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Austrian postcard by Iris Verlag, no. 6498. Photo: Boston Film / Lux Film. Gustav Fröhlich in Ich will nicht wissen, wer du bist/I Don't Want to Know Who You Are (Géza von Bolváry, 1932).
Smart German actor Gustav Fröhlich (1902-1987) played Freder Fredersen in the classic Metropolis (1927) and became a popular star in light comedies. After the war, he tried to escape from the standard role of a charming gentleman with the part of a doomed painter in Die Sünderin/The Sinner (1951), but the effort went down in a scandal.
Gustav Friedrich Fröhlich was born an illegitimate child in Hannover, Germany in 1902. His father, Gustav König, was a well-known engineer, and his mother Hedwig Therese Sophie Fröhlich, was the daughter of a worker. Foster parents raised Gustav. His foster family moved around western Germany a lot while he was growing up, living in cities like Wiesbaden and Wurzburg. He studied at the Homuth Realgymnasium Friedenau in Berlin. During World War I the young Gustav volunteered for duty in occupied Brussels as press supervisor. In 1919 he started his career as a trainee at a newspaper, but he spent his spare time as an emcee at local variety shows. He also wrote two issues of a dime novel, Heinz Brandt, der Fremdenlegionär/Heinz Brandt, the Foreign Legionnaire. After some entrances at a vaudeville theatre under the stage name Gustav Geef, he took acting lessons in Heilbronn. In the next few years, he appeared on different minor German stages. In Berlin, he played from 1923 to 1925 at the Volksbühne am Bülowplatz under the direction of Erwin Piscator. Later he appeared as The Prince of Homburg at the Deutsche Theater under the direction of Max Reinhardt. His screen debut was a small role in a Dutch-German film produced in Germany, De bruut/Ein neues Leben/The Brute (Theo Frenkel, 1922) with Erna Morena and Adolphe Engers. He then played a secondary role as composer Franz Liszt in Paganini (Heinz Goldberg, 1923) featuring Conrad Veidt. In the following years, he played in such films as Friesenblut (1925) opposite Jenny Jugo. Then Fröhlich landed his breakthrough role as Freder Fredersen in Metropolis (Fritz Lang, 1927) by chance. He was only scheduled to play one of the workmen but four weeks after the beginning he was discovered on the set by Thea von Harbou, Fritz Lang's wife. Lang immediately cast him in the lead because of his striking good looks. A new star was born.
After Metropolis, Gustav Fröhlich was typecast as the fresh-faced, naive 'boy next door' in such silent films as Die elf Teufel/The Eleven Devils (Zoltan Korda, Carl Boese, 1927) with Evelyn Holt, Heimkehr/Homecoming (Joe May, 1928) opposite Lars Hanson, and Asphalt (Joe May, 1929), in which he played an honest policeman who is seduced by a crook (Betty Amann). In 1930, Fröhlich was called to Hollywood by Warner Brothers to do German versions of American sound films, such as Die heilige Flamme/The Holy Flames (William Dieterle (as Wilhelm Dieterle), Berthold Viertel, 1931) and Kismet (William Dieterle, 1931), both with Dita Parlo. Back in Germany, he soon was subscribed for Max Ophüls’ musical comedy Die verliebte Firma/The Company's in Love (1931) next to Lien Deyers, and for Robert Siodmak's crime drama Voruntersuchung/Inquest (1931) with Albert Bassermann. He often worked with director Géza von Bolváry. Between 1931 and 1933 they made six films together. These include Ich will nicht wissen, wer du bist/I Do Not Want to Know Who You Are (Géza von Bolváry, 1932) with Liane Haid, and Was Frauen träumen/What Women Dream (Géza von Bolváry, 1933), which was co-written by Billy Wilder. Fröhlich often played smart gentlemen in lighthearted musicals and romances. Because of his carefree attendance, Fröhlich was seldom allowed to play other characters. One of his greatest successes was his part as the helpful and likeable policeman in Oberwachtmeister Schwenke (Carl Froelich, 1935). He also directed films like Rakoczy-Marsch/Rakoczy March (Gustav Fröhlich, Steve Sekely, 1933), Abenteuer eines jungen Herrn in Polen/Love and Alarm (1934), and after the war Wege im Zwielicht/Paths in Twilight (1948), Der Bagnosträfling/The Prisoner (1949) with Paul Dahlke, and the crime drama Die Lüge/The Lie (1950) with Otto Gebühr.
Between 1931 and 1935 Gustav Fröhlich was married to Hungarian Opera star and actress Gitta Alpár. When she was pregnant with their daughter Julika, he left her. According to Alpár, because she was Jewish and he did not want to hurt his career in Nazi Germany. After the war, Fröhlich tried reconciliation with Gitta Alpár but she never forgave him. Reportedly this gave him a tough time in old age. From 1936 to 1938 he lived together with actress Lída Baarová, his costar in Barcarole (Gerhard Lamprecht, 1935) and Leutnant Bobby, der Teufelskerl/A Devil of a Fellow (Georg Jacoby, 1935). After losing Lída to Joseph Goebbels, Froelich quarrelled with him. There is an urban legend that the quarrel culminated in a slap in the face of the powerful and feared Propaganda-Minister. Allegedly, Froehlich was banned from playing his trade for two years (1941-1943). Lída Baarová later denied this in her memoirs. In 1937, he rented his house in Berchtesgaden to Adolph Hitler's architect, Albert Speer. In 1941 Fröhlich remarried Maria Hajek. Since 1941 he had to serve for the Wehrmacht, interrupted by film engagements like Der Grosse König/The Great King (Veit Harlan, 1942) starring Otto Gebühr as Prussian King Friedrich the Second.
Gustav Fröhlich was seldom involved in Nazi Propaganda films, a fact that helped him to establish a new film career after World War II. He tried to escape from the standard roles of the charming gentleman by playing a doomed painter in Die Sünderin/The Sinner (Willi Forst, 1951). The effort went down in the chaos of a scandal because of the film's open treatment of several taboos such as suicide and euthanasia, plus a brief nude performance by Hildegard Knef. He went on to play leads in light entertainment films including Haus des Lebens/House of Life (Karl Hartl, 1952) with Cornell Borchers, and Die kleine Stadt will schlafen gehen/The Little Town Will Go to Sleep (Hans H. König, 1954) with Jester Naefe. He remained a busy actor after the war but his roles changed from leading men to supporting parts as he got older. From the 1960s on, he had only a few TV film entrances including a part in the comedy Laubenkolonie/Allotment area (Heribert Wenk, Bertold Sakmann, 1968) with Paul Dahlke. He was more active in the theatre, a.o. for the Renaissance Theatre in Berlin and the Schauspielhaus in Zürich. In 1973 he was honoured with the Filmband in Gold, the German Film Award for Lifetime Achievements. Ten years later, he published his autobiography Waren das Zeiten - Mein Film-Heldenleben/Those Were Times - My Life as a Film Hero (1983). His last public appearance was in 1986 when Giorgio Moroder presented his revised version of Metropolis. From 1956 on, Gustav Fröhlich lived in Lugano, Switzerland. There he died in 1987 of a complication after surgery, at age 85. His wife Maria Hajek had passed away earlier that same year.
Sources: Lara Goeke (The Gustav Fröhlich Fan Page), Bruce Eder (AllMovie), Thomas Staedeli (Cyranos), Wikipedia (English and German), and IMDb.
Check out our blog European Film Star Postcards.
Divine Comedy 2010
Knives in Hens
Director: Weronika Szczawińska
The Olsztyn version of Harrover’s drama, popular on Polish stages, resembles a new linguistic theatrical experiment rather than a study in women’s alienation. Its director discovers a true semantic treatise under the feature and psychological layer of the text. Three actors are placed within an empty, white space. Words and notions are written out on the walls. With the help of letters and pictograms, the protagonists make attempts to decipher the sense of life and the world. What betrayal means, what the constituent elements of jealousy are, what love is, what a woman is, and who a man may be. Emotions become separated from words, the text of the role assumes the form of a complex language code. What notions are taken to form a hero? At the beginning of the play, the Ploughman, deserted by Wife who chose the Miller, uses the wall to writes the fundamental equation: “horse, field, woman = entire me”. In this world, the task of the Miller is to spoil the inscriptions, change the meanings of words by obscene word endings and drawings. In the thus formatted world, love must also assume a written form. And suddenly everything is like in Greenaway’s Pillow Book: a naked man is writing on a naked woman. This means: now you are mine, you are a sheet of paper that I may fill with writing as I want, and once I am done, I will create you anew. Another production by Weronika Szczawińska, where the laboriously discovered, radical and new form affords a different sense to a well-known work.
Photography: Grzegorz Ziemiański
A multi shot to amuse the kids. I really wanted the boys to join in a bit , but they were to busy doing other things!
(Inspired by the latest M&S adverts!!)
Bonnie and Loma bust into the reception as their alter egos. Bonnie comes prepared to get married to the preacher.
Kathy Griffin performed her standup comedy at Starlight Theatre in Kansas City, Missouri during the 2008 concert series. Check us out at kcstarlight.com, Twitter, Facebook and YouTube.
Promotional photos for the Edinburgh Fringe production of Vampire Hospital Waiting Room, an original comedy b-musical from Beach Comet Theatricals.
mikehammershow.com Las Vegas comedian Mike Hammer picks the only colorblind guy from the entire audience for his final trick which requires coloring...
Mike Hammer's Comedy Magic Show mixes "edgy wit" and also prompt improv with extraordinary magic.
For more than twenty-five years, Hammer has been making audiences "laugh till it hurts" and has been rated one of the funniest performers in Las Vegas. With his impromptu wit, no 2 shows are the same. Anything can come about and regularly does.
With more than a thousand five star reviews, this fast-paced 70-minute-show of Mike Hammer is loaded with audience interaction, which brings new meaning to "Getting Hammer'd in Vegas".
Mike Hammer is a Las Vegas Headliner at the Four Queens Hotel & Casino. He's been featured on A&E TV and "Penn & Teller's Fool Us".
Shows are Tuesdays-Saturdays at 7pm and recommended age is 13+. Limited seats only in an intimate up-close setting.
Mike Hammer Comedy & Magic Show
Las Vegas 202 Fremont St, Las Vegas, NV 89101
(877) 935-2844
Hangover Part II Wall sized Mural Billboard - Movie Film Poster stretched on a building wall on 34th Street and 9th Avenue in New York City NYC 05/21/2011 work working worker advertisement adventure comedy American flag costume action two monkey monkeys
The beginning of the collaboration between Simon Pegg and Edward Wright, a brit TV cult with lots of Star Wars (as, for example, this poster).
The Comedy Carpet by artist Gordon Young and Why Not Associates is a 2200m2 artwork at the foot of Blackpool tower featuring songs, jokes and catchphrases
© 2014 Tony Worrall
Teacher are requested to *ahem* get in with their pupils? Comedy translation at the Ostica Antica gift shop.
This event will bring together activists and comedians to discuss the ways in which comedy can push forward agendas such as #metoo and contemporary women’s rights movements, and how this effort can translate into meaningful change in women’s lives. The event will also showcase the work of UN Women and Mythos Labs in countering violent extremist recruitment narratives—and their understandings of gender—through comedy. It features a comedy set by renown comedian and actress Aparna Nancherla.
In early 2018, UN Women partnered with Mythos Labs to produce a series of comedy videos to counter the messaging of terrorist groups in the Asia region. Working with female comedians in South Asia and South-East Asia, these sketches challenge the narratives used by violent extremist groups and counter extremist ideology in the online space. While this work was originally piloted to prevent and counter violent extremism, the implications go far beyond this realm. Comedy can and is being used to promote broader themes of women’s empowerment and gender equality, by not just making us laugh, but by challenging stereotypes with a broad and engaged audience.
This project is part of UN Women’s Empowered Women, Peaceful Communities programme, which is funded by the Government of Japan. This programme works in the Asia Pacific region to challenge the gendered dynamics of violent extremism and reverse its growing trend, through prioritizing women’s rights, empowerment, participation and leadership—in national decision-making and at the community level.
Photo: UN Women/Ryan Brown
COLLECTION RECORD
Title - Comedy and Tragedy
Relation - Education in Democracy
relation.type - pendantOf
relation.notes - High School Graduates; Knowledge the Solution of the Problem; School Activities; Forever Panting and Forever Young; Sports Frenzy; American Rhythm
Work, Collection or Image - Collection
refid - 179
Work Type - mural paintings (visual works)
Style Period -
Agent Name - Daugherty, James Henry (American painter, illustrator, and author, 1889-1974)
Agent Role - muralist (painter)
Cultural Context - American
Material, medium - oil paint (paint)
Material, support -
Technique -
Measurements -
Date Created -
Date Completed -
Date Collected -
Date Allocated -
Date Rejected -
Location Former Repository - Music Room, Stamford High School, Stamford, Connecticut
Description -
Inscription -
Subject - Education; Study and diversion; Theater (discipline); Federal Art Project
IMAGE RECORD
Work, Collection or Image - Image
Work Type - black-and-white photographs
Style Period - New Deal
Agent Name - La Roche, Karl
Agent Role - photographer
Material - black-and-white photographs
Technique - black-and-white photography
Measurements - 8 in (H) x 10 in (W)
Date Created - ca. 1935-1943
Date Digital - 2009-04-29
Description -
Inscription -
Source - Connecticut State Library, State Archives, RG 033, Works Progress Administration, Box 1.
Filename - wpaart_daugherty_005
Promotional poster for Split Tease: a show comprised of Linda Smith and Hattie Hayridge which was performed at the Gilded Balloon from 12th August to the 3rd September 1994. (c) Linda Smith estate / Hattie Hayridge
"Big Norm's Comedy Cookout" | Sun Sept 17 | feat Big Norm, Aisha Brown, Chris Robinson, Che Durena and Kerby Darius. Part of the 2017 Soul Food Comedy Festival www.soulfoodcomedyfest.com @soulfoodcomedyfest @thebignormshow @aishahatesposing @chedurena @snapshotrobinson @kerbydarius
#ComedyCookout #SoulFoodComedyFestival
Divine Comedy 2010
Knives in Hens
Director: Weronika Szczawińska
The Olsztyn version of Harrover’s drama, popular on Polish stages, resembles a new linguistic theatrical experiment rather than a study in women’s alienation. Its director discovers a true semantic treatise under the feature and psychological layer of the text. Three actors are placed within an empty, white space. Words and notions are written out on the walls. With the help of letters and pictograms, the protagonists make attempts to decipher the sense of life and the world. What betrayal means, what the constituent elements of jealousy are, what love is, what a woman is, and who a man may be. Emotions become separated from words, the text of the role assumes the form of a complex language code. What notions are taken to form a hero? At the beginning of the play, the Ploughman, deserted by Wife who chose the Miller, uses the wall to writes the fundamental equation: “horse, field, woman = entire me”. In this world, the task of the Miller is to spoil the inscriptions, change the meanings of words by obscene word endings and drawings. In the thus formatted world, love must also assume a written form. And suddenly everything is like in Greenaway’s Pillow Book: a naked man is writing on a naked woman. This means: now you are mine, you are a sheet of paper that I may fill with writing as I want, and once I am done, I will create you anew. Another production by Weronika Szczawińska, where the laboriously discovered, radical and new form affords a different sense to a well-known work.
Photography: Grzegorz Ziemiański
Comedic Morris Dancers perform in the Pavilion Gardens entertaining the crowds.
See other photo's like this on www.paviliongardenscafe.co.uk under picture gallery section.