sound film actor’, and directed a short film, Paul Graets als Berliner Zeitungsjunge (1929). The early sound film offered him leading parts in such films as Skandal um Eva/Scandal Around Eva (Georg Wilhelm Pabst, 1930) starring Henny Porten, Er und sein Diener/He and His Servant (Steve Sekely, 1931), and Flachsmann als Erzieher/Flachsmann as Educator (Carl Heinz Wolff, 1930) opposite Charlotte Ander. He directed himself in Schneider Wibbel/Tailor Wibbel (Paul Henckels, 1931).
Typical for Paul Henckels film characters is their accent and humour from the Rhineland region. He often played cranky and stubborn fellows. Among his films were Das Testament des Dr. Mabuse/ The Testament of Dr. Mabuse (Fritz Lang, 1933), Ein idealer Gatte/An Ideal Husband (Herbert Selpin, 1935) starring Brigitte Helm; Napoleon ist an allem Schuld/Napoleon is to Blame for Everything (Curt Goetz, 1938), Der Maulkorb/The Muzzle (Erich Engel, 1938) and Zwei in einer großen Stadt/Two in a Big City (Volker von Collande, 1942). Unforgettable was his character Professor Bommel in Die Feuerzangenbowle (Helmut Weiss, 1944). This is the second film version of Heinrich Spoerl's novel about pupils playing various tricks and jokes on their teachers. The twist in the story is the leader of the pack, the major cause of the teachers' headaches: Johannes Pfeiffer (Heinz Rühmann) is not a real pupil at all. He is a successful playwright with a PhD. One evening at the pub his friends discover that he never went to a school but was educated privately. Their stories of their boyhood years persuade him to see for himself and 'be a boy again'. The film was made in 1944, so it is a bit astonishing that the Nazi censors were prepared to pass a film with such an anti-authoritarian message. Die Feuerzangenbowle is very well made and today enjoys a cult status in Germany.
Paul Henckels’ first post-war film was Wozzeck (Georg C. Klaren, 1947), based on the famous play by Georg Büchner. In this early DEFA production he played a cold and cynically experimenting doctor. His later roles were more stereotypical characters. To his last films belong Pension Schöller (Georg Jacoby, 1952) starring Camilla Spira, Hollandmädel (J. A. Hübler-Kahla, 1953), Staatsanwältin Corda/Prosecutor Corda (Karl Ritter, 1954), Kirschen in Nachbars Garten/Cherries in the Neighbour’s Garden (Erich Engels, 1956), and Bekenntnisse des Hochstaplers Felix Krull/Confessions of Felix Krull (Kurt Hoffmann, 1957) featuring Horst Buchholz. He focussed on his stage work and did recital tours, performing Wilhelm Busch and German classics. During the 1950s and 1960s he also appeared often on TV, like in Die fröhliche Weinrunde/The Cheerful Wine Bout with singer Margit Schramm, and in Nachsitzen für Erwachsene/Detention for Adults as a professor, who explained interesting phenomenons for a class with four adults (among them was film actor Hans Richter). In 1962 he was awarded the Filmband in Gold for his longtime and important contributions to the German cinema. Paul Henckels died in 1967 in Kettwig, now Essen. He was married with actress Thea Grodtzinsky. His first wife was Cecilia Brie, a former actress, with whom he had three children.
Sources: Thomas Staedeli (Cyranos), Stephanie D'heil (Steffi-line.de), Wikipedia, Filmportal.de, and IMDb.
And, please check out our blog European Film Star Postcards.
Antoine Bourdelle, Montauban 1861 – Le Vésinet 1929, Frankreich
Mutterliebe - Maternity (ca. 1893)
Antoine Bourdelle war als Bildhauer und Kunstlehrer tätig. Zu seinen Schülern gehörten unter anderem Henri Matisse und Alberto Giacometti . Viele seiner Werke befinden sich im Musée Bourdelle in Paris.
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Antoine Bourdelle, born Émile Antoine Bordelles, was an influential and prolific French sculptor and teacher. He was a student of Auguste Rodin, a teacher of Giacometti and Henri Matisse, and an important figure in the Art Deco movement and the transition from the Beaux-Arts style to modern sculpture.
Mother’s day! So many people will say today: „For the best mummy in the whole world!“ And of course my sons say the same about their mother. They know: „You’re simply the best!“ Here my elder son is holding this heart: „Just for you, mummy!
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„Über Mutterliebe keine Liebe.“
(Alter Spruch)
A touching statue at the grave of and memorial to Mathilde Merck in Darmstadt, Germany. Mathilde Merck was a member of the close circle around the opera composer Richard Wagner, and her house was a center for the arts and society. Please view in full size for best effect. These statues are life size.
5 images, processed with Photomatix 2.5 and Photoshop Elements 5, exposure times between 1/25 sec and 6/10 sec, at f5.6 and 85 mm.
Mich selbst stört hier die abgeschnittene Uhr, das Foto ist allerdings nicht geschnitten, weshalb mehr Raum nach unten nicht möglich ist. Den hellen Punkt im Hintergrund über dem Kopf der Mutter hatte ich erst weggestempelt, irgendwie erschien mir die Gesamtwirkung des mittigen Hintergrundes dann aber etwas „nackig“, weshalb ich ihn wieder eingesetzt habe.
It was an early morning in Udaipur, the 5th station on our round trip through Rajasthan. I was actually just sitting around on the roof top terrace not expecting anything but a warm, sunny morning and the quietness of Udaipur's early hours. But next to our guest house there was a Haveli museum (Havelis are the old indian houses) that was occupied with a herd of monkeys that was doing their morning business such as playing and delousing. Suddenly this mother and her baby were jumping on the balustrade of the terrace, giving me a heart attack and I have to admit I was rather scared. Kinda big they are and I didnt know how the mother would react to my presence. But she was very calm and focussed on feeding her little one. I sneaked closer to get them into the right composition with the lake palace (you will know it if you saw James Bond's Octopussy which was filmed in Udaipur) in the background. Turned out to be my most successful photo so far. And one of the most special moments on our journey.
"Lichtfee Peri", Skulptur von Francis Fuller in der Hermesvilla, dem ehemaligen Schloss von Kaiserin Elisabeth von Oesterreich, im Lainzer Tiergarten, dem damaligen kaiserlichen Jagdrevier.
Schützende Mutterliebe in der Natur 💚
Auf diesem Bild ist eine Nilgans (Alopochen aegyptiaca) zu sehen – aufmerksam und wachsam an einem ruhigen Gewässer. Die aus Afrika stammende Art hat sich mittlerweile auch in Europa, besonders in Deutschland, erfolgreich angesiedelt.
🍼 Unter ihren Flügeln: ihre Küken – kaum zu erkennen im schützenden Schatten des Gefieders. Diese Szene zeigt eindrucksvoll den ausgeprägten Brut- und Schutzinstinkt der Nilgans, die ihre Jungen energisch verteidigt und stets in der Nähe behält. ️
🌱 Die Aufnahme erinnert uns daran, wie wichtig familiäre Bindungen auch im Tierreich sind.
#nilgans #AlopochenAegyptiaca #natures_lights
#ElegantNature #Tierfotografie #FotografieLiebe #animal
#natures_elegance #your_wildlife_june25
#your_wildlife_ #hobbyfotografie #portrait #tierportrait #wildlife
#wildlife__perfection #raw_wildlifejune25 #raw_wildlife_ #lensloves_animals
#naturephotography #sonyphotography #teamsony #rk_wildlife #rawwildlife #raw_wildlife #sonyalpha7 #sonyalpha #sony200600g #sonyalpha7rv #wildlifephotography #sony
©️ Taken by me -> @ah93_photography
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Wenn euch meine Fotos gefallen würde ich mich freuen wenn ihr diese mit „Gefällt mir“ markiert, in eurer Story teilt oder ihr einen Kommentar hinterlasst Das hilft dem Algorithmus meine Beiträge besser zu platzieren 😇 Ebenso wäre ich jedem dankbar der Kritik an meinen Fotos übt und mir Tipps geben würde was ich verbessern kann, nur so wird man besser
Collage No. 313/360
from the Series „The Journey“ (Psychogramm in 360 Collages)
Part 2: The Better Half
18 x 23 cm
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This photo shows Moko and her child Leila that unfortunately drowned months later.I find this pic touching at least my soul because of the tender way Moko holds her child's hand.I know it's a bit out of focus - I focused on Moko and later at home saw this scene on my bigger monitor
Don't ask me, why it's called motherlove. It was the first word that came into my mind as i searched for a filename.
German postcard by Ross Verlag, no. 3772/1. Photo: Alex Binder.
Elisabeth Pinajeff (1900-1995) was a Russian-Lithuanian actress who starred in German and French cinema in the 1920s and 1930s. In the 1950s she was also involved in the notorious scandal of the Ballets roses.
Sources stated different birth dates and locations for Elisabeth Pinajeff. While Ciné-Artistes indicates she was born 4. April 1900 in Vilnius, then part of the Russian Empire and now Lithuania, Thomas Staedeli indicates instead she was born 17. April 1900 in Jekaterinoslaw, now Dnipropetrowsk in Ukraine. Pinajeff was the daughter of architect Serge Pinajeff and countess Anna Popov. In the 1910s she did her studies in Kharkiv (Charkow), in Ukraine, and did dramatic studies too. She supposedly played in two silent Russian films, but which ones is unknown. At age 19 she already married an engineer. When he got a job in Germany, she moved with him. Her chance came in 1921, when Danish director Carl Theodor Dreyer was looking for real Russians for his new German film Die Gezeichneten and advertised in a newspaper. Elisabeth Pinajeff got a small part in Die Gezeichneten. Not the female lead as Ciné-Artistes claims, because that was reserved for countess Polina Piechowska, while the male lead was played by Wladimir Gaidarow. Subsequently, Pinajeff contribued to many silent German films, often as classy seductress. Soon Pinajeff’s star rose, as she already had the female lead in her second German film, Königsliebchen (1923-1924, Heinz Schall), opposite renowned actors such as Bruno Kastner.
In the mid-1920s Pinajeff often was second actress after the female leading actress, and so probably destined to play the rival, as in Die Brigantin von New York (Hans Werckmeister 1924) with Lotte Neumann, and Herrn Philip Collins Abenteuer (Johannes Guter 1925) with Georg Alexander and Ossi Oswalda. In 1926 she had the female lead in the aristocratic drama Spitzen (Holger-Madsen 1926) opposite Olaf Fönss and Evelyn Holt. She was the dancer Beatrice opposite Luciano Albertini in the adventure film Rinaldo Rinaldini (Max Obal 1926-1927). She played opposite Alfons Fryland in Gern habe ich die Frauen gekusst (Bruno Rahn 1926). She was one of the three models in Die drei Mannequins (1926) by Jaap Speyer. She played opposite Maly Delschaft in Die Kleine und ihr Kavalier (Richard Löwenstein 1926), opposite Livio Pavanelli and Hans Albers in Die lachende Ehemenn (Rudolf Walther-Fein 1926), with Erich Kaiser-Titz in Was Kinder den Eltern verschweigen (Franz Osten 1927), with Xenia Desni in Ein rheinisches Mädchen beim rheinischen Wein (Johannes Guter 1927), with Angelo Ferrari and Hans Mierendorff in Die Sünderin (Mario Bonnard 1927), with Laine Haid in Die Dollarprinzessin und ihre sechs Freier (Felix Basch 1927), with Jack Trevor in Die Dame und ihr Chauffeur (Manfred Noa 1927-1928), etc. Leads in the late 1920s Pinajeff had a.o. in the Austrian productions Wem gehört meine Frau (Hans Otto Löwenstein 1928) and Mitternachtswalzer (Heinz Paul 1928), both with André Mattoni, while she was reunited with Evelyn Holt in the Anglo-German-Hungarian production Der fesche Husar (Geza von Bolvary 1928). Most of her films in the late silent era were German, though, such as Mutterliebe (Georg Jacoby 1929), starring Henny Porten and Gustav Diessl; this must have been Pinajeff’s last silent film.
Probably the first part in a sound film was in Ruhiges Heim mit Küchenbenützung/ Das Mädel der Filmoperette (Carl Wilhelm 1929). This was not a large part, but in the following sound film Tingel-Tangel (Jaap Speyer 1930), Pinajeff had the female lead, opposite Ernö Verebes and with music by Dajos Bela’s famous orchestra. Her other German sound films were Schatten der Unterwelt (1931 Harry Piel) in which Piel also played the lead, Die Vier vom Bob 13 (Johannes Guter 1931-1932), and Madame hat Ausgang (Wilhelm Thiele 1931), starring Liane Haid. All three films were multilinguals and were shot in French versions too; Pinajeff played in all the French versions as well. Madame hat Ausgang became L’amoureuse aventure (Thiele 1931) and starred Marie Glory and Albert Prejean. Schatten der Unterwelt became Ombres des bas fonds (Piel 1931) and starred Piel as well. Die Vier vom Bob 13 became L’amour en vitesse (Guter, Claude Heymann 1932) and starred Dolly Davis.
According to Ciné-Artistes and other sources, Pinajeff had met photographer Alex Binder in 1929 – who had the biggest photo studio in Europe in the 1920s - who by then lived in Paris. Pinajeff became first his model, then his wife. Problem with this information, however, is that Binder died in February 1929 in Berlin. Did Elisabeth cook this story up herself then and did everybody copy this? Under the name of Lily Dorell (which IMDB fails to link to her real name), Pinajeff had a small part as Dolly Croquette in Vacances conjugales (Edmond Gréville 1933) and a substantial part in Le triangle de feu (Gréville, Guter 1932) oposite Jean Angelo and André Roanne. After some years of ’radio silence’, Pinajeff had a last bit part in 1937 in La tragédie impériale (Marcel L’Herbier), a film about the Rasputin affair. After that Pinajeff quitted her film career forgood and dedicated herself to painting.
Pinajeff rose within the Parisian mundane circles and thus seems to have had an easy time during the war years. In 1950 she became the friend of André Le Troquer, a high placed lawyer and politician. He had been a war hero in 1914-1918 and had lost an arm there. He had also been the defender of Léon Blum during ‚Vichy’ and he was Chair of the National Assembly in 1954-1955 and 1956-1958. The couple surrounded themselves by everyone who counted in political, artistic and intellectual ways. Thanks to her relationships, Elisabeth painted personalities such as the British Queen and the wife of president Coty, and exhibited with some success. Then in January 1959 a huge scandal exploded. Le Troquer, Pinajeff and some twenty other persons were involved in the so-called Ballets Roses scandal. Pinajeff supposedly had organised erotic ballets with underaged girls for an elite audience. Some of the mothers of the girls had consented to this, hoping for career perspectives for their children. The couple got away with it quite mildly because of Le Troquer’s high age and his war record, but their career was over. Pinajeff withdrew to a small house in Villemoison-sur-Orge, near Paris, where she died in 1995, virtually unknown. Rumor has it that the whole affair was concocted by the Gaulists to discredit the Socialist Le Troquet.
Sources: de.wikipedia.org/wiki/Elisabeth_Pinajeff, www.cineartistes.com/fiche-Elisabeth+Pinajeff.html, www.imdb.com/name/nm0683828/, www.imdb.com/name/nm1879381/, www.cyranos.ch/smpina-e.htm, fr.wikipedia.org/wiki/Affaire_des_ballets_roses_(1959)
Mantled Guereza, "Colobus Guereza", Mantelaffe.
A "mantled guereza" mother with her child. It's a pitty that I had too much back light but i love it, how trustful the child is looking up to the mother.
Please don't use this image on any websites, blogs or other media without my explicit permission.
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German postcard by Film-Foto-Verlag, nr. A 3825/1, 1941-1944. Photo: Hammerer/Wien-Film.
Olly Holzmann (1916-1995) was an Austrian ice skater, dancer, and film actress. With her distinctive temper, her fizzy joy of life and Austrian charm, her dark hair, and her ordinary but nice face she was the typical Wiener Mädel in films of the 1930s and 1940s.
Olly Holzmann was born as Olga Holzmann in 1916 (according to IMDb: 1915), in Vienna, Austria-Hungary, now Austria. She made her film debut in a small part in the spy film Hotel Sacher (Erich Engel, 1939) next to Sybille Schmitz, Willy Birgel, and Wolf Albach-Retty. In her second film Frau im Strom/Woman in the Current (Gerhard Lamprecht, 1939) she played the part of the girl of a motor mechanic (Attila Hörbiger), who saves an unknown woman (Hertha Feiler) from the river and falls in love with her. In the melodrama Mutterliebe/Mother Love (Gustav Ucicky, 1939) she portrayed the daughter of a poor widow (Käthe Dorsch), who offers everything to make her spoiled and difficult children into useful citizens. Her first bigger role was a parlour maid in Tipp auf Amalia/Tip On Amalia (Carl Heinz Wolff, 1940), who is suddenly connected to three other servants by an unexpected joint inheritance. Her most successful film commercially was the romance Wiener G’schichten/Vienna Tales (Géza von Bolváry, 1940), in which she played a supporting role next to Marte Harell, Paul Hörbiger, and Hans Moser. In the same year, she had her first leading part in the comedy Sieben Jahre Pech/Seven Years Hard Luck (Hubert Marischka, 1940). At the side of Hans Moser and Theo Lingen, she portrayed a young woman whose admirer (Wolf Albach-Retty) thinks he is pursued by misfortune and therefore doesn’t dare to make her a proposal. In the crime film Fünftausend Mark Belohnung/5000 Mark Reward (Philipp Lothar Mayring, 1942) she played the wife of an amateur detective (Martin Urtel), who overambitiously drives her husband in all kind of troubles.
With her distinctive temper, her fizzy joy of life and Austrian charm, her dark hair, and her ordinary but nice face Olly Holzmann was the typical Wiener Mädel (Vienna Girl), impersonated by many actresses in the 1930s and 1940s. Olly is best remembered for her leading role in the lavishly produced ice spectacle Der weiße Traum/The White Dream (Géza von Cziffra, 1943). It was the first time that the former ice dancer could show her skatings skills in a film. Her on-screen lover was again Wolf Albach-Retty, but her partner in the ice scenes was the world champion Karl Schäfer. Although her last three films were shot before the end of the war, they were only first shown after the war (Those films were nicknamed 'Überläufer' (defectors)). In the romantic comedy Erzieherin gesucht/Governess Wanted (Ulrich Erfurth,1945-1950) she played a mannequin, who fills in for a friend as a governess for a five-year-old boy and turns properly the heads of the kid’s three uncles (Ernst von Klipstein, Wolfgang Lukschy und Fritz Wagner). In the musical comedy Liebe nach Noten/Love After Notes (Géza von Cziffra, 1945-1947) she learns a composer ladykiller (Rudolf Prack) that women can compose too. Her last film was the romantic comedy Mit meinen Augen/With My Eyes (Hans H. Zerlett, 1945-1948) with Olga Tschechowa and Willy Birgel, in which she played a secondary part. Olly Holzmann was married twice. During the war, she was married shortly to a cameraman. Her second husband was the American officer Alexander Orley, a racecar driver and export merchant, who she had met in 1945 in bombed Berlin. With her husband, her daughter, and his son she went to live on a Caribbean island. After her husband’s death in 1975, she returned to her hometown, Vienna. Olly Holzmann died in 1995, in London, Great Britain.
Sources: Wikipedia and IMDb.
German postcard by Foto Film Verlag, no. 3741/1. Photo: Baumann / Ufa.
Nowadays Austrian actor Rudolf Prack (1905-1981) is mainly connected with his Heimatfilms of the 1950s, which influenced the time then. But his career already began in the middle of the 1930s when he already was popular. Once he was even 'the most often kissed man of the German cinema’.
Prack first worked for a bank to be able to finance his acting classes at the Max-Reinhardt-Seminar. He started a stage career in Vienna and made his film debut in the musical comedy Florentine (1938, Carl Lamac). The next year he celebrated his first major success in Mutterliebe (1939, Gustav Ucicky). His part as the poacher Thomas Werndl in Krambambuli (1940, Karl Köstlin) finally turned him into a public idol. He cemented his fame with films like Die goldene Stadt (1942, Veit Harlan), Reise in die Vergangenheit (1943, Hans H. Zerlett) and Orient-express (1944, Viktor Tourjansky).
At the end of the 1940s and the beginning of the 1950s, Rudolf Prack, the nice, young gentleman, became the ideal protagonist of the post-war generation. After the war the need of the German public had changed completely; they had to fight against doubt, unemployment and a restricted view to the future. During the Wirtschaftswunder period the Heimatfilm arose. These regional films abducted the audience into the alleged world of nature. Together with actress Sonja Ziemann Rudolf Prack formed the dream couple of six Heimatfilms, such as Schwarzwaldmädel (1950, Hans Deppe) and Grün ist die Heide (1951, Hans Deppe). Other popular films were Die Diebin von Bagdad (1952, Carl Lamac), Die Privatsekretärin (1953, Paul Martin), Roman eines Frauenarztes (1954, Falk Harnack), Dany, bitte schreiben Sie (1956, Eduard von Borsody) and Du bist wunderbar (1959, Paul Martin), with singer Caterina Valente. He had the reputation to be ‘the most often kissed man of the German cinema’. His film activities diminished in the 1960's. He took part in Die junge Sünderin (1960, Rudolf Jugert), Mariandl (1961, Werner Jacobs), Schwejks Flegeljahre (1963, Wolfgang Liebeneiner) and Heidi (1965, Werner Jacobs). He also appeared in tv productions in the 1960's and 1970's. To his last films belong Karl May (1974, Hans Jürgen Syberberg) and Die Standarte (1977, Ottokar Runze).
Sources: Cyranos.ch, Filmportal.de,Wikipedia, and IMDb.