of course we also visited this place...campiello del remer!! ;o))

in a lovely movie (for kids...german title is "herr der diebe"/literally translated: "lord of the thieves") some orphaned kids are living all alone in the city of venice and "campiello del remer" is seen in this movie...it is the place where two kids - prosper and bo - escape into the city of venice after arriving on a boat... they are running through this (only half seen) small alley in the right side of the picture...

Sunday

Gulliver's Travels - A Voyage to Lilliput

In recent years, according to Dando always more things disappeared from him. To me it was not really noticed so real. Dando said that it would have been little Danbos - The Borrowers. Apparently, once again his imagination went through with it. Whatever. One evening he sat in wait to take the little thieves. As it was shortly before midnight, and Dando was almost asleep on, he heard it. Tiny little Danbos steal him but really its sugar pieces. Silently, he followed them, but he stumbled so clumsy as he was on a paper clip and fell. Immediately took him to small Danbos trapped in fear of them could do something giant.

"Did I command you, you little Borrowers" said Dando.

But the small Danbos looked at him puzzled. "Borrowers? We are not a borrower. We come from Lilliput. Do you not even nioch the difference between Borger and Lilliputians? The Borrowers are much bigger, you big baby!"

---

Sonntag

Gullivers Reisen - Reise nach Lilliput

In letzter Zeit verschwanden laut Dando immer mehr Sachen von ihm. Mir war es eigentlich nicht so wirklich aufgefallen. Dando meinte, es wären kleine Danbos gewesen - die Borger. Anscheinend ging mal wieder seine Fantasie mit ihm durch. Wie auch immer. Eines Abends setzte er sich auf die Lauer, um die kleinen Diebe zu fassen. Als es kurz vor Mitternacht war und Dando schon fast am einschlafen war, hörte er sie. Winzig kleine Danbos stibitzen ihm doch wirklich seine Zuckerstücke. Leise folgte er ihnen, doch stolperte er, so tolpatschig wie er war über eine Büroklammer und fiel hin. Sofort nahmen ihn die kleinen Danbos gefangen aus Angst der Riese könnte ihnen etwas antun.

"Hab ich euch, ihr kleinen Borger" rief Dando.

Doch die kleinen Danbos schauten ihn verdutzt an. "Borger?? Wir sind keine Borger. Wir kommen aus Lilliput. Kennst du nioch nicht einmal den Unterschied zwischen Borger und Lilliputaner? Die Borger sind viel größer, du Riesenbaby!"

See also

www.flickr.com/photos/bananastyle/sets/72157629130185287/

German postcard by Photochemie, Berlin, no. K. 3245. Photo: Alex Binder, Berlin.

Austrian actress and producer Ellen Richter (1893-1963) caused a sensation as a leading lady in action films from the middle of the 1910s.

Ellen Richter was born Käthe Weiss in 1893 in Vienna, Austria-Hungary (now Austria). She studied acting with Ferdinand Gregori at the Akademie für darstellende Kunst. In 1915 she conquered European audiences with sensation and adventure films like the Joe Deebs detective film Das Gesetz der Mine/The Law of the Mine (Joe May, 1915) starring Max Landa. She became in no time a competitor of action star Harry Piel in films like Der Ring des Schicksals/The Ring of Fate (Richard Eichberg. 1916), Der Spion/The Spy (Karl Heiland, 1917), and Der Flieger von Görz/The Aviator of Gorizia (Georg Jacoby, 1918) starring Harry Liedtke. These films had enormous success. In 1920 Ellen Richter founded her own production company, Ellen Richter Film, together with her later husband Willi Wolff. From then on, he directed and wrote, and she produced and acted in films tailored to her. She soon had the reputation that her films always contained an expensive excursion to exotic locations.

Ellen Richter was able to hold her popularity well till the end of the 1920s. She appeared in films like Lola Montez, die Tänzerin des Königs/Lola Montez, the King's Dancer (Willi Wolff, 1922) with Georg Alexander, Der Flug um den Erdball/The Flight Around the Globe (Willi Wolff, 1925), Moral (Willi Wolff, 1928) and Die Frau ohne Nerven/The Nerveless Woman (Willi Wolff, 1929) opposite Walter Janssen. In 1923 she had married Willi Wolff. In the 1930s Richter only played in a few films such as Die Abenteurerin von Tunis/The Adventuress of Tunis (Willi Wolff, 1931) and Das Geheimnis von Johann Orth/The Secret of Johann Orth (Willi Wolff, 1932) with Karl Ludwig Diehl, before she retired from the film business. Her last film was the crime comedy Manolescu, der Fürst der Diebe/Manolescu, King of Thieves (Georg C. Klaren, Willi Wolff, 1933) starring Iván Petrovich. The rise of the Nazis finished her film career. The Jewish Richter was forbidden to produce more films and was in 1938 excluded from the Reichsfilmkammer. During the Second World War she lived in foreign countries. After her return to Germany she worked again in film production, but now on a small scale. Ellen Richter died in 1969, in Düsseldorf, West Germany. Willi Wolff had passed away in 1947.

Sources: Thomas Staedeli (Cyranos), Wikipedia (German), and IMDb.

And, please check out our blog European Film Star Postcards.

Diebe können Alles brauchen

Thieves can need everything

German postcard by Verlag Ross, no. 626/5. Photo: Viggo Larsen, Tempelhof. Viggo Larsen and Erra Brognar in Der Fürst der Diebe und seine Liebe/The King of Thieves and His Love (Viggo Larsen, 1919).

Der Fürst der Diebe und seine Liebe was a four-part film which premiered in Berlin on November 4, 1919. Scriptwriter was Hans Hyan, photographer Julius Balting. Initially, the state censorship of 1921, completely forbade the film but after cuts, it remained only forbidden for youngsters.

For a recent, praising and in-depth review of the film, see www.dbcult.com/reviews/der-furst-der-diebe-und-seine-lieb.... It is clear the plot deals with a gentleman criminal, played by Larsen himself, who steals from the avaricious rich to give to the poor. When he falls in love with Elara (Erra Bognar), a rich industrialist's daughter who sympathizes with him, he must choose between love and his lawless actions. Meanwhile, he is relentlessly hunted by commissioner Gruber (Franz Verdier), despite the other knowing of the Fürst's noble intentions. The subtlety in performance, staging and cinematography is unusually good for its time.

Critic Friedrich Sieburg in 1920 wrote about a terrifying experience he had when viewing this very film when suddenly the musicians stopped playing while the film went on. "In act 3, as Der Fürst der Diebe was roaring along in his car (his shawl fluttering like a flag, wind blowing briskly through the high grass of the passing landscape), the musicians in the small orchestra - violin and piano for lively scenes, organ for deathly scenes - suddenly decided to break for dinner. The music stopped. Silence. The reels whirred. The light hissed. The action sped ahead. I tell you, it was frightening. I felt as if I was six feet under." (Anton Kaes/ Michael Cowan ed., The Promise of Cinema: German Film Theory, 1907–1933).

Viggo Larsen (1880-1957) was a Danish actor, director, scriptwriter and producer. He was one of the pioneers in film history. With Wanda Treumann he directed and produced many German films of the 1910s.

OLYMPUS DIGITAL CAMERA

Mein neuer Schutz gegen Einbrecher und Diebe , hatte bereits öfters ungebetene Besucher . Mein Motorrad , Motorboot , PKW LADA 2105 wurden bereits geklaut und einige Einbrüche habe ich auch schon leider erlebt . Zu DDR Zeiten hatte ich nie solche Erlebnisse !

My new protection against burglars and thieves, had already often unwanted visitors. My motorcycle, motorboat, car LADA 2105 were already stolen and some break-ups I have experienced unfortunately. In GDR times never i had such experiences!

German postcard by Photochemie, no. K 120. Photo: Alex Binder, Berlin.

Maria Orska (1893-1930) was a Russian-Jewish actress of the German stage and screen in the 1910s and 1920s.

On 16 March 1893 Maria Orska was born Effi Rahel Blindermann in Nikolayev, Russian Empire (now Mikolaiv in Ukraine). She was the cousin of the German actress Hedda Forsten and by her mother parented to the theatre impresario Eugen Frankfurter. Although she originally wanted to study law like her father wanted to, she became a stage actress and was discovered by the German actor and drama teacher Ferdinand Gregori when in St. Petersburg. In 1909 he brought her to Vienna's conservatory "k.u.k. Akademie für Musik und darstellende Kunst" (today Universität für Musik und darstellende Kunst Wien), led by him. In 1910, she followed Gregori to the Mannheim court theater where she debuted as "Daisy Orska" and soon drew attention to herself in plays by Strindberg and Schnitzler. In 1911 she came to the Schauspielhaus in Hamburg, where quickly she became the star of the company. In the season 1914/1915 Maria Orska, her stage name by now, moved to Berlin, where she performed at the "Theater in der Königgrätzer Straße" (today "Hebbel-Theater") as well as Max Reinhardt’s Berlin stage. In the same year Edith Andreae was introduced to her, with whom she held a longlasting friendship.

In Berlin the exiled Russian artist became known as interpreter of the works by modern playwrights such as Wilde, Strindberg, Schnitzler, Wedekind and Pirandello. She was a huge success in Wedekind’s Lulu in 1917. "She had sharp, piercing tones, the uncanny effect of which the little character fanatically exaggerated. She also cultivated mundane roles, in which she unfolded the pointed humours of a devious character ... In the field of erotic representation she dared to go remarkably far. She was not an elementary artist, but she had individual qualities that made her the darling of the audience“, the reporter and author Emil Faktor noted in the Berliner Börsen-Courier (16.05.1930) in occasion of her tragic death.

Since her marriage to her second husband, Baron Dr. Hans von Bleichröder jun. (1888 - 1938), a grandson of the Jewish banker Gerson von Bleichröder, the ambitious Maria Orska maintained an elaborate lifestyle. For a long time, she was at the center of so-called Berlin society, and also knew how to stage herself in private as an eccentric spectacle. Her popularity was reinforced by cinema. In 1915 she began a second career as a silent film actor and soon received top salaries. Maria Orska gave her screen debut at the Greenbaum-Film GmbH in Richard Oswald's melodrama Dämon und Mensch (Demon and Man, 1915) and played the shady Lina, who wants to take a cleansed criminal (Rudolf Schildkraut) away from the path of virtue. Maria Orska worked for the first time with the filmmaker and director Max Mack (1884 - 1973) in Das tanzende Herz (The Dancing Heart, 1916), which effected in a six-part Maria Orska film series for the cinemas in 1916/17, with Orska herself as protagonist in each film. The star was praised as "the unmatched interpreter of Strindberg's women, the most fashionable actress of today's Berlin". She was the representative of an "art entirely dedicated to nerves" (Der Film, no. 23, 01.07.1916). As a girl from the gutter she presented herself in Der Sumpf (The Gutter, 1916), but also in comedies such as Die Sektwette (The Champagne Bet, 1916) she was able to win the audience for herself.

But it was mostly the melodramas of those years in which Maria Orska performed the type of the wicked woman. After the dramatic film Adamant's Letztes Rennen (Adamant’s Last Race, 1917) and Der lebende Tote (The Living Dead, 1917), she was for Max Mack Die schwarze Loo (Black Lu, 1917), a gypsy woman who becomes the talk of the town, and who almost wrecks the marriage of a musician (Bruno Kastner). Director Max Mack abducts his audience into the dazzling half-world of the imperial capital. The acclaimed Maria Orska acted as Black Lu, who is constantly surrounded both in the demimonde world and high society. Between push dancing and amorous intrigue, the film develops its highly dared action for those days in expressive images and pointed situations, in which with remarkable determination the stern morality of the late German Imperial Empire is shaken.

Die schwarze Loo was the last part of the Maria -Orska-series, which Mack realized for the Greenbaum-Film. Then Maria Orska paused from the film business and focused on her work at the theater for the next three years. In 1920 she reappeared on screen in the film Die letzte Stunde (The Last Hour), directed by Dimitri Buchowetzki, and the Emile Zola adaptation Die Bestie im Menschen (The Human Beast, Ludwig Wolff 1921), Der Streik der Diebe (The Thieves’ Strike, Alfred Abel 1921), and Paul Czinner's drama Opfer der Leidenschaft (Victims of Passion, 1922) as female partner of Paul Bildt. With the role of the capricious dancer Barberina Campanini in the first and third part of the Fridericus Rex series (Sturm und Drang, 1922; Sanssouci, 1923) Maria Orska finished her film career.

Orska’s attempt to become a theatrical actress in Paris failed. Disappointed, the celebrated artist returned to Berlin and accepted commitments at the Komödienhaus, the Deutsches Theater and the Lessing Theater. In 1927 for instance, in Hans Kaltneker's mystery play The Sisters at the theater in the Königgrätzer Strasse in Berlin, Orska played the lesbian Ruth. More and more however, Orska’s health visibly deteriorated by her morphine addiction. Divorced since 1925 by her husband, Dr. Hans von Bleichröder, Maria Orska became the talk of the town because of her own desire for death and her drug consumption. Nurses waited on the side stage with a syringe, directors dreaded every performance. Her suicide attempts - once she jumped off a train - soon became routine for the public. "They had an already typical character, they were each time after a rest and detox pause in the sanatorium, which the demon hunted artist used to leave like a fury, in order to escape from a life that had become worthless for her", Emil Faktor wrote in 1930.

All rehab attempts by Orska proved failing. She finally poisoned herself by an overdose of Veronal. The actress was brought to the Viennese General Hospital, where she died on May 16, 1930, at the age of only 37 – she couldn’t cope with a pneumonia because of her weakened body. Also the life of her sister Gabryela, who, born in 1894, became Marchesa di Serra Mantschedda when married to an Italian aristocrat, ended tragically, in 1924 (or 1926). Gabryela hanged herself in a Viennese hotel. Wikipedia claims it was after a row with her sister Maria. Their brother Edwin, aviator in the Russian Imperial Army, survived the First World War, the Bolshevik revolution, the Nazis, and the sisters. In 1938 he emigrated from Germany to Ecuador where he died in 1966.

"Maria Orska was completely subordinate to the intoxication of the stage until it crushed her. Her strange appearance confirmed how difficult it is to understand the phenomenon of the stage actor. She seemed so enveloped in the air of the scene, but at the same time she remained so simple. She was a theatrical crowd-puller and a rhetorical star, such as Wilde’s Salome, and was also the most humble of Hedwig in Wildente [The Wild Duck] by Ibsen. She was hot and cold, she played and she lived ", Fritz Engel wrote. The famous artist Oskar Kokoschka drew the actress in 1922. Lithographies after his work hang in various museums, e.g. the Staatlichen Kunstsammlungen Dresden.

Sources: www.steffi-line.de/archiv_text/nost_film20b40/178_orska_m..., German Wikipedia, filmportal, and IMDb.

Nach dem gestrigen Schock wegen des Gewichts und der einzigen Möglichkeit, Diät zu machen, sagten die Danbos: "Nein, wir wollen unsere Smarties haben. Wir könnten doch stattdessen etwas trainieren. Zum Beispiel könnten wir das Regal an einem Seil hochklettern!" Was sie auch direkt machten. Dabei sahen sie aus wie kleine Diebe oder Tom Cruise in Mission Impossible. Dafür bekamen sie dann wieder den Zugriff auf ihre Smarties zurück. ;)

After yesterday's shock because of their weight and the only option to go on a diet the Danbos said: "No, we want to have smarties. We could do some training instead. For example we could climb up the shelf on a rope!" So they did. And they looked just like little thieves or Tom Cruise in Mission Impossible. For all that I gave them back access to the smarties. ;)

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AUSTRIA - one of the most beautiful countries ▻ HALLSTATT

group ▻ HALLSTATT 哈斯達特 UNESCO World Heritage..

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German postcard. Film-Sterne 122/2. Photo. Nicola Perscheid, Berlin. Ca. 1916-1918.

Albert Paulig (1873-1933) was a popular actor in the German silent cinema of the 1910s and 1920s.

Born in Stollberg on 14 January 1873, Albert Paulig was trained to become teacher, also did a musical tarining at the Conservatory of Dresden, but initially became a salesman. In 1896 he had his stage debut at the Stadttheater in Zwickau. Other locations he performed were Łódź, Hannover and Dresden. In 1901 he first performed in Berlin at the Deutsch-Amerikanischen Theater, after which he did several guest performances in other Berlin stages. In 1913, when he was already 40, Paulig was discovered as film comedian. Because of his success he got his own series in the 1910s, the Albert-Paulig series, with titles just as simple as Paulig als Asta Nielsen (Paulig as Asta Nielsen, Paulig 1915) or Albert hat Prokura (Uwe Jenss Kraft 1919). As of the film Alberts Hose (Albert’s Pants, 1915) Paulig started to direct his own comedies. In between his own film series, Paul also acted in other films, such as Die Firma heiratet (Carl Wilhelm 1914) and Der Stolz der Firma (Carl Wilhelm 1914), both with Ernst Lubitsch, and Meine Braut, seine Frau (Danny Kaden 1916) with Hanni Weisse.

After he stopped his Albert-Paulig series in 1919, Paulig’s populairity remained strong among audiences in the 1920s and acted in over 100 films. While he mostly performed in supporting parts, sometimes he had major parts as protagonist or main antagonist. In 1920 e.g., he acted with Hans Albers and Ria Jende in Der Schuss aus dem Fenster (dir. Unknown). Paulig was reunited with Weisse in the 1925 comedy Weil Du es bist (dir. Hans Werckmeister). He had the lead as Archduke Albert Paul in Jaap Speyer’s film G’schichten aus dem Wienerwald (1928), co-starring Eric Barclay, Magnus Stifter and Fritz Schulz. While he did small parts in e.g. the Ossi Oswalda comedies of the early 1920s, in the later 1920s he was often seen in supporting parts in the Harry Piel adventure films, such as Zigano, der Brigant vom Monte Diavolo (Harry Piel 1925), Sein grösster Bluff (Harry Piel 1927), Panik (1928), and Männer ohne Beruf (Harry Piel 1929).

When sound film set in, Paulig managed to continue his career, often performing aristocrats and industrials, but in particular army officers (e.g. Schön is die Manöverzeit, Erich Schönfelder 1931, with Ida Wüst). He also acted in films such as Das Testament des Cornelius Gulden (E.W. Emo 1932), starring Magda Schneider and Georg Alexander, and Manolescu, der Fürst der Diebe (George C. Klaren, Willi Wolff, 1933), starring Ivan Petrovich. The crime film K1 greift ein (Edmund Heuberger 1933) was his last film. He couldn’t attend the premiere of the film, as he died himself in Berlin on 19 March 1933, because of a heart failure, two days after the film had passed censorship. According to www.filmportal.de, which lists the most extended filmography, Albert Paul acted in 183 films.

Sources: German and English Wikipedia, IMDB, www.filmportal.de

German postcard by Ross Verlag, no. 626/2. Photo: Viggo Larsen Tempelhof. Viggo Larsen in Der Fürst der Diebe und seine Liebe/The King of Thieves and His Love (Viggo Larsen, 1919).

Der Fürst der Diebe und seine Liebe was a four-part film which premiered in Berlin on November 4, 1919. Scriptwriter was Hans Hyan, photographer Julius Balting. Initially, the state censorship of 1921, completely forbade the film but after cuts, it remained only forbidden for youngsters.

While no content description of the film could be found, it is clear the plot deals with a gentleman criminal, played by Larsen himself. Critic Friedrich Sieburg in 1920 wrote about a terrifying experience he had when viewing this very film when suddenly the musicians stopped playing while the film went on. "In act 3, as Der Fürst der Diebe was roaring along in his car (his shawl fluttering like a flag, wind blowing briskly through the high grass of the passing landscape), the musicians in the small orchestra - violin and piano for lively scenes, organ for deathly scenes - suddenly decided to break for dinner. The music stopped. Silence. The reels whirred. The light hissed. The action sped ahead. I tell you, it was frightening. I felt as if I was six feet under." (Anton Kaes/ Michael Cowan ed., The Promise of Cinema: German Film Theory, 1907–1933).

Viggo Larsen (1880-1957) was a Danish actor, director, scriptwriter and producer. He was one of the pioneers in film history. With Wanda Treumann he directed and produced many German films of the 1910s.

German postcard by Photochemie, Berlin, no. K. 194. Photo: Alex Binder, Berlin.

Austrian actress and producer Ellen Richter (1893-1963) caused a sensation as a leading lady in action films from the middle of the 1910s.

Ellen Richter was born Käthe Weiss in 1893 in Vienna, Austria-Hungary (now Austria). She studied acting with Ferdinand Gregori at the Akademie für darstellende Kunst. In 1915 she conquered European audiences with sensation and adventure films like the Joe Deebs detective film Das Gesetz der Mine/The Law of the Mine (Joe May, 1915) starring Max Landa. She became in no time a competitor of action star Harry Piel in films like Der Ring des Schicksals/The Ring of Fate (Richard Eichberg. 1916), Der Spion/The Spy (Karl Heiland, 1917), and Der Flieger von Görz/The Aviator of Gorizia (Georg Jacoby, 1918) starring Harry Liedtke. These films had enormous success. In 1920 Ellen Richter founded her own production company, Ellen Richter Film, together with her later husband Willi Wolff. From then on, he directed and wrote, and she produced and acted in films tailored to her. She soon had the reputation that her films always contained an expensive excursion to exotic locations.

Ellen Richter was able to hold her popularity well till the end of the 1920s. She appeared in films like Lola Montez, die Tänzerin des Königs/Lola Montez, the King's Dancer (Willi Wolff, 1922) with Georg Alexander, Der Flug um den Erdball/The Flight Around the Globe (Willi Wolff, 1925), Moral (Willi Wolff, 1928) and Die Frau ohne Nerven/The Nerveless Woman (Willi Wolff, 1929) opposite Walter Janssen. In 1923 she had married Willi Wolff. In the 1930s Richter only played in a few films such as Die Abenteurerin von Tunis/The Adventuress of Tunis (Willi Wolff, 1931) and Das Geheimnis von Johann Orth/The Secret of Johann Orth (Willi Wolff, 1932) with Karl Ludwig Diehl, before she retired from the film business. Her last film was the crime comedy Manolescu, der Fürst der Diebe/Manolescu, King of Thieves (Georg C. Klaren, Willi Wolff, 1933) starring Iván Petrovich. The rise of the Nazis finished her film career. The Jewish Richter was forbidden to produce more films and was in 1938 excluded from the Reichsfilmkammer. During the Second World War she lived in foreign countries. After her return to Germany she worked again in film production, but now on a small scale. Ellen Richter died in 1969, in Düsseldorf, West Germany. Willi Wolff had passed away in 1947.

Sources: Thomas Staedeli (Cyranos), Wikipedia (German), and IMDb.

And, please check out our blog European Film Star Postcards.

LEGAL NOTICE © protected work • All Rights reserved! © Egger photographer retains ownership and all copyrights in this work.

No use of this image is allowed without photographer’s express prior permission and subject to compensation • no work-for-hire

range, pickpockets, thieves, danger, risk, risk of theft, theft, self-defence, protection, self-protection, protected, hands off, surveillance, video surveillance, warning, warning notice, outdoor, adventure, extreme adventure, Off Road, roadtrip, Travel, travelling, On Tour, campfire, far away, camp, rest, rest area, wild camping, wildlife, outside, backpack, Parking lot, parking, stay overnight,

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German autograph card. Photo: Mathias Bothor.

Katharina Thalbach (1954) is one of Germany's most respected stage actresses mostly working in Hamburg and Berlin. She has also directed since the late 1980s.

Internationally, she is best known for her part in Die Blechtrommel/The Tin Drum (1979), Volker Schlöndorf’s award-winning film adaptation of the novel by Günter Grass.

Katharina Thalbach was born in 1954 in East Berlin, East-Germany. She comes from a particularly artistically oriented family. Her father Benno Besson was a director, her mother Sabine Thalbach was an actress. She grew up in the theatre while her mother worked fort he Berliner Ensemble and the Deutschen Theater. At the age of four, she made her screen debut in the TV film Begegnung im Dunkel/Meeting in the Dark (1958). Her half-brother Pierre Besson and her stepmother Ursula Karusseit are both also actors. After the death of her mother in 1966, actress Helene Weigel takes her under her wings. During her school years, Thalbach’s acting teacher was Doris Thalmer. At 15, she makes her stage debut as the whore Betty in Erich Engels version of Die Dreigroschenoper (The Three Penny Opera) in 1969, and later takes over the leading role of Polly. She is considered as a new talent and continued to perform at the Berliner Ensemble. With her other half-brother Benjamin, she played in the DEFA film Es ist eine alte Geschichte/It is an old story (Lothar Warneke, 1972). In 1975, she appeared in another DEFA production Lotte in Weimar (Egon Günther, 1975), starring Lilli Palmer and based on the novel by Thomas Mann. In December 1976, she left East Germany together with longtime companion Thomas Brasch and daughter Anna after the expulsion of songwriter Wolf Biermann. She then played a supporting part in the West-German drama Das zweite Erwachen der Christa Klages/The Second Awakening of Christa Klages (1978) directed by Margarethe von Trotta, her debut solo film. The following year, she became known for her role in Die Blechtrommel/The Tin Drum (Volker Schlöndorff, 1979) the film adaptation of the novel by Günter Grass, which won the Palme d'Or at the 1979 Cannes Film Festival and the 1980 Oscar for Best Foreign Language Film. The film lead to a ban in Oklahoma because of scenes in which Lead actor David Bennent, then 11 years of age and playing a stunted 16-year-old, licks effervescing sherbet powder from the navel of a 16-year-old girl, played by Thalbach, who was 24 years old at the time. Subsequently, Bennent appears to have oral sex and then intercourse with her. The Ontario Censor Board in Canada first cut the film and then banned it as child pornography. In the multi-part television film Theodor Chindler (1979) by Hans W. Geißendörfer , she was Margarete, the young, revolutionary daughter of Reichstag deputy Theodor Chindler.

In 1980, Katharina Thalbach was voted "Actress of the Year" by the critics of the magazine Theater Heute for her title role in Kleist’s Das Käthchen von Heilbronn. She then co-starred with Hilmar Thate in the crime film Engel aus Eisen/Angels of Iron (1981), directed by her partner Thomas Brasch. She played a supporting part in the American drama Sophie's Choice (Alan J. Pakula, 1982) with Meryl Streep starring as Sophie. Thalbach often played dominant women who rebel against society, fight against misery and take their fate into their own hands. She played roles in the German-Finnish drama Flucht in den Norden/Flight North (Ingemo Engström, 1986) with Lena Olin, the German coimedy Z.B. ... Otto Spalt/The Case of Mr. Spalt (René Perraudin, 1988), and in Thomas Brasch’s drama Der Passagier – Welcome to Germany/The Passenger - Welcome to Germany (1988), featuring Tony Curtis. She co-starred with Stellan Skarsgård in the Swedish film God afton, Herr Wallenberg - En Passionshistoria från verkligheten/Good Evening, Mr. Wallenberg (Kjell Grede, 1990) about Swedish World War II diplomat Raoul Wallenberg, who was instrumental in saving the lives of thousands of Hungarian Jews from the Holocaust. A box office hit in Germany was the comedy Sonnenallee/Sun Avenue (Leander Haußmann, 1999) about life of the East-German youth in East Berlin in the late 1970s. The Sonnenallee is an actual street in Berlin that was intersected by the border between East and West during the time of the Berlin Wall. Thalbach portrayed Doris Ehrenreich, the mother of the male main character Micha. She appeared with Nina Hoss in Der Vulkan/The Volcano (Ottokar Runze, 1999). She often acted for television. In the TV mini-series Die Manns – Ein Jahrhundertroman (Heinrich Breloer, 2001), she played actress Therese Giehse. The international coproduction König der Diebe/King of Thieves (Ivan Fila, 2004) is a powerful indictment dealing with child slavery in the German marketplace. She had the lead role in the Polish language film Strajk - Die Heldin von Danzig/Strike (2006) directed by Volker Schlöndorff. The film is broadly a docudrama covering the formation of Solidarity. In 2006 she won the Bavarian Film Award for Best Actress. Her more recent German films include the tragicomedy Der Mond und andere Liebhaber/The Moon and Other Lovers (Bernd Böhlich, 2008), and the fantasy film Rubinrot/Ruby Red (Felix Fuchssteiner, 2013). Katharina Thalback continues to play theatre, film and television. Her daughter Anna, born in 1973 from a relationship with actor Vladimir Weigl, and her granddaughter Nellie (born 1995) are also actresses.

Sources: Hans-Michael Bock (Cinegraph- German), Wikipedia (English and German), and IMDb.

German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 5201. Photo: Becker & Maass.

Maria Orska (1893-1930) was a Russian-Jewish actress of the German stage and screen in the 1910s and 1920s.

On 16 March 1893 Maria Orska was born Effi Rahel Blindermann in Nikolayev, Russian Empire (now Mikolaiv in Ukraine). She was the cousin of the German actress Hedda Forsten and by her mother parented to the theatre impresario Eugen Frankfurter. Although she originally wanted to study law like her father wanted to, she became a stage actress and was discovered by the German actor and drama teacher Ferdinand Gregori when in St. Petersburg. In 1909 he brought her to Vienna's conservatory "k.u.k. Akademie für Musik und darstellende Kunst" (today Universität für Musik und darstellende Kunst Wien), led by him. In 1910, she followed Gregori to the Mannheim court theater where she debuted as "Daisy Orska" and soon drew attention to herself in plays by Strindberg and Schnitzler. In 1911 she came to the Schauspielhaus in Hamburg, where quickly she became the star of the company. In the season 1914/1915 Maria Orska, her stage name by now, moved to Berlin, where she performed at the "Theater in der Königgrätzer Straße" (today "Hebbel-Theater") as well as Max Reinhardt’s Berlin stage. In the same year Edith Andreae was introduced to her, with whom she held a longlasting friendship.

In Berlin the exiled Russian artist became known as interpreter of the works by modern playwrights such as Wilde, Strindberg, Schnitzler, Wedekind and Pirandello. She was a huge success in Wedekind’s Lulu in 1917. "She had sharp, piercing tones, the uncanny effect of which the little character fanatically exaggerated. She also cultivated mundane roles, in which she unfolded the pointed humours of a devious character ... In the field of erotic representation she dared to go remarkably far. She was not an elementary artist, but she had individual qualities that made her the darling of the audience“, the reporter and author Emil Faktor noted in the Berliner Börsen-Courier (16.05.1930) in occasion of her tragic death.

Since her marriage to her second husband, Baron Dr. Hans von Bleichröder jun. (1888 - 1938), a grandson of the Jewish banker Gerson von Bleichröder, the ambitious Maria Orska maintained an elaborate lifestyle. For a long time, she was at the center of so-called Berlin society, and also knew how to stage herself in private as an eccentric spectacle. Her popularity was reinforced by cinema. In 1915 she began a second career as a silent film actor and soon received top salaries. Maria Orska gave her screen debut at the Greenbaum-Film GmbH in Richard Oswald's melodrama Dämon und Mensch (Demon and Man, 1915) and played the shady Lina, who wants to take a cleansed criminal (Rudolf Schildkraut) away from the path of virtue. Maria Orska worked for the first time with the filmmaker and director Max Mack (1884 - 1973) in Das tanzende Herz (The Dancing Heart, 1916), which effected in a six-part Maria Orska film series for the cinemas in 1916/17, with Orska herself as protagonist in each film. The star was praised as "the unmatched interpreter of Strindberg's women, the most fashionable actress of today's Berlin". She was the representative of an "art entirely dedicated to nerves" (Der Film, no. 23, 01.07.1916). As a girl from the gutter she presented herself in Der Sumpf (The Gutter, 1916), but also in comedies such as Die Sektwette (The Champagne Bet, 1916) she was able to win the audience for herself.

But it was mostly the melodramas of those years in which Maria Orska performed the type of the wicked woman. After the dramatic film Adamant's Letztes Rennen (Adamant’s Last Race, 1917) and Der lebende Tote (The Living Dead, 1917), she was for Max Mack Die schwarze Loo (Black Lu, 1917), a gypsy woman who becomes the talk of the town, and who almost wrecks the marriage of a musician (Bruno Kastner). Director Max Mack abducts his audience into the dazzling half-world of the imperial capital. The acclaimed Maria Orska acted as Black Lu, who is constantly surrounded both in the demimonde world and high society. Between push dancing and amorous intrigue, the film develops its highly dared action for those days in expressive images and pointed situations, in which with remarkable determination the stern morality of the late German Imperial Empire is shaken.

Die schwarze Loo was the last part of the Maria -Orska-series, which Mack realized for the Greenbaum-Film. Then Maria Orska paused from the film business and focused on her work at the theater for the next three years. In 1920 she reappeared on screen in the film Die letzte Stunde (The Last Hour), directed by Dimitri Buchowetzki, and the Emile Zola adaptation Die Bestie im Menschen (The Human Beast, Ludwig Wolff 1921), Der Streik der Diebe (The Thieves’ Strike, Alfred Abel 1921), and Paul Czinner's drama Opfer der Leidenschaft (Victims of Passion, 1922) as female partner of Paul Bildt. With the role of the capricious dancer Barberina Campanini in the first and third part of the Fridericus Rex series (Sturm und Drang, 1922; Sanssouci, 1923) Maria Orska finished her film career.

Orska’s attempt to become a theatrical actress in Paris failed. Disappointed, the celebrated artist returned to Berlin and accepted commitments at the Komödienhaus, the Deutsches Theater and the Lessing Theater. In 1927 for instance, in Hans Kaltneker's mystery play The Sisters at the theater in the Königgrätzer Strasse in Berlin, Orska played the lesbian Ruth. More and more however, Orska’s health visibly deteriorated by her morphine addiction. Divorced since 1925 by her husband, Dr. Hans von Bleichröder, Maria Orska became the talk of the town because of her own desire for death and her drug consumption. Nurses waited on the side stage with a syringe, directors dreaded every performance. Her suicide attempts - once she jumped off a train - soon became routine for the public. "They had an already typical character, they were each time after a rest and detox pause in the sanatorium, which the demon hunted artist used to leave like a fury, in order to escape from a life that had become worthless for her", Emil Faktor wrote in 1930.

All rehab attempts by Orska proved failing. She finally poisoned herself by an overdose of Veronal. The actress was brought to the Viennese General Hospital, where she died on May 16, 1930, at the age of only 37 – she couldn’t cope with a pneumonia because of her weakened body. Also the life of her sister Gabryela, who, born in 1894, became Marchesa di Serra Mantschedda when married to an Italian aristocrat, ended tragically, in 1924 (or 1926). Gabryela hanged herself in a Viennese hotel. Wikipedia claims it was after a row with her sister Maria. Their brother Edwin, aviator in the Russian Imperial Army, survived the First World War, the Bolshevik revolution, the Nazis, and the sisters. In 1938 he emigrated from Germany to Ecuador where he died in 1966.

"Maria Orska was completely subordinate to the intoxication of the stage until it crushed her. Her strange appearance confirmed how difficult it is to understand the phenomenon of the stage actor. She seemed so enveloped in the air of the scene, but at the same time she remained so simple. She was a theatrical crowd-puller and a rhetorical star, such as Wilde’s Salome, and was also the most humble of Hedwig in Wildente [The Wild Duck] by Ibsen. She was hot and cold, she played and she lived ", Fritz Engel wrote. The famous artist Oskar Kokoschka drew the actress in 1922. Lithographies after his work hang in various museums, e.g. the Staatlichen Kunstsammlungen Dresden.

Sources: www.steffi-line.de/archiv_text/nost_film20b40/178_orska_m..., German Wikipedia, filmportal, and IMDb.

German postcard. Henny Porten in Liebe und Diebe (Carl Froehlich, Henny Porten-Froehlich Produktion 1928). Ross Verlag, No. 92/3. Photo Alex Schmoll, Berlin.

Plot: Baroness Anna von Belling (Porten), who is staying in a posh Wiesbaden hotel, has her jewelry, valuable diamonds, stolen. She personally pursues the thief and is promptly mistaken for an impostor whom the police have long sought. Taken into custody, Ms. von Belling is only released when her own uncle confirms her identity. The hotel guest who, in their eyes, has made himself particularly suspicious, turns out to be a detective and her stolen jewelry proves to be fake. As if by coincidence, the real thief Anna Magdalena Kaludrigkeit, internally called “Brillanten-Anna” (also Porten), appears, who has just returned from a thief tour and has a striking resemblance to her noble namesake. After all the confusion, Baroness Anna and the police commissioner from Langen (Anton Pointner), who handled the case, get closer and get married.

Other actors in the film were Kurt Gerron, Paul Bildt, Adolphe Engers, Karl Geppert, Oreste Bilancia, and Hubert von Meyerinck. Liebe und Diebe was scripted by Walter Wassermann and Fred Sauer, and cinematographed by Gustav Preiss. Sets were by Franz Schroedter, while Porten's husband Wilhelm von Kaufmann was production manager. The film was shot in November-December 1927 and premiered on 8 March 1928 at the Ufa-Palast am Zoo.

Sources: German Wikipedia, IMDB.

Sturdy and blond Henny Porten (1890-1960) was one of Germany's most important and popular film actresses of the silent cinema. She became the quintessence of German womanhood, ladylike yet kindhearted and a not a little petit bourgeois. She was also the producer of many of her own films.

German postcard by Ross Verlag, no. 92/1. Photo: Alex Schmoll, Berlin / Henny Porten-Froehlich Produktion. Henny Porten in Liebe und Diebe (Carl Froehlich, 1928).

Plot: Baroness Anna von Belling (Porten), who is staying in a posh Wiesbaden hotel, has her jewelry, valuable diamonds, stolen. She personally pursues the thief and is promptly mistaken for an impostor whom the police have long sought. Taken into custody, Ms. von Belling is only released when her own uncle confirms her identity. The hotel guest who, in their eyes, has made himself particularly suspicious, turns out to be a detective and her stolen jewelry proves to be fake. As if by coincidence, the real thief Anna Magdalena Kaludrigkeit, internally called “Brillanten-Anna” (also Porten), appears, who has just returned from a thief tour and has a striking resemblance to her noble namesake. After all the confusion, Baroness Anna and the police commissioner from Langen (Anton Pointner), who handled the case, get closer and get married.

Other actors in the film were Kurt Gerron, Paul Bildt, Adolphe Engers, Karl Geppert, Oreste Bilancia, and Hubert von Meyerinck. Liebe und Diebe was scripted by Walter Wassermann and Fred Sauer, and cinematographed by Gustav Preiss. Sets were by Franz Schroedter, while Porten's husband Wilhelm von Kaufmann was production manager. The film was shot in November-December 1927 and premiered on 8 March 1928 at the Ufa-Palast am Zoo.

Sources: German Wikipedia, IMDB.

Sturdy and blond Henny Porten (1890-1960) was one of Germany's most important and popular film actresses of the silent cinema. She became the quintessence of German womanhood, ladylike yet kindhearted and a not a little petit bourgeois. She was also the producer of many of her own films.

German postcard by Ross Verlag, no. 1017/2, 1927-1928. Photo: Alex Binder, Berlin.

Austrian actress and producer Ellen Richter (1893-1963) caused a sensation as a leading lady in action films from the middle of the 1910s.

Ellen Richter was born Käthe Weiss in 1893 in Vienna, Austria-Hungary (now Austria). She studied acting with Ferdinand Gregori at the Akademie für darstellende Kunst. In 1915 she conquered European audiences with sensation and adventure films like the Joe Deebs detective film Das Gesetz der Mine/The Law of the Mine (Joe May, 1915) starring Max Landa. She became in no time a competitor of action star Harry Piel in films like Der Ring des Schicksals/The Ring of Fate (Richard Eichberg. 1916), Der Spion/The Spy (Karl Heiland, 1917), and Der Flieger von Görz/The Aviator of Gorizia (Georg Jacoby, 1918) starring Harry Liedtke. These films had enormous success. In 1920 Ellen Richter founded her own production company, Ellen Richter Film, together with her later husband Willi Wolff. From then on, he directed and wrote, and she produced and acted in films tailored to her. She soon had the reputation that her films always contained an expensive excursion to exotic locations.

Ellen Richter was able to hold her popularity well till the end of the 1920s. She appeared in films like Lola Montez, die Tänzerin des Königs/Lola Montez, the King's Dancer (Willi Wolff, 1922) with Georg Alexander, Der Flug um den Erdball/The Flight Around the Globe (Willi Wolff, 1925), Moral (Willi Wolff, 1928) and Die Frau ohne Nerven/The Nerveless Woman (Willi Wolff, 1929) opposite Walter Janssen. In 1923 she had married Willi Wolff. In the 1930s Richter only played in a few films such as Die Abenteurerin von Tunis/The Adventuress of Tunis (Willi Wolff, 1931) and Das Geheimnis von Johann Orth/The Secret of Johann Orth (Willi Wolff, 1932) with Karl Ludwig Diehl, before she retired from the film business. Her last film was the crime comedy Manolescu, der Fürst der Diebe/Manolescu, King of Thieves (Georg C. Klaren, Willi Wolff, 1933) starring Iván Petrovich. The rise of the Nazis finished her film career. The Jewish Richter was forbidden to produce more films and was in 1938 excluded from the Reichsfilmkammer. During the Second World War she lived in foreign countries. After her return to Germany she worked again in film production, but now on a small scale. Ellen Richter died in 1969, in Düsseldorf, West Germany. Willi Wolff had passed away in 1947.

Sources: Thomas Staedeli (Cyranos), Wikipedia (German), and IMDb.

And, please check out our blog European Film Star Postcards.

German postcard by Ross Verlag, no. 626/4. Photo: Viggo Larsen Tempelhof. Publicity still of Viggo Larsen and Erra Brognar in Der Fürst der Diebe und seine Liebe/The King of Thieves and His Love (Viggo Larsen, 1919).

Der Fürst der Diebe und seine Liebe was a four-part film which premiered in Berlin on November 4, 1919. Scriptwriter was Hans Hyan, photographer Julius Balting. Initially, the state censorship of 1921, completely forbade the film but after cuts, it remained only forbidden for youngsters.

While no content description of the film could be found, it is clear the plot deals with a gentleman criminal, played by Larsen himself. Critic Friedrich Sieburg in 1920 wrote about a terrifying experience he had when viewing this very film when suddenly the musicians stopped playing while the film went on. "In act 3, as Der Fürst der Diebe was roaring along in his car (his shawl fluttering like a flag, wind blowing briskly through the high grass of the passing landscape), the musicians in the small orchestra - violin and piano for lively scenes, organ for deathly scenes - suddenly decided to break for dinner. The music stopped. Silence. The reels whirred. The light hissed. The action sped ahead. I tell you, it was frightening. I felt as if I was six feet under." (Anton Kaes/ Michael Cowan ed., The Promise of Cinema: German Film Theory, 1907–1933).

Viggo Larsen (1880-1957) was a Danish actor, director, scriptwriter and producer. He was one of the pioneers in film history. With Wanda Treumann he directed and produced many German films of the 1910s.

German postcard by Ross Verlag, no. 92/2. Photo Alex Schmoll, Berlin / Henny Porten-Froehlich Produktion. Henny Porten in a double role in Liebe und Diebe (Carl Froehlich, 1928).

Plot: Baroness Anna von Belling (Porten), who is staying in a posh Wiesbaden hotel, has her jewelry, valuable diamonds, stolen. She personally pursues the thief and is promptly mistaken for an impostor whom the police have long sought. Taken into custody, Ms. von Belling is only released when her own uncle confirms her identity. The hotel guest who, in their eyes, has made himself particularly suspicious, turns out to be a detective and her stolen jewelry proves to be fake. As if by coincidence, the real thief Anna Magdalena Kaludrigkeit, internally called “Brillanten-Anna” (also Porten), appears, who has just returned from a thief tour and has a striking resemblance to her noble namesake. After all the confusion, Baroness Anna and the police commissioner from Langen (Anton Pointner), who handled the case, get closer and get married.

Other actors in the film were Kurt Gerron, Paul Bildt, Adolphe Engers, Karl Geppert, Oreste Bilancia, and Hubert von Meyerinck. Liebe und Diebe was scripted by Walter Wassermann and Fred Sauer, and cinematographed by Gustav Preiss. Sets were by Franz Schroedter, while Porten's husband Wilhelm von Kaufmann was production manager. The film was shot in November-December 1927 and premiered on 8 March 1928 at the Ufa-Palast am Zoo.

Sources: German Wikipedia, IMDB.

Sturdy and blond Henny Porten (1890-1960) was one of Germany's most important and popular film actresses of the silent cinema. She became the quintessence of German womanhood, ladylike yet kindhearted and a not a little petit bourgeois. She was also the producer of many of her own films.

Heidelberg Witch Tower

The Witches' Tower, also called Thieves' Tower, is an old tower that has survived from the Middle Ages. Until 1392 the Witches Tower belonged to the western city fortification. Later, it is said to have served as a prison for robbers and thieves, including female creatures. The conjecture that the tower could have gotten its name during the time of the witch hunts, which took place in Heidelberg from about 1450 to 1500, thus would not be correct. Because the name "Hexenturm" got the tower only in the year 1684. Presumably one looked simply back on the cruel time of the witch hunt and decided to give the prison tower this name to underline the cruelty that took place in the tower.

During the Palatinate War of Succession, which took place from 1688 to 1697, the witch tower was partially destroyed. After the reconstruction, the tower lost its original pitched roof, as in the time of reconstruction hipped roofs enjoyed recent popularity and you therefore just provided the tower with such a hipped roof.

Today, the Witch Tower stands in the courtyard of the New University. The tower was incorporated in the construction of the New University in the 20th century, i.e., the buildings of the New University were built around the tower.

1932/33 was also in the tower, more precisely in the first floor of the tower, a memorial for students, lecturers and officials of the University of Heidelberg, who had fallen as soldiers in World War I, built. The monument consists of stone slabs, which were attached to the walls of the tower and labeled with the names of the fallen.

Heidelberger Hexenturm

Der Hexenturm, auch Diebesturm genannt, ist ein alter Turm, der aus der Zeit des Mittelalters erhalten geblieben ist. Bis 1392 gehörte der Hexenturm zur westlichen Stadtbefestigung. Später soll er als Gefängnis für Räuber und Diebe, auch weiblichen Geschlechts, gedient haben. Die Mutmaßung der Turm könnte während der Zeit der Hexenverfolgungen, welche in Heidelberg von ca. 1450 bis 1500 stattfanden, seinen Namen bekommen haben, wäre so nicht richtig. Denn den Namen „Hexenturm“ bekam der Turm erst im Jahr 1684. Vermutlich schaute man einfach auf die grausame Zeit der

Hexenturm Heidelberg

Hexenverfolgung zurück und beschloss dem Gefängnisturm diesen Namen zu geben, um die Grausamkeit, welche sich im Turm vollzog, zu unterstreichen.

Während des Pfälzischen Erbfolgekrieges, der von 1688 bis 1697 stattfand, wurde der Hexenturm zum Teil zerstört. Nach dem Wiederaufbau verlor der Turm sein ursprüngliches Spitzdach, da in der Zeit des Wiederaufbaus sich Walmdächer aktueller Beliebtheit erfreuten und man deshalb den Turm eben mit solch einem Walmdach versah.

Heute steht der Hexenturm im Hof der Neuen Universität. Der Turm wurde im 20. Jahrhundert in den Bau der Neuen Universität einbezogen, d.h. die Gebäude der Neuen Universität wurden um den Turm herum errichtet.

1932/33 wurde zudem im Turm, genauer in dem ersten Obergeschoss des Turms, eine Gedenkstätte für Studenten, Dozenten und Beamten der Heidelberger Universität, die als Soldaten im 1. Weltkrieg gefallen waren, errichtet. Das Denkmal besteht aus Steinplatten, welche man an die Wände des Turms anbrachte und mit den Namen der Gefallenen beschriftete.

heidelbergpfalz.wordpress.com/schwarzwald-2/heidelberger-...

24.03.2010 gg. 00:40h Karl-Marx Straße 141.

Berlin Neukölln.

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Auch im Bereich Buschkrugallee (Berlin Neukölln) kam es in der vergangenen Zeit zu vermehrten Diebstahlshandlungen aus Kraftfahrzeugen, auch hier legte sich die Polizei mit nicht weniger als 20 Beamten auf die Lauer, dabei viel ihr Augenmerk auf diese drei Polen die an der Buschkrugallee / Hannemannstraße wohl zu dämmlich waren den Tank eines LKW zufinden, 20 min brauchten sie dazu..

Zum erstaunen der Beamten brachen die drei aber kein Auto auf sondern klauten den Dieselkraftstoff des LKW`s..

Die Beamten bereiteten den Zugriff vor, an der Karl-Marx-Straße 141 erfolgte die Festnahme der drei Dieseldiebe..

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Foto zeigt:.

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Fotos: ANDREAS MARKUS

Italian postcard. Domenico Gambino (Saetta). Ed. A. Traldi, Milano, No. 71. Card perhaps for Caporal Saetta (Eugenio Perego 1924).

Domenico Maria Gambino (1891-1968) was an Italian actor, director, scriptwriter and producer. He was well-known as the acrobatic comedian Saetta and often directed his own films.

Gambino was born in Turin on 17th May 1891 and came from a family of pastry bakers. At a young age he ran away from home and joined a circus but his dad brought him back. He then passed on to the stage where he became part of company by Enrico Gemelli, performing in dialect. According to Vittorio Martinelli, one day in 1908 he saw a shooting on location by the Itala film company and noticed an actor who had fallen from a coach, was not eager to repeat this, Gambino offered to replace him. True or not, in 1909 Gambino was hired by the rival company of Pasquali to star in the title role in the historical film Ettore Fieramosca – La disfida di Barletta (Ernesto Maria Pasquali 1909). Despite spectacular battle scenes and a final scene with Gambino jumping from a rock with his horse, the film wasn’t a big success unfortunately. Between 1910 and 1916 Gambino worked for the Itala company, appearing as extra in the comedies with Cretinetti (André Deed) and in comedies with other actors, often dressing up as woman. In 1911 he started his own comic series of Saltarelli, starting with Saltarelli ha fatto bagno nel caucciù (1911), followed by Vista corta, ma testa dura (1912). In Maciste & Co., Martinelli also mentions Saltarelli e l’ascensore and Saltarelli ladro per forza, but these are lacking in the Bernardini/Martinelli reference books. In 1912 Gambino returned to the stage as ‘young actor’ in the dialectic company of Carlo Nunziata, but in the following year he was again hired by Itala as actor and stuntman in the comedy L’attrice burlona (Mario Morais 1913) with Ernesto Vaser and the comedy Più forte che Sherlock Holmes (Giovanni Pastrone 1913) with Emilio Vardannes (Totò), the latter film with ingenious special effects by Segundo De Chomon. In 1914 Gambino appeared in the cast of the historical epic Cabiria (Giovanni Pastrone 1914), starring Lydia Quaranta, Umberto Mozzato, Bartolomeo Pagano and Italia Almirante. In 1915 he had a supporting part in André Deed’s La paura degli aeromobili nemici (André Deed 1915). In 1915 Gambino returned to Pasquali for a supporting part in a remake of Ettore Fieramosca (Umberto Paradisi 1915), this time with Giovanni Cimara in the title role, and for a leading part as a heroic athlete in an adventure film by scenographer-turned-director Domenico Gaido: Mascherata in mare (1917-1918) starring Henriette Bonard. Apparently the tide was turning for Gambino, as in the same year he moved to Ambrosio and directed his first film: La spirale della morte (1917-1918), starring Luciano Albertini and Cecil Tryan, and with Bonard and Gambino in supporting parts. It dealt with a marine officer who, with the help of circus artists, fights an enemy navy. The film was well received by the press. In those years Gambino was a jack-of-all-trades at Itala, worked as assistant-director for Pastrone as well, and supposedly pointed him out Bartolomeo Pagano, who would become famous as Maciste.

In 1918 Gambino founded his own film company Delta Film, and started interpreting a new comic character, named Saetta by his regular scriptwriter Fantasio (Riccardo Artuffo). Saetta protects the good people against the evil ones, often helped by his animals (dogs, monkeys etc.). As a true acrobat he is specialised in climbing facades and doing daredevil jumps, meticulously preparing his stunts. Despite the crisis in Italian cinema in the 1920s, he manages to make several films each year. In 1919 Gambino directed and starred as Saetta in Un demone gli disse…/Il demone rosso (1919), after that he left directing to Ettore Ridoni in Il salto della morte (1919-1920) and I tre vagabondi (1919-1920). By now the character was so popular that Gambino made a film simply called Saetta (Ridoni 1920), followed by Saetta salva la regina (Ridoni 1920). After that Gambino retook directing in Il sotterraneo fatale (1921) and in co-direction with Michele Malerba: Saetta contro Golia (1920-1921), the latter for Albertini-Film. Eventually Saetta was a name Gambino also gave to his film company, altered in Saetta Film. Here he made Saetta e il club dei ciuffi (co-dir. Mario Roncoroni, 1921), Saetta contro l’orco di Marcouff (co-dir. Malerba, 1921), and Saetta più forte di Sherlock Holmes (co-dir. Roncoroni 1921-1922). Often Pina Majelli was the love interest of Saetta in these flms. While in 1922 he was momentarily away, he returned in 1923 with Il capolavoro di Saetta (Eugenio Perego 1923), Saetta contro la ghigliottina (Emilio Vardannes 1923), and I millioni di Saetta (Ubaldo Pittei 1923), while in 1924 he made Saetta impara a vivere (Guido Brignone 1924), he was Maciste’s sidekick in Maciste imperatore (1924), then continued with Caporal Saetta (Perego 1924), and Saetta principe per un giorno (Mario Camerini 1924). Until 1925 Gambino interpreted the prosperous series of Saetta, the last ones being Saetta e le sette mogli del Pascià (Luciano Doria 1925) and Saetta Mefistofele (Gambino 1925).

After this Gambino was supposed to shoot a film called Saetta fascista, but he refused and went abroad to Germany. There he shot a modest number of films between 1928 and 1935, starting with Die letzte Galavorstellung des Zirkus Wolfsohn, then Diebe (1928). Switching to German sound film even he didn’t speak the language very well, he shot Ich hab’ mein Herz im Autobus verloren (1929), Der Bergführer von Zakopane (1930), Dynamit (1932), and Meister Petz in Wintersport (1935). These films were almost always done in co-direction with German filmmakers. Gambino also acted in a series of films with the character Billy, directed by Edmund Heuberger, plus some other films. Returning to Italy in 1935, film boss Luigi Freddi didn’t forgive Gambino’s earlier refusal, so he became jobless for a year. He tried to return with the film Un bacio a fior d'acqua, a cheap film which tried to revamp his old glories as Saetta, but it flopped. Between 1938 and 1941 Gambino managed to shoot some adventure films and cheap thrillers: Lotta nell’ombra (1939), La traversata nera (1939), Il segreto di Villa Paradiso (1940), La donna perduta (1941), and La pantera nera (1942). He had a last finest hour with Arditi civili (1940), a film on the fire brigades. Leaving actors and firemen breathless, he did several daring stunts as stand-in. After the war Gambino still did a handful of film acting and directing before retiring. As actor he peaked in Abbasso la ricchezza! (1948), opposite Anna Magnani and Vittorio De Sica as main actors. Gambino’s last film was La Luciana, which he directed in 1954. Domenico Gambino died in Rome on 17th April 1968.

Sources: IMDB, Italian Wikipedia, Vittorio Martinelli, Maciste & Co., Aldo Bernardini/Vittorio Martinelli, Il cinema muto italiano.

Thieves crashed stolen car into a jewelry store ...

Frankfurt Goethestr.

www.spiegel.de/panorama/justiz/frankfurt-am-main-diebe-ra...

04.11.05 gg. 00:30h Wiesbadener Straße / Friedrich-Wilhelm-Platz.

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Zivilbeamte der Direktion 5 haben heute früh gegen 0 Uhr 45 drei Männer nach einem Autoeinbruch in Wilmersdorf festgenommen. Sie hatten die Verdächtigen über längere Zeit beobachtet..

Bereits gegen 22 Uhr fiel das Trio beim Auskundschaften von Pkw neuerer Bauart in der Voltastraße in Wedding auf. Die Beamten beschatteten die 22-, 31- und 36-Jährigen auf ihrer Weiterfahrt durch Mitte und Steglitz, wobei sie immer wieder "Pkw-Besichtigungen" durchführten..

Schließlich konnten die Drei, kurz nachdem sie einen "VW Passat" in der Berkaer Straße aufgebrochen und ein Navigationsgerät gestohlen hatten, in der Wiesbadener Straße angehalten und festgenommen werden. In dem " Renault Clio" der Diebe fanden die Beamten neben der Beute professionelles Einbruchswerkzeug und Funkgeräte..

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Foto zeigt: Handschellen.

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Foto: Andreas Markus

German autograph card.

Katharina Thalbach (1954) is one of Germany's most respected stage actresses mostly working in Hamburg and Berlin. She has also directed since the late 1980s. Internationally, she is best known for her part in Die Blechtrommel/The Tin Drum (1979), Volker Schlöndorf’s award-winning film adaptation of the novel by Günter Grass.

Katharina Thalbach was born in 1954 in East Berlin, East-Germany. She comes from a particularly artistically oriented family. Her father Benno Besson was a director, her mother Sabine Thalbach was an actress. She grew up in the theatre while her mother worked fort he Berliner Ensemble and the Deutschen Theater. At the age of four, she made her screen debut in the TV film Begegnung im Dunkel/Meeting in the Dark (1958). Her half-brother Pierre Besson and her stepmother Ursula Karusseit are both also actors. After the death of her mother in 1966, actress Helene Weigel takes her under her wings. During her school years, Thalbach’s acting teacher was Doris Thalmer. At 15, she makes her stage debut as the whore Betty in Erich Engels version of Die Dreigroschenoper (The Three Penny Opera) in 1969, and later takes over the leading role of Polly. She is considered as a new talent and continued to perform at the Berliner Ensemble. With her other half-brother Benjamin, she played in the DEFA film Es ist eine alte Geschichte/It is an old story (Lothar Warneke, 1972). In 1975, she appeared in another DEFA production Lotte in Weimar (Egon Günther, 1975), starring Lilli Palmer and based on the novel by Thomas Mann. In December 1976, she left East Germany together with longtime companion Thomas Brasch and daughter Anna after the expulsion of songwriter Wolf Biermann. She then played a supporting part in the West-German drama Das zweite Erwachen der Christa Klages/The Second Awakening of Christa Klages (1978) directed by Margarethe von Trotta, her debut solo film. The following year, she became known for her role in Die Blechtrommel/The Tin Drum (Volker Schlöndorff, 1979) the film adaptation of the novel by Günter Grass, which won the Palme d'Or at the 1979 Cannes Film Festival and the 1980 Oscar for Best Foreign Language Film. The film lead to a ban in Oklahoma because of scenes in which Lead actor David Bennent, then 11 years of age and playing a stunted 16-year-old, licks effervescing sherbet powder from the navel of a 16-year-old girl, played by Thalbach, who was 24 years old at the time. Subsequently, Bennent appears to have oral sex and then intercourse with her. The Ontario Censor Board in Canada first cut the film and then banned it as child pornography. In the multi-part television film Theodor Chindler (1979) by Hans W. Geißendörfer , she was Margarete, the young, revolutionary daughter of Reichstag deputy Theodor Chindler.

In 1980, Katharina Thalbach was voted "Actress of the Year" by the critics of the magazine Theater Heute for her title role in Kleist’s Das Käthchen von Heilbronn. She then co-starred with Hilmar Thate in the crime film Engel aus Eisen/Angels of Iron (1981), directed by her partner Thomas Brasch. She played a supporting part in the American drama Sophie's Choice (Alan J. Pakula, 1982) with Meryl Streep starring as Sophie. Thalbach often played dominant women who rebel against society, fight against misery and take their fate into their own hands. She played roles in the German-Finnish drama Flucht in den Norden/Flight North (Ingemo Engström, 1986) with Lena Olin, the German coimedy Z.B. ... Otto Spalt/The Case of Mr. Spalt (René Perraudin, 1988), and in Thomas Brasch’s drama Der Passagier – Welcome to Germany/The Passenger - Welcome to Germany (1988), featuring Tony Curtis. She co-starred with Stellan Skarsgård in the Swedish film God afton, Herr Wallenberg - En Passionshistoria från verkligheten/Good Evening, Mr. Wallenberg (Kjell Grede, 1990) about Swedish World War II diplomat Raoul Wallenberg, who was instrumental in saving the lives of thousands of Hungarian Jews from the Holocaust. A box office hit in Germany was the comedy Sonnenallee/Sun Avenue (Leander Haußmann, 1999) about life of the East-German youth in East Berlin in the late 1970s. The Sonnenallee is an actual street in Berlin that was intersected by the border between East and West during the time of the Berlin Wall. Thalbach portrayed Doris Ehrenreich, the mother of the male main character Micha. She appeared with Nina Hoss in Der Vulkan/The Volcano (Ottokar Runze, 1999). She often acted for television. In the TV mini-series Die Manns – Ein Jahrhundertroman (Heinrich Breloer, 2001), she played actress Therese Giehse. The international coproduction König der Diebe/King of Thieves (Ivan Fila, 2004) is a powerful indictment dealing with child slavery in the German marketplace. She had the lead role in the Polish language film Strajk - Die Heldin von Danzig/Strike (2006) directed by Volker Schlöndorff. The film is broadly a docudrama covering the formation of Solidarity. In 2006 she won the Bavarian Film Award for Best Actress. Her more recent German films include the tragicomedy Der Mond und andere Liebhaber/The Moon and Other Lovers (Bernd Böhlich, 2008), and the fantasy film Rubinrot/Ruby Red (Felix Fuchssteiner, 2013). Katharina Thalback continues to play theatre, film and television. Her daughter Anna, born in 1973 from a relationship with actor Vladimir Weigl, and her granddaughter Nellie (born 1995) are also actresses.

Sources: Hans-Michael Bock (Cinegraph- German), Wikipedia (English and German), and

IMDb.

04.11.05 gg. 00:30h Wiesbadener Straße / Friedrich-Wilhelm-Platz.

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Zivilbeamte der Direktion 5 haben heute früh gegen 0 Uhr 45 drei Männer nach einem Autoeinbruch in Wilmersdorf festgenommen. Sie hatten die Verdächtigen über längere Zeit beobachtet..

Bereits gegen 22 Uhr fiel das Trio beim Auskundschaften von Pkw neuerer Bauart in der Voltastraße in Wedding auf. Die Beamten beschatteten die 22-, 31- und 36-Jährigen auf ihrer Weiterfahrt durch Mitte und Steglitz, wobei sie immer wieder "Pkw-Besichtigungen" durchführten..

Schließlich konnten die Drei, kurz nachdem sie einen "VW Passat" in der Berkaer Straße aufgebrochen und ein Navigationsgerät gestohlen hatten, in der Wiesbadener Straße angehalten und festgenommen werden. In dem " Renault Clio" der Diebe fanden die Beamten neben der Beute professionelles Einbruchswerkzeug und Funkgeräte..

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Foto zeigt: Handschellen.

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Foto: Andreas Markus

East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 31/74. Photo: Blasig.

Katharina Thalbach (1954) is one of Germany's most respected stage actresses mostly working in Hamburg and Berlin. She has also directed since the late 1980s. Internationally, she is best known for her part in Die Blechtrommel/The Tin Drum (1979), Volker Schlöndorf’s award-winning film adaptation of the novel by Günter Grass.

Katharina Thalbach was born in 1954 in East Berlin, East-Germany. She comes from a particularly artistically oriented family. Her father Benno Besson was a director, her mother Sabine Thalbach was an actress. She grew up in the theatre while her mother worked fort he Berliner Ensemble and the Deutschen Theater. At the age of four, she made her screen debut in the TV film Begegnung im Dunkel/Meeting in the Dark (1958). Her half-brother Pierre Besson and her stepmother Ursula Karusseit are both also actors. After the death of her mother in 1966, actress Helene Weigel takes her under her wings. During her school years, Thalbach’s acting teacher was Doris Thalmer. At 15, she makes her stage debut as the whore Betty in Erich Engels version of Die Dreigroschenoper (The Three Penny Opera) in 1969, and later takes over the leading role of Polly. She is considered as a new talent and continued to perform at the Berliner Ensemble. With her other half-brother Benjamin, she played in the DEFA film Es ist eine alte Geschichte/It is an old story (Lothar Warneke, 1972). In 1975, she appeared in another DEFA production Lotte in Weimar (Egon Günther, 1975), starring Lilli Palmer and based on the novel by Thomas Mann. In December 1976, she left East Germany together with longtime companion Thomas Brasch and daughter Anna after the expulsion of songwriter Wolf Biermann. She then played a supporting part in the West-German drama Das zweite Erwachen der Christa Klages/The Second Awakening of Christa Klages (1978) directed by Margarethe von Trotta, her debut solo film. The following year, she became known for her role in Die Blechtrommel/The Tin Drum (Volker Schlöndorff, 1979) the film adaptation of the novel by Günter Grass, which won the Palme d'Or at the 1979 Cannes Film Festival and the 1980 Oscar for Best Foreign Language Film. The film lead to a ban in Oklahoma because of scenes in which Lead actor David Bennent, then 11 years of age and playing a stunted 16-year-old, licks effervescing sherbet powder from the navel of a 16-year-old girl, played by Thalbach, who was 24 years old at the time. Subsequently, Bennent appears to have oral sex and then intercourse with her. The Ontario Censor Board in Canada first cut the film and then banned it as child pornography. In the multi-part television film Theodor Chindler (1979) by Hans W. Geißendörfer , she was Margarete, the young, revolutionary daughter of Reichstag deputy Theodor Chindler.

In 1980, Katharina Thalbach was voted "Actress of the Year" by the critics of the magazine Theater Heute for her title role in Kleist’s Das Käthchen von Heilbronn. She then co-starred with Hilmar Thate in the crime film Engel aus Eisen/Angels of Iron (1981), directed by her partner Thomas Brasch. She played a supporting part in the American drama Sophie's Choice (Alan J. Pakula, 1982) with Meryl Streep starring as Sophie. Thalbach often played dominant women who rebel against society, fight against misery and take their fate into their own hands. She played roles in the German-Finnish drama Flucht in den Norden/Flight North (Ingemo Engström, 1986) with Lena Olin, the German coimedy Z.B. ... Otto Spalt/The Case of Mr. Spalt (René Perraudin, 1988), and in Thomas Brasch’s drama Der Passagier – Welcome to Germany/The Passenger - Welcome to Germany (1988), featuring Tony Curtis. She co-starred with Stellan Skarsgård in the Swedish film God afton, Herr Wallenberg - En Passionshistoria från verkligheten/Good Evening, Mr. Wallenberg (Kjell Grede, 1990) about Swedish World War II diplomat Raoul Wallenberg, who was instrumental in saving the lives of thousands of Hungarian Jews from the Holocaust. A box office hit in Germany was the comedy Sonnenallee/Sun Avenue (Leander Haußmann, 1999) about life of the East-German youth in East Berlin in the late 1970s. The Sonnenallee is an actual street in Berlin that was intersected by the border between East and West during the time of the Berlin Wall. Thalbach portrayed Doris Ehrenreich, the mother of the male main character Micha. She appeared with Nina Hoss in Der Vulkan/The Volcano (Ottokar Runze, 1999). She often acted for television. In the TV mini-series Die Manns – Ein Jahrhundertroman (Heinrich Breloer, 2001), she played actress Therese Giehse. The international coproduction König der Diebe/King of Thieves (Ivan Fila, 2004) is a powerful indictment dealing with child slavery in the German marketplace. She had the lead role in the Polish language film Strajk - Die Heldin von Danzig/Strike (2006) directed by Volker Schlöndorff. The film is broadly a docudrama covering the formation of Solidarity. In 2006 she won the Bavarian Film Award for Best Actress. Her more recent German films include the tragicomedy Der Mond und andere Liebhaber/The Moon and Other Lovers (Bernd Böhlich, 2008), and the fantasy film Rubinrot/Ruby Red (Felix Fuchssteiner, 2013). Katharina Thalback continues to play theatre, film and television. Her daughter Anna, born in 1973 from a relationship with actor Vladimir Weigl, and her granddaughter Nellie (born 1995) are also actresses.

Sources: Hans-Michael Bock (Cinegraph- German), Wikipedia (English and German), and

IMDb.

German postcard by Ross Verlag, no. 7532/1, 1932-1933. Photo: Hisa-Film. Publicity still for Manolescu, der Fürst der Diebe/Manolescu, the King of Thieves (Georg C. Klaren, Willi Wolff, 1933).

Austrian-born stage actress Mady Christians (1892-1951) was a star of the German silent cinema and appeared in Austrian, French, British and Hollywood films too.

For more postcards, a bio and clips check out our blog European Film Star Postcards or follow us at Tumblr or Pinterest.

24.03.2010 gg. 00:40h Karl-Marx Straße 141.

Berlin Neukölln.

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Auch im Bereich Buschkrugallee (Berlin Neukölln) kam es in der vergangenen Zeit zu vermehrten Diebstahlshandlungen aus Kraftfahrzeugen, auch hier legte sich die Polizei mit nicht weniger als 20 Beamten auf die Lauer, dabei viel ihr Augenmerk auf diese drei Polen die an der Buschkrugallee / Hannemannstraße wohl zu dämmlich waren den Tank eines LKW zufinden, 20 min brauchten sie dazu..

Zum erstaunen der Beamten brachen die drei aber kein Auto auf sondern klauten den Dieselkraftstoff des LKW`s..

Die Beamten bereiteten den Zugriff vor, an der Karl-Marx-Straße 141 erfolgte die Festnahme der drei Dieseldiebe..

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Foto zeigt:.

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Fotos: ANDREAS MARKUS

German postcard by Rotophot in the Film Sterne series, no. 118/2. Photo: Becker & Maass.

Maria Orska (1893-1930) was a Russian-Jewish actress of the German stage and screen in the 1910s and 1920s.

On 16 March 1893 Maria Orska was born Effi Rahel Blindermann in Nikolayev, Russian Empire (now Mikolaiv in Ukraine). She was the cousin of the German actress Hedda Forsten and by her mother parented to the theatre impresario Eugen Frankfurter. Although she originally wanted to study law like her father wanted to, she became a stage actress and was discovered by the German actor and drama teacher Ferdinand Gregori when in St. Petersburg. In 1909 he brought her to Vienna's conservatory "k.u.k. Akademie für Musik und darstellende Kunst" (today Universität für Musik und darstellende Kunst Wien), led by him. In 1910, she followed Gregori to the Mannheim court theater where she debuted as "Daisy Orska" and soon drew attention to herself in plays by Strindberg and Schnitzler. In 1911 she came to the Schauspielhaus in Hamburg, where quickly she became the star of the company. In the season 1914/1915 Maria Orska, her stage name by now, moved to Berlin, where she performed at the "Theater in der Königgrätzer Straße" (today "Hebbel-Theater") as well as Max Reinhardt’s Berlin stage. In the same year Edith Andreae was introduced to her, with whom she held a longlasting friendship.

In Berlin the exiled Russian artist became known as interpreter of the works by modern playwrights such as Wilde, Strindberg, Schnitzler, Wedekind and Pirandello. She was a huge success in Wedekind’s Lulu in 1917. "She had sharp, piercing tones, the uncanny effect of which the little character fanatically exaggerated. She also cultivated mundane roles, in which she unfolded the pointed humours of a devious character ... In the field of erotic representation she dared to go remarkably far. She was not an elementary artist, but she had individual qualities that made her the darling of the audience“, the reporter and author Emil Faktor noted in the Berliner Börsen-Courier (16.05.1930) in occasion of her tragic death.

Since her marriage to her second husband, Baron Dr. Hans von Bleichröder jun. (1888 - 1938), a grandson of the Jewish banker Gerson von Bleichröder, the ambitious Maria Orska maintained an elaborate lifestyle. For a long time, she was at the center of so-called Berlin society, and also knew how to stage herself in private as an eccentric spectacle. Her popularity was reinforced by cinema. In 1915 she began a second career as a silent film actor and soon received top salaries. Maria Orska gave her screen debut at the Greenbaum-Film GmbH in Richard Oswald's melodrama Dämon und Mensch (Demon and Man, 1915) and played the shady Lina, who wants to take a cleansed criminal (Rudolf Schildkraut) away from the path of virtue. Maria Orska worked for the first time with the filmmaker and director Max Mack (1884 - 1973) in Das tanzende Herz (The Dancing Heart, 1916), which effected in a six-part Maria Orska film series for the cinemas in 1916/17, with Orska herself as protagonist in each film. The star was praised as "the unmatched interpreter of Strindberg's women, the most fashionable actress of today's Berlin". She was the representative of an "art entirely dedicated to nerves" (Der Film, no. 23, 01.07.1916). As a girl from the gutter she presented herself in Der Sumpf (The Gutter, 1916), but also in comedies such as Die Sektwette (The Champagne Bet, 1916) she was able to win the audience for herself.

But it was mostly the melodramas of those years in which Maria Orska performed the type of the wicked woman. After the dramatic film Adamant's Letztes Rennen (Adamant’s Last Race, 1917) and Der lebende Tote (The Living Dead, 1917), she was for Max Mack Die schwarze Loo (Black Lu, 1917), a gypsy woman who becomes the talk of the town, and who almost wrecks the marriage of a musician (Bruno Kastner). Director Max Mack abducts his audience into the dazzling half-world of the imperial capital. The acclaimed Maria Orska acted as Black Lu, who is constantly surrounded both in the demimonde world and high society. Between push dancing and amorous intrigue, the film develops its highly dared action for those days in expressive images and pointed situations, in which with remarkable determination the stern morality of the late German Imperial Empire is shaken.

Die schwarze Loo was the last part of the Maria -Orska-series, which Mack realized for the Greenbaum-Film. Then Maria Orska paused from the film business and focused on her work at the theater for the next three years. In 1920 she reappeared on screen in the film Die letzte Stunde (The Last Hour), directed by Dimitri Buchowetzki, and the Emile Zola adaptation Die Bestie im Menschen (The Human Beast, Ludwig Wolff 1921), Der Streik der Diebe (The Thieves’ Strike, Alfred Abel 1921), and Paul Czinner's drama Opfer der Leidenschaft (Victims of Passion, 1922) as female partner of Paul Bildt. With the role of the capricious dancer Barberina Campanini in the first and third part of the Fridericus Rex series (Sturm und Drang, 1922; Sanssouci, 1923) Maria Orska finished her film career.

Orska’s attempt to become a theatrical actress in Paris failed. Disappointed, the celebrated artist returned to Berlin and accepted commitments at the Komödienhaus, the Deutsches Theater and the Lessing Theater. In 1927 for instance, in Hans Kaltneker's mystery play The Sisters at the theater in the Königgrätzer Strasse in Berlin, Orska played the lesbian Ruth. More and more however, Orska’s health visibly deteriorated by her morphine addiction. Divorced since 1925 by her husband, Dr. Hans von Bleichröder, Maria Orska became the talk of the town because of her own desire for death and her drug consumption. Nurses waited on the side stage with a syringe, directors dreaded every performance. Her suicide attempts - once she jumped off a train - soon became routine for the public. "They had an already typical character, they were each time after a rest and detox pause in the sanatorium, which the demon hunted artist used to leave like a fury, in order to escape from a life that had become worthless for her", Emil Faktor wrote in 1930.

All rehab attempts by Orska proved failing. She finally poisoned herself by an overdose of Veronal. The actress was brought to the Viennese General Hospital, where she died on May 16, 1930, at the age of only 37 – she couldn’t cope with a pneumonia because of her weakened body. Also the life of her sister Gabryela, who, born in 1894, became Marchesa di Serra Mantschedda when married to an Italian aristocrat, ended tragically, in 1924 (or 1926). Gabryela hanged herself in a Viennese hotel. Wikipedia claims it was after a row with her sister Maria. Their brother Edwin, aviator in the Russian Imperial Army, survived the First World War, the Bolshevik revolution, the Nazis, and the sisters. In 1938 he emigrated from Germany to Ecuador where he died in 1966.

"Maria Orska was completely subordinate to the intoxication of the stage until it crushed her. Her strange appearance confirmed how difficult it is to understand the phenomenon of the stage actor. She seemed so enveloped in the air of the scene, but at the same time she remained so simple. She was a theatrical crowd-puller and a rhetorical star, such as Wilde’s Salome, and was also the most humble of Hedwig in Wildente [The Wild Duck] by Ibsen. She was hot and cold, she played and she lived ", Fritz Engel wrote. The famous artist Oskar Kokoschka drew the actress in 1922. Lithographies after his work hang in various museums, e.g. the Staatlichen Kunstsammlungen Dresden.

Sources: www.steffi-line.de/archiv_text/nost_film20b40/178_orska_m..., German Wikipedia, filmportal, and IMDb.

JEAN GENET wunder der rose

JEAN GENET tagebuch eines diebes

JEAN GENET querelle

ROBERT ANTON WILSON die illuminatus papiere

ARTHUR C CLARKE 2001-odyssee im weltraum

WILLIAM GOLDING lord of the flies (engl.)

EDWARD D WOOD JR killer in drag (engl.)

JACK KEROUAC on the road (engl.)

JACK KEROUAC traumtagebuch

JOHN DOS PASSOS manhattan transfer

MICHEL HOUELLEBEQ ausweitung der kampfzone

MICHEL HOUELLEBEQ plattform

WILL SELF spass

T C BOYLE wassermusik

THOMAS PYNCHON die enden der parabeln

STEN NADOLNY die entdeckung der langsamkeit

electroboy

WEEKS / JAMES exzentriker

R K SIEGEL halluzinationen

RAY SHELL vereist

SCHMIDT / GUTMANN 23

CRIMETHINC evasion

DANIEL QUINN ismael

JAMES REDFIELD die zehnte prophezeiung von celestine

PFEIFER / BRÄUMER die zerrissenen seele

MARIE SISSY LABRECHE borderline

OTTO BENKERT psychopharmaka

FRANZ WERFEL eine blassblaue frauenschrift

MARK TWAIN der mann der hadleyburg korrumpierte

NIKOLAI GOGOL der mantel / die nase

PAUL ZECH deutschland dein tänzer ist der tod

HENRY KEILSON das leben geht weiter

B TRAVEN das totenschiff

BANANA YOSHIMOTO kitchen

BANANA YOSHIMOTO amrita (engl.)

BANANA YOSHIMOTO tsugumi

BANANA YOSHIMOTO n.p.

PAOLO COELHO der dämon und fräulein prym

PAOLO COELHO bekenntnisse eines suchenden

PAOLO COELHO der fünfte berg

PAOLO COELHO auf dem jakobsweg

PAOLO COELHO am ufer des rio pieldra saß ich und weinte

PAOLO COELHO elf minuten

PAOLO COELHO der alchimist

PAOLO COELHO handbuch der krieger des lichts

PETER SLOTERDIJK kritik der zynischen vernunft 1

PETER SLOTERDIJK kritik der zynischen vernunft 2

JAMES JOYCE ulysses

FREDERIC BEIGBEDER 39,90

FREDERIC BEIGBEDER letzte inventur vor dem ausverkauf

CHRISTIAN KRACHT 1979

CHRISTIAN KRACHT / ECKART NICKEL ferien für immer

GIUSEPPE CULLICCHIA kommt gut

GIUSEPPE CULLICCHIA blablabla

JEROME D SALINGER the catcher in the rye (engl.)

JEROME D SALINGER der fänger im roggen

ERICH KÄSTNER fabian

UMBERTO ECO das foucaultsche pendel

UMBERTO ECO das foucaultsche pendel (gebunden)

the penguin book of zen poetry

P.M. weltgeist superstar

P.M. bolo bolo

ANTONIC / WALDMANN hongkong

ODON VON HORVATH jugend ohne gott

ALEX GARLAND der strand<br<

KLAUS MANN mephisto

ANTHONY BURGESS uhrwerk orange

ANTHONY BURGESS 1985

WILLIAM S BURROUGHS nova express

jesus

buddah

LAO TSE tao te king

C C YUAN tao, zen und schöpferische kraft

HELMUT WILHELM sinn des i ging

DSUANG DSI das wahre buch vom südlichen blütenland

das totenbuch der tibeter

JOACHIM GNEIST wenn haß und liebe sich umarmen

EWALD RAHN borderline

HAND PETER RÖHR weg aus dem chaos

JEAN COCTEAU opium

JEAN COCTEAU das blut eines dichters / die schöne und das tier / orphee

JEAN COCTEAU das berufsgeheimnis

JEAN COCTEAU die schwierigkeit zu sein

OLIVER STONE night dream

HARUKI MURAKAMI mister aufziehvogel

HARUKI MURAKAMI tanz mit dem schafsmann

F SEIDEL-PIELEN krieg in den städten

HAKIM BEY temporäre autonome zone

HEINZ HUG kropotkin

MICHAEL BAKUNIN ich

was ist eigentlich anarchie

BOMMI BAUMANN wie alles anfing

EDGAR WIND kunst und anarchie

102 gravuren zu justine und juliette von DAF de sade

CELSUS gegen die christen

SENECA von der seelenruhe

PLATON mit den augen des geistes

GEORG LUKACS die reaktionäre ideologie

GILLES DELEUZE logik des sinns

CLAUDE LEVI STRAUSS traurige tropen

PAUS grenzerfahrung tod

ERICH FROMM haben oder sein

SIGMUND FREUD die traumdeutung

C G JUNG bewusstes und unbewusstes

MICHEL FOUCAULT sexualität und wahrheit

CHÖGYAM TRUNGPA meditation in action

quellen jüdischer weisheit

EZRA POUND dichtung und prosa

STEFAN ZWEIG schachnovelle

ANGELUS SILESIUS der cherubinische wandersmann

WILLIAM BURROUGHS junkie yage naked lunch nova express

GRAHAM CAVENEY gentleman junkie (burroughs)(gebunden)

STEVE TURNER angel headed hipster (kerouac) (gebunden)

GRAHAM CHAPMAN a liar´s autobiography

DENNIS WILSON the real beach boy

GEORGE MARTIN summer of love (beatles) (gebunden)

JOHN L ORR points of origin - playing with fire

MICHAEL MOYNIHAN lords of chaos - black metal

JÜGEN DEPPE / ODEM on the run - graffiti jugend

SYLVIA GREEN-MESCHKE gegendarstellung zum fall barschel

NOAM CHOMSKY the attack

JULIEN PALACIOS lost in the woods (syd barrett)

dear boy: the life of KEITH MOON (the who)

JACK KEROUAC on the road (engl.)

HUNTER S THOMPSON fear and loathing in las vegas (deutsch)(gebunden)

HUNTER S THOMPSON fear and loathing in america (engl.)

HUNTER S THOMPSON fear and loathing on the campaign trail (engl.)

HUNTER S THOMPSON better than sex (engl.)

HUNTER S THOMPSON hells angels (engl.)

HUNTER S THOMPSON generation of swine (engl.)

JEAN GENET notre dame des fleurs (gebunden)

LAWRENCE DURRELL justine (gebunden)

JACK LONDON könig alkohol (gebunden)

OSCAR WILDE das bildnis des dorian gray (gebunden)

JULIAN GREEN leviathan (gebunden)

ALBERT CAMUS der fall (gebunden)

ALBERT CAMUS der fremde (gebunden)

HERMANN HESSE roßhalde (gebunden)

HERMANN HESSE die morgenlandfahrt (gebunden)

HERMANN HESSE der steppenwolf (gebunden)

GRACILIANO RAMOS angst

RAYMOND QUENEAU stilübungen (gebunden)

ANDRE GIDE paludes (gebunden)

MAX FRISCH homo faber (gebunden)

FLANN O BRIEN aus dalkeys archiven (gebunden)

SYLVIA PLATH ariel (gebunden)

SYLVIA PLATH die glasglocke (gebunden)

JEAN COCTEAU kinder der nacht (gebunden)

PAUL NIZON stolz (gebunden)

MAO TES TUNG 39 gedichte (gebunden)

WALKER PERCY der kinogeher (gebunden)

RAYMOND RADIGUET den teufel im leib (gebunden)

ALAIN-FOURNIER der große meaulnes (gebunden)

ERNST BLOCH spuren (gebunden)

HERBERT MARCUSE triebstrukturen (gebunden)

JAMES JOYCE dubliner (gebunden)

WILLIAM FAULKNER wilde palmen (gebunden)

TRUMAN CAPOTE die grasharfe (gebunden)

TRUMAN CAPOTE kaltblütig (gebunden)

ADOLPH KAEDING freiherr von knigge (gebunden)

ULRICH VÖLKLEIN hitlers tod (gebunden)

ISAAC ASIMOV auf der suche nach der erde (gebunden)

CHARLES BERLITZ der roswell zwischenfall (gebunden)

CHARLES BERLITZ das bermuda dreieck (gebunden)

ERICH FROMM haben oder sein (gebunden)

ERICH FROMM die kunst des liebens (gebunden)

ALAN WATTS zeit zu leben(gebunden)

GESHE WANGYAL tibetische meditationen

TAIKAN IYOJI tagebuch eines zen-meisters

ARIEL die mystik des judentums (gebunden)

J G BENNETT der grüne drache (gebunden)

ATTAR vogelgespräche (gebunden)

THOR HEYERDAHL aku aku (gebunden)

RICHARD KATZ die weite weite welt (gebunden)

RICHARD KATZ zick zack durch südamerika (gebunden)

RICHARD HALLIBURTON die jagd nach dem wunder (gebunden)

HEINZ HELFGEN ich radle um die welt 1 (gebunden)

HEINZ HELFGEN ich radle um die welt 2 (gebunden)

HEINZ HELFGEN ich trampe zum nordpol (gebunden)

HANS A DE BOER unterwegs in ost und west (gebunden)

WILLI WEBER auf abwegen um die welt (gebunden)

E R KEILPFLUG an den rändern dreier erdteile (gebunden)

MICHAEL HOLZACH deutschland umsonst (gebunden)

HENRY MILLER wendekreis des krebses (gebunden)

HENRY MILLER wendekreis des steinbocks (gebunden)

STEFAN ZWEIG joseph fouché (gebunden)

STEFAN ZWEIG marie antoinette (gebunden)

STEFAN ZWEIG menschen (gebunden)

STEFAN ZWEIG ungeduld des herzen (gebunden)

STEFAN ZWEIG sternstunden der menschheit (gebunden)

PATRICK SÜSKIND das parfum (gebunden)

PAUL BOWLES gesang der insekten (gebunden)

die bibel mit apokryphen (gebunden)

DANTE ALIGHIERI divina commedia (gebunden)

ANGELUS SILESIUS der cherubinische wandersmann (gebunden)

LEOPOLD VON SACHER MASOCH die venus im pelz (gebunden)

JORIS KARL HUYSMANS tief unten (gebunden)

JULES VERNE von der erde zum monde (gebunden)

MARK TWAIN tom sawyer und huckleberry finn (gebunden)

ADALBERT STIFTER der nachsommer (gebunden)

ERNEST HEMINGWAY fiesta (gebunden)

ERNEST HEMINGWAY in einem anderen land (gebunden)

THOMAS WOLFE schau heimwärts engel (gebunden)

NORMAN MAILER die nackten und die toten (gebunden)

VLADIMIR NABOKOV lolita (gebunden)

JONATHAN SWIFT gullivers reisen (gebunden)

FJODOR DOSTOJEWSKI schuld und sühne (gebunden)

HUNTER S THOMPSON fear and loathing in america (engl.)

HUNTER S THOMPSON fear and loathing on the campaign trail (engl.)

HUNTER S THOMPSON better than sex (engl.)

HUNTER S THOMPSON generation of swine (engl.)

HUNTER S THOMPSON songs of the doomed (engl.)

HUNTER S THOMPSON the great shark hunt (engl.)

HUNTER S THOMPSON the proud highway (engl.)

HUNTER S THOMPSON kingdom of fear (engl.)

HUNTER S THOMPSON the rum diary (engl.)

PAUL PERRY fear and loathing (thompson)(engl.)

PETER O WHITMER when the going gets weird (thompson)(engl.)

E JEAN CARROLL hunter (thompson)(engl.)

flag this pic as might offend.

German postcard. Henny Porten and Anton Pointner in Liebe und Diebe (Carl Froehlich, Henny Porten-Froehlich Produktion 1928). Ross Verlag, No. 92/5. Photo Alex Schmoll, Berlin.

Plot: Baroness Anna von Belling (Porten), who is staying in a posh Wiesbaden hotel, has her jewelry, valuable diamonds, stolen. She personally pursues the thief and is promptly mistaken for an impostor whom the police have long sought. Taken into custody, Ms. von Belling is only released when her own uncle confirms her identity. The hotel guest who, in their eyes, has made himself particularly suspicious, turns out to be a detective and her stolen jewelry proves to be fake. As if by coincidence, the real thief Anna Magdalena Kaludrigkeit, internally called “Brillanten-Anna” (also Porten), appears, who has just returned from a thief tour and has a striking resemblance to her noble namesake. After all the confusion, Baroness Anna and the police commissioner from Langen (Anton Pointner), who handled the case, get closer and get married.

Other actors in the film were Kurt Gerron, Paul Bildt, Adolphe Engers, Karl Geppert, Oreste Bilancia, and Hubert von Meyerinck. Liebe und Diebe was scripted by Walter Wassermann and Fred Sauer, and cinematographed by Gustav Preiss. Sets were by Franz Schroedter, while Porten's husband Wilhelm von Kaufmann was production manager. The film was shot in November-December 1927 and premiered on 8 March 1928 at the Ufa-Palast am Zoo.

Sources: German Wikipedia, IMDB.

Sturdy and blond Henny Porten (1890-1960) was one of Germany's most important and popular film actresses of the silent cinema. She became the quintessence of German womanhood, ladylike yet kindhearted and a not a little petit bourgeois. She was also the producer of many of her own films.

sankt gallen

German postcard by Ross Verlag, no. 5776/1, 1930-1931. Photo: Ariël Film / Terra / United Artists. Dary Holm in Schatten der Unterwelt/Shadows of the Underworld (Harry Piel, 1931).

Dary Holm (1897-1960) was a German actress of the silent cinema. She was the film partner of Harry Piel in several adventure films.

Dary Holm was boren in 1897 in Hamburg as Anna Maria Dorothea Meyer. She grew up in Upper Bavaria and decided to take up acting after the First World War. Initially, she started her film career under the name Anna Holm. Through her colleague Bernd Aldor, she was recommended to director Otto Rippert in 1921, who cast her in his film Die Beute der Erinnyen, with Werner Krauß and Ressel Orla. In Munich she acted that year in the two-part film Hyänen der Welt and Der Todessegler, both by Fred Stranz, while in Berlin she acted in Die rätselhafte Zwölf by Martin Hartwig. In the following years, Dary Holm advanced from supporting to leading roles. In 1922-1923, she acted in several films at Union-Film-Co. in Munich, often opposite Ernst Rückert, and directed by directors like Franz Seitz and Josef Berger. Probably one of her first leads she had in 1923 opposite Bernd Aldor in Die Affäre der Baronesse Orlowska by Hans Werckmeister, while she also acted that year in e.g. the - lost - biopic Martin Luther by Karl Wüstenhagen.

From 1924 Dary Holm was regularly cast as a film partner of Harry Piel, first in Auf gefährlichen Spuren (Harry Piel, 1924), followed by several others, such as Der Mann ohne Nerven (1924), Abenteuer im Nachtexpreß (1925), Zigano, der Brigant von Monte Diavolo (1925), Der schwarze Pierrot (1926), and Rätsel einer Nacht (1927). In 1927, after Piel's divorce from Johanna Präder, Holm married the popular actor-director. The couple continued together in Panik, (Harry Piel, 1927-1928), Mann gegen Mann (1928), Männer ohne Beruf (1928), Sein bester Freund (1929), Achtung! Auto-Diebe! (1930), Schatten der Unterwelt (1931) - which was also shot in French version, and Jonny stiehlt Europa (1932).

Occasionally, Dary Holm also acted in films by other directors, but most were with Piel from 1924 onward. "Playing with adventure is what attracts me to film", Dary Holm let her audience know. "Certainly, other stars often have more opportunity to reveal their mimic talent and to win the audience's heart with the smile of their beautiful lips and the magic of their eyes. I, however, have to take dangers with my partner and have to win sympathy through my deathly courage. But it also works like this. The tempo of danger that carries me through the film is what gives me the greatest pleasure and not least brings success. This tempo is the most genuine film - the stage can never achieve such a thing!)." After her first talkies, Dary Holm retired into private life. She died at age 63 in 1960 in Munich and was buried there at the Waldfriedhof. When 2 1/2 years after Piel died too, he was buried in the same grave. And even Piel's third wife, Lilli Stromereder-Piel (1901-1984), was buried there.

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

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📷 | 1970 Alfa Romeo Tipo 33-3 :: rumoto images wp

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1970 Alfa Romeo Tipo 33-3 - driver: Nino Vaccarella R.I.P.

Mit dem Tipo 33-3 wollte Alfa ab 1969 um den Gesamtsieg in den Sportwagenrennen mitspielen. Verantwortlich war Carlo Chiti, der legendäre Ex-Ferrari Ingenieur. Er rüstete seinen Tipo33/2 auf, indem er den 2-Liter, bzw. 2.5-Liter V8-Zylinder im Tipo 33-3 auf 3 Liter Hubraum steigerte.

Es regnete Gesamtsiege in der Targa Florio, in Brands Hatch und Watkins Glen:

Platzierungen von Nino Vaccarella:

1956

5. Passo di Rigano - Bellolampo auf Fiat 1100/103

1957

3. Monte Erice auf einem Lancia Aurelia B20 2500

1. Platz Sorrento - Sant'Agata auf Lancia Aurelia B20 2500

1. Platz Colle San Rizzo auf Lancia Aurelia B20 2500

5. Vallelunga Circuit auf Lancia Aurelia B20 2500

1958

3. Montepellegrino auf Lancia Aurelia B20 2500

3. Ganzirri Circuit auf Lancia Aurelia B20 2500

10. und 3. beim Giro delle Calabrie auf Lancia Aurelia B20 2500

2. Monte Erice, Lancia Aurelia B20 2500

6. Sassi - Superga auf Lancia Aurelia B20 2500

2. Coppa Gallenga auf Lancia Aurelia B20 2500

2. und 1. Sorrento - Sant'Agata auf Lancia Aurelia B20 2500

1. Rigano Pass - Bellolampo auf Lancia Aurelia B20 2500

2. Avola Aufstieg auf Lancia Aurelia B20 2500

1959

1. Ass. zum Valdesi – Santa Rosalia auf Maserati 2000 4 Zyl.

10. und 3. Targa Florio auf Maserati 2000 SI mit Salimecos

1. Montepellegrino auf Maserati 2000 4 Zyl.

1. Pergusa Circuit auf einem Maserati 2000 4 Zyl.

1. Monte Erice auf Maserati 2000 4 Zyl.

1. Sassi - Superga auf Maserati 2000 4 Zyl.

3. Pontedecimo - Giovi auf Maserati 2000 4 Zyl.

1. Catania - Ätna auf Cooper Maserati

1960

4. und 3. Posillipo Circuit auf einem Maserati 2000 4 Zyl.

7. Rennstrecke von Caserta auf Maserati 2000 4 Zyl.

1. Passo della Mendola auf Maserati 2000 4 Zyl.

3. Trento - Bondone auf WRE 2000

6. Triest - Opicina auf WRE 2000

1. Monte Erice auf Maserati 2000 4 Zyl.

7. Catania - Ätna auf Maserati 2000 4 Zyl.

1. Colle San Rizzo auf Maserati 2000 4 Zyl.

1961

4. und 2. Targa Florio auf Maserati 2890 mit Trintignant

3. Platz F1-GP von Vallelunga auf Cooper Maserati

3. 1000 km Paris auf Ferrari 250 GT mit Trintignant

3. Bahamas-Strecke auf Maserati 2890

1962

6. F1-GP Di Pau auf Lotus, Höhepunkt

3. Targa Florio auf Porsche RS61 Coupè 8 Zyl. mit J. Bonnier

1. Clermond Ferrant auf Ferrari Testa Rossa

15. GP von Deutschland auf Porsche F1 4 Zyl.

2. und 1. Klasse in Ollon – Villars auf Ferrari Testa Rossa

9. GP D'Italia Formel 1 auf Lotus Climax

1963

2. 12 Stunden von Sebring auf Ferrari 250P mit W. Mairesse

1964

2. 12 Stunden von Sebring auf Ferrari P2 mit Ludovico Scarfiotti

1. 1000 km Nürburgring auf Ferrari 275 P mit Ludovico Scarfiotti

1. 24 Stunden von Le Mans auf Ferrari 275 P mit J. Guichet

11. und 4. der Klasse 2 Stunden von Reims auf Ferrari GTO P. Rodriguez

1. Platz bei Coppa Intereuropa (Monza) auf Ferrari 250 LM

1965

1. Targa Florio auf Ferrari 275 P2 mit Lorenzo Bandini

4. Ges. und 1. Platz in der Klasse 1000 km Nürburgring auf Ferrari Dino mit L. Bandini

2. und 1. Klasse in Montepellegrino auf Alfa Romeo TZ

7. 24 Stunden von Le Mans auf Ferrari 365 P mit P. Rodriguez

1. Monte Erice auf Ferrari 250 LM

12. F1-GP D'Italia auf Ferrari 158 8 Zyl.

1966

1. Jolly Hotel Rally auf einem Alfa Romeo GTA mit Pinto

1967

5. Ges. und 1. in der Klasse 12 Stunden von Sebring auf Ford GT 40 mit Umberto Maglioli

4. 1000 km von Monza auf Ferrari P3 mit Müller

1. Platz Pergusa auf Ford GT 40

3. Platz 500 Km von Zeltweg auf Ford GT 40 mit U. Maglioli

2. Monte Erice auf Ferrari Dino

1968

5. Ges. und 1. in der Klasse 24 Stunden von Daytona auf Alfa Romeo 33/2 mit Udo Schutz

10. Ges. und 5. Klasse 1000 km Nürburgring auf Alfa Romeo 33/2 mit Schultze

5. Nürburgring auf Alfa Romeo GTA mit Casoni

1. Mugello Circuit auf Alfa Romeo 33/2 mit Bianchi und Galli

1. 500 km von Imola auf Alfa Romeo 33/2 mit Teodoro Zeccoli

1969

15. 1000 Km Nürburgring auf Alfa Romeo 33/3 mit De Adamich

5. Ges. und 3. Klasse 24 Stunden von Le Mans auf Matra 630 (3000) mit J. Guichet

3. Hockenheim Circuit auf einem Alfa Romeo 33/3

3. Mugello Circuit auf einem Lola mit De Adamich

1. Pergusa Circuit auf einem Alfa Romeo 33/3

1970

1. Team 12 Stunden von Sebring auf Ferrari 512 S mit I. Giunti und M. Andretti

2. Team 1000 km von Monza auf Ferrari 512 S mit I. Giunti und C. Amon

3. Ges. und 1. Klasse Targa Florio auf Ferrari 512 S mit I. Giunti

3. Ges. und 1. Klasse 1000 Km Nürburgring auf Ferrari 512 S mit J. Surtees

4. in 1000 Km. von Spa auf Ferrari 512 S gepaart mit I. Giunti

1. Cefalù - Gibilmanna auf Abarth 2000

1971

5. Fahrer und 3.Klasse 1000 Km von Monza auf Alfa Romeo T33/3 mit T. Hezemans

1. Targa Florio auf Alfa Romeo T33/3 mit T. Hezemans

5. 1000 Km Nürburgring auf Alfa Romeo T33/3 mit T. Hezemans

2. Ges. und 1. Klasse 1000 Km Österreichring auf Alfa Romeo T33/3 mit T. Hezemans

4. Ges. und 2. Klasse 24 Stunden von Spa auf Alfa Romeo GTAM mit G. Berger

1972

9. 1000 Km Buenos Aires auf Alfa Romeo T33/3 mit Pairetti

3. 12 Stunden von Sebring auf Alfa Romeo T33TT3 mit T. Hezemans

4. 24 Stunden von Le Mans auf Alfa Romeo T33TT3 mit De Adamich

1. Coppa Nissena auf Osella 2000

1975

Erster Einsatz bei der Targa Florio auf Alfa Romeo 33TT12 mit A. Merzario

■ This photographic work was STOLEN from me by LA GAZZETTA DELLO SPORT, published without my permission and without payment. Go to hell you thieves! !!!

.

■ Questo lavoro fotografico mi è stato rubato dalla LA GAZZETTA DELLO SPORT, pubblicato senza il mio permesso e senza compenso. Andate al diavolo ladri !!!

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■ Dieses geschützte Lichtbild wurde von der LA GAZZETTA DELLO SPORT gestohlen und ohne meine Erlaubnis und ohne Entschädigung veröffentlicht. Fahrt zur Hölle ihr Diebe !!!

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German postcard by Photochemie, Berlin, no. K. 1685. Photo: A. Moesigay, Hamburg.

Maria Orska (1893-1930) was a Russian-Jewish actress of the German stage and screen in the 1910s and 1920s.

On 16 March 1893 Maria Orska was born Effi Rahel Blindermann in Nikolayev, Russian Empire (now Mikolaiv in Ukraine). She was the cousin of the German actress Hedda Forsten and by her mother parented to the theatre impresario Eugen Frankfurter. Although she originally wanted to study law like her father wanted to, she became a stage actress and was discovered by the German actor and drama teacher Ferdinand Gregori when in St. Petersburg. In 1909 he brought her to Vienna's conservatory "k.u.k. Akademie für Musik und darstellende Kunst" (today Universität für Musik und darstellende Kunst Wien), led by him. In 1910, she followed Gregori to the Mannheim court theater where she debuted as "Daisy Orska" and soon drew attention to herself in plays by Strindberg and Schnitzler. In 1911 she came to the Schauspielhaus in Hamburg, where quickly she became the star of the company. In the season 1914/1915 Maria Orska, her stage name by now, moved to Berlin, where she performed at the "Theater in der Königgrätzer Straße" (today "Hebbel-Theater") as well as Max Reinhardt’s Berlin stage. In the same year Edith Andreae was introduced to her, with whom she held a longlasting friendship.

In Berlin the exiled Russian artist became known as interpreter of the works by modern playwrights such as Wilde, Strindberg, Schnitzler, Wedekind and Pirandello. She was a huge success in Wedekind’s Lulu in 1917. "She had sharp, piercing tones, the uncanny effect of which the little character fanatically exaggerated. She also cultivated mundane roles, in which she unfolded the pointed humours of a devious character ... In the field of erotic representation she dared to go remarkably far. She was not an elementary artist, but she had individual qualities that made her the darling of the audience“, the reporter and author Emil Faktor noted in the Berliner Börsen-Courier (16.05.1930) in occasion of her tragic death.

Since her marriage to her second husband, Baron Dr. Hans von Bleichröder jun. (1888 - 1938), a grandson of the Jewish banker Gerson von Bleichröder, the ambitious Maria Orska maintained an elaborate lifestyle. For a long time, she was at the center of so-called Berlin society, and also knew how to stage herself in private as an eccentric spectacle. Her popularity was reinforced by cinema. In 1915 she began a second career as a silent film actor and soon received top salaries. Maria Orska gave her screen debut at the Greenbaum-Film GmbH in Richard Oswald's melodrama Dämon und Mensch (Demon and Man, 1915) and played the shady Lina, who wants to take a cleansed criminal (Rudolf Schildkraut) away from the path of virtue. Maria Orska worked for the first time with the filmmaker and director Max Mack (1884 - 1973) in Das tanzende Herz (The Dancing Heart, 1916), which effected in a six-part Maria Orska film series for the cinemas in 1916/17, with Orska herself as protagonist in each film. The star was praised as "the unmatched interpreter of Strindberg's women, the most fashionable actress of today's Berlin". She was the representative of an "art entirely dedicated to nerves" (Der Film, no. 23, 01.07.1916). As a girl from the gutter she presented herself in Der Sumpf (The Gutter, 1916), but also in comedies such as Die Sektwette (The Champagne Bet, 1916) she was able to win the audience for herself.

But it was mostly the melodramas of those years in which Maria Orska performed the type of the wicked woman. After the dramatic film Adamant's Letztes Rennen (Adamant’s Last Race, 1917) and Der lebende Tote (The Living Dead, 1917), she was for Max Mack Die schwarze Loo (Black Lu, 1917), a gypsy woman who becomes the talk of the town, and who almost wrecks the marriage of a musician (Bruno Kastner). Director Max Mack abducts his audience into the dazzling half-world of the imperial capital. The acclaimed Maria Orska acted as Black Lu, who is constantly surrounded both in the demimonde world and high society. Between push dancing and amorous intrigue, the film develops its highly dared action for those days in expressive images and pointed situations, in which with remarkable determination the stern morality of the late German Imperial Empire is shaken.

Die schwarze Loo was the last part of the Maria -Orska-series, which Mack realized for the Greenbaum-Film. Then Maria Orska paused from the film business and focused on her work at the theater for the next three years. In 1920 she reappeared on screen in the film Die letzte Stunde (The Last Hour), directed by Dimitri Buchowetzki, and the Emile Zola adaptation Die Bestie im Menschen (The Human Beast, Ludwig Wolff 1921), Der Streik der Diebe (The Thieves’ Strike, Alfred Abel 1921), and Paul Czinner's drama Opfer der Leidenschaft (Victims of Passion, 1922) as female partner of Paul Bildt. With the role of the capricious dancer Barberina Campanini in the first and third part of the Fridericus Rex series (Sturm und Drang, 1922; Sanssouci, 1923) Maria Orska finished her film career.

Orska’s attempt to become a theatrical actress in Paris failed. Disappointed, the celebrated artist returned to Berlin and accepted commitments at the Komödienhaus, the Deutsches Theater and the Lessing Theater. In 1927 for instance, in Hans Kaltneker's mystery play The Sisters at the theater in the Königgrätzer Strasse in Berlin, Orska played the lesbian Ruth. More and more however, Orska’s health visibly deteriorated by her morphine addiction. Divorced since 1925 by her husband, Dr. Hans von Bleichröder, Maria Orska became the talk of the town because of her own desire for death and her drug consumption. Nurses waited on the side stage with a syringe, directors dreaded every performance. Her suicide attempts - once she jumped off a train - soon became routine for the public. "They had an already typical character, they were each time after a rest and detox pause in the sanatorium, which the demon hunted artist used to leave like a fury, in order to escape from a life that had become worthless for her", Emil Faktor wrote in 1930.

All rehab attempts by Orska proved failing. She finally poisoned herself by an overdose of Veronal. The actress was brought to the Viennese General Hospital, where she died on May 16, 1930, at the age of only 37 – she couldn’t cope with a pneumonia because of her weakened body. Also the life of her sister Gabryela, who, born in 1894, became Marchesa di Serra Mantschedda when married to an Italian aristocrat, ended tragically, in 1924 (or 1926). Gabryela hanged herself in a Viennese hotel. Wikipedia claims it was after a row with her sister Maria. Their brother Edwin, aviator in the Russian Imperial Army, survived the First World War, the Bolshevik revolution, the Nazis, and the sisters. In 1938 he emigrated from Germany to Ecuador where he died in 1966.

"Maria Orska was completely subordinate to the intoxication of the stage until it crushed her. Her strange appearance confirmed how difficult it is to understand the phenomenon of the stage actor. She seemed so enveloped in the air of the scene, but at the same time she remained so simple. She was a theatrical crowd-puller and a rhetorical star, such as Wilde’s Salome, and was also the most humble of Hedwig in Wildente [The Wild Duck] by Ibsen. She was hot and cold, she played and she lived ", Fritz Engel wrote. The famous artist Oskar Kokoschka drew the actress in 1922. Lithographies after his work hang in various museums, e.g. the Staatlichen Kunstsammlungen Dresden.

Sources: www.steffi-line.de/archiv_text/nost_film20b40/178_orska_m..., German Wikipedia, filmportal, and IMDb.

German postcard by Ross Verlag, no. 5046/2 , 1930-1931. Photo: Ariel Film. Piel worked for Ariel-Film GmbH in 1928-1938, producing and directing in 1930 e.g. Achtung! Auto-Diebe!/Attention! Car Thieves! (Harry Piel, 1930), Piel's last silent film. This card seems to refer to this film.

German ‘dynamite’ director, actor, producer and screenwriter Harry Piel (1892-1963) made over 150 sensational films full of explosions and stunts. His career started also adventurous. After school he became a cadet on a sail ship and in 1911 he went to Paris to become a stunt pilot. In France he met director Léonce Perret, who introduced him to Gaumont. There he wrote his first script and the cinema became his passion. In 1912 he moved to Berlin where he founded his first film company. His debut as a director-writer-producer was the adventure film Schwarzes Blut (1912) starring Curt Goetz. Even though his company went bankrupt, Piel had become established. In the following years he shot dozens of short films full of action and adventure such as Der Triumph des Todes (1912), Ein Millionenraub (1914) and Die grosse Wette (1916). As a director he had the nickname ‘the dynamite director’ because of all the exploding bridges and houses in his movies. These explosions were often authentic. A demolition engineer notified him about forthcoming blow ups. He filmed the explosions and inserted the footage into his films.

In 1915, Harry Piel became too bored with just standing behind the camera and he started to act before the camera. His first film as a leading actor, Die große Wette (1916), was a science fiction movie on the subject of man-machines. In Unter heißer Zone (1916) he used scenes with wild animals for the first time. He pretended that he did all his stunts himself, but the most dangerous stunts were carried out by Hermann Stetza. During 1918 and 1919, Piel directed and starred in eight films of the Joe Deebs, private investigator, series. Internationally he became a popular movie star under the name of Harry Peel. In 1927 he starred in a double role alongside Marlene Dietrich in Sein größter Bluff (1927, Henrik Galeen, Harry Piel). That same year he married actress Dary Holm, who appeared in several of his films.

Effortlessly Harry Piel changed to sound film in the doppelganger comedy Er oder ich (1930). Many adventure films followed, such as the box-office hits Schatten der Unterwelt (1931), Jonny stiehlt Europa (1932) and Der Dschungel ruft (1935). Then however difficulties began with Panik (1940-1943), a remake of one of his silent films, about an animal catcher who works for German zoos. At the film's climax, an air-raid on a German city frees the wild animals in the zoo and only the heroic trapper can recapture them. The authorities found the air strikes too realistic and did not want the public to believe that Germany was in danger, so the film was forbidden. Furthermore Piel's production company Ariel-Film was liquidated through nationalization and 72 negatives of his films, nearly all silent movies, were destroyed in an air strike. Piel was a sustaining member of the SS, and after the war he first concealed this to his enquirers. He was sentenced to six months detention and five years professional disqualification. After his denazification in 1950, he founded another production company. His last directorial effort was Gesprengte Gitter (1953), which was based on Panik. However it had only moderate success and he retired. He died in 1963.

Sources: Cyranos.ch, Wikipedia, Filmportal.de and IMDb.

East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 143/72. Photo: Blasig. Publicity still for Es ist eine alte Geschichte/It Is an Old Story (Lothar Warneke, 1972).

Katharina Thalbach (1954) is one of Germany's most respected stage actresses mostly working in Hamburg and Berlin. Internationally, she is best known for her part in Die Blechtrommel/The Tin Drum (1979), Volker Schlöndorf’s award-winning film adaptation of the novel by Günter Grass. She has also directed since the late 1980s.

Katharina Thalbach was born in 1954 in East Berlin, East-Germany. She comes from a particularly artistically oriented family. Her father Benno Besson was a director, her mother Sabine Thalbach was an actress. She grew up in the theatre while her mother worked fort he Berliner Ensemble and the Deutschen Theater. At the age of four, she made her screen debut in the TV film Begegnung im Dunkel/Meeting in the Dark (1958). Her half-brother Pierre Besson and her stepmother Ursula Karusseit are both also actors. After the death of her mother in 1966, actress Helene Weigel takes her under her wings. During her school years, Thalbach’s acting teacher was Doris Thalmer. At 15, she makes her stage debut as the whore Betty in Erich Engels version of Die Dreigroschenoper (The Three Penny Opera) in 1969, and later takes over the leading role of Polly. She is considered as a new talent and continued to perform at the Berliner Ensemble. With her other half-brother Benjamin, she played in the DEFA film Es ist eine alte Geschichte/It is an old story (Lothar Warneke, 1972). In 1975, she appeared in another DEFA production Lotte in Weimar (Egon Günther, 1975), starring Lilli Palmer and based on the novel by Thomas Mann. In December 1976, she left East Germany together with longtime companion Thomas Brasch and daughter Anna after the expulsion of songwriter Wolf Biermann. She then played a supporting part in the West-German drama Das zweite Erwachen der Christa Klages/The Second Awakening of Christa Klages (1978) directed by Margarethe von Trotta, her debut solo film. The following year, she became known for her role in Die Blechtrommel/The Tin Drum (Volker Schlöndorff, 1979) the film adaptation of the novel by Günter Grass, which won the Palme d'Or at the 1979 Cannes Film Festival and the 1980 Oscar for Best Foreign Language Film. The film lead to a ban in Oklahoma because of scenes in which Lead actor David Bennent, then 11 years of age and playing a stunted 16-year-old, licks effervescing sherbet powder from the navel of a 16-year-old girl, played by Thalbach, who was 24 years old at the time. Subsequently, Bennent appears to have oral sex and then intercourse with her. The Ontario Censor Board in Canada first cut the film and then banned it as child pornography. In the multi-part television film Theodor Chindler (1979) by Hans W. Geißendörfer , she was Margarete, the young, revolutionary daughter of Reichstag deputy Theodor Chindler.

In 1980, Katharina Thalbach was voted "Actress of the Year" by the critics of the magazine Theater Heute for her title role in Kleist’s Das Käthchen von Heilbronn. She then co-starred with Hilmar Thate in the crime film Engel aus Eisen/Angels of Iron (1981), directed by her partner Thomas Brasch. She played a supporting part in the American drama Sophie's Choice (Alan J. Pakula, 1982) with Meryl Streep starring as Sophie. Thalbach often played dominant women who rebel against society, fight against misery and take their fate into their own hands. She played roles in the German-Finnish drama Flucht in den Norden/Flight North (Ingemo Engström, 1986) with Lena Olin, the German coimedy Z.B. ... Otto Spalt/The Case of Mr. Spalt (René Perraudin, 1988), and in Thomas Brasch’s drama Der Passagier – Welcome to Germany/The Passenger - Welcome to Germany (1988), featuring Tony Curtis. She co-starred with Stellan Skarsgård in the Swedish film God afton, Herr Wallenberg - En Passionshistoria från verkligheten/Good Evening, Mr. Wallenberg (Kjell Grede, 1990) about Swedish World War II diplomat Raoul Wallenberg, who was instrumental in saving the lives of thousands of Hungarian Jews from the Holocaust. A box office hit in Germany was the comedy Sonnenallee/Sun Avenue (Leander Haußmann, 1999) about life of the East-German youth in East Berlin in the late 1970s. The Sonnenallee is an actual street in Berlin that was intersected by the border between East and West during the time of the Berlin Wall. Thalbach portrayed Doris Ehrenreich, the mother of the male main character Micha. She appeared with Nina Hoss in Der Vulkan/The Volcano (Ottokar Runze, 1999). She often acted for television. In the TV mini-series Die Manns – Ein Jahrhundertroman (Heinrich Breloer, 2001), she played actress Therese Giehse. The international coproduction König der Diebe/King of Thieves (Ivan Fila, 2004) is a powerful indictment dealing with child slavery in the German marketplace. She had the lead role in the Polish language film Strajk - Die Heldin von Danzig/Strike (2006) directed by Volker Schlöndorff. The film is broadly a docudrama covering the formation of Solidarity. In 2006 she won the Bavarian Film Award for Best Actress. Her more recent German films include the tragicomedy Der Mond und andere Liebhaber/The Moon and Other Lovers (Bernd Böhlich, 2008), and the fantasy film Rubinrot/Ruby Red (Felix Fuchssteiner, 2013). Katharina Thalback continues to play theatre, film and television. Her daughter Anna, born in 1973 from a relationship with actor Vladimir Weigl, and her granddaughter Nellie (born 1995) are also actresses.

Sources: Hans-Michael Bock (Cinegraph- German), Wikipedia (English and German), and IMDb.

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22.03.1999

Du

ruhe trägt die last

und lachen bannt die trauer -

- der schmerz schleicht -

der hass verkriecht sich

immer tiefer und tiefer -

- in dich

und weicht

dem leben aus -

liegt auf der lauer

und verpasst das jetzt

- aber tötet das morgen -

hinter einer stummen mauer

von angst und schuld

und sorgen.-

rainer maria rolf röschke ( r3m1 )

icq.

die telefonauskunft sagt nichts hierzu und calvin klein springt vor das haus direkt in seinen

bmw hinein. calvin klein liebt seinen bmw wohingegen versace lieber audi fährt. calvin klein fährt direkt zur nächsten post und sucht dort nach dem telefonbuch. seinen bmw hat er abgestellt. er will freunde einladen in dieses icq und braucht aber dringend dieses telefonbuch dazu. und wenn er dann die nummern findet im telefonbuch ruft er die freunde an und lädt sie ein ins icq. karl lagerfeld ist nicht daheim. er fährt auch bmw und wohl grad zu ikea. er braucht ein bild von ikea

als geschenk für claudia schiffer seine freundin. ein bild von ikea. ein bild mit den simpsons vorne drauf von ikea. er könnte auch zu cartier gehen, aber ein bild von ikea mit den simpsons drauf ist cool.riders on the storm läuft gerad im radio. der wetter bericht es wird regnen karl lagerfeld stoppt seinen bmw und springt hinaus das dach zu schließen. das wetter spielt verrückt, mal so mal so, mit dem wetter kann man nicht mehr rechnen. gerade fährt er am haus von johnny depp vorbei, der hat auch ein bild von ikea, er hat es aber selbst gekauft, das bild von ikea. johnny depp was an american gigolo wie einst richard gere. das dach vom bmw ist zu der bmw rollt an aber erst nachdem karl lagerfeld in seinen bmw geklettert ist. logisch ohne karl kann der bmw ja nicht fahren. bei johnny depp steht ein auto vor der tür. ein audi. man hätte diesem depp mehr zugetraut mindestens einen kleinen bmw. denn bmw is just the best. karl lagerfeld will denn nun wieder heim. bei ikea war er schon. das bild von ikea hat er auch schon das bild vversace ist im icq. und calvin klein sieht ihm dabei zu. versace plaudert über wikipdia im speziellen über sido. calvin klein wil auch ins icq doch wie ist der download für dieses on ikea für claudia schiffer er hat das bild in den kofferraum vom bmw gesperrt ein kofferraum mit einem bild von ikea mit den simpsons für claudia schiffer für was braucht claudia schiffer ein bild von ikea mit den simpsons drauf egal ikea ist gut und das bild auch und die simpsons noch mehr.

lagerfeld hat sich verfahren

calvin klein sucht weiter im telefonbuch. sein bmw steht noch vor der post. er hat den bmw ja

auch abgesperrt. einen bmw muß man absperren. zuviele menschen mögen bmw. bmw ist ein tolles auto. im telefonbuch findet man nicht so viel. er blättert in diesem telefonbuch wie in einer zeitung. das telefonbuch ist verschmiert. seiten aus dem telefonbuch fehlen. das telefonbuch ist ein altes. ein neues telefonbuch sollte jeds jahr hierher, denkt calvin klein. mal sehen, ob paris hilton in diesem telefonbuch steht. wenn nein ist sie ja vielleicht mit britney spears in deren bmw

fortgefahren. alle lieben bmw.

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art was ist art im deutschen wohl die gattung. ansonsten kunst.

art for you art for all art for art

überall hört man davon es ist geldanlage - kunst es ist freude freude an art # freude an gattung

begattung nein an kunst art ist kunst art ist so vieles es gibt so viele art von art

kunst bild auch ikea hat art einfache art nicht große art große art hängt in den kunst - museen

art - kunst

große art hängt bei reichen leuten nicht im wohnzimmer große art hängt im kunst - tresorraum

große art darf nicht im wohnzimmer hängen denn große art wollen viele und große art ist teuer,

d.h. große art zieht kunst - diebe an nicht weil sie große art schätzen oder große art genießen wollen sondern weil sie große art verkaufen wollen große art ist anziehend große art ist anziehend große art ist eben große art. wer macht große art picasso oder rembrandt oder wer macht große art

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24.03.1999

draußen geht die welt verloren,

geht im klang der farben ein.

draußen wurde ich geboren,

kalt gestellt,

manchmal geduldet

oft verlacht

und tief zerschuldet!

wollte doch nur drinnen sein

wärme spüren - manchmal schein!

doch

der geist ist gefroren,

der blick zu klar

das vertrauen verloren

zerbrochen was war

ein man(n) - ein individuum?

ich bin allein - und stumm

verstört

und.. .....

und ungehört

rainer maria rolf röschke ( r3m1 )

icq.

die telefonauskunft sagt nichts hierzu und calvin klein springt vor das haus direkt in seinen

bmw hinein. calvin klein liebt seinen bmw wohingegen versace lieber audi fährt. calvin klein fährt direkt zur nächsten post und sucht dort nach dem telefonbuch. seinen bmw hat er abgestellt. er will freunde einladen in dieses icq und braucht aber dringend dieses telefonbuch dazu. und wenn er dann die nummern findet im telefonbuch ruft er die freunde an und lädt sie ein ins icq. karl lagerfeld ist nicht daheim. er fährt auch bmw und wohl grad zu ikea. er braucht ein bild von ikea

als geschenk für claudia schiffer seine freundin. ein bild von ikea. ein bild mit den simpsons vorne drauf von ikea. er könnte auch zu cartier gehen, aber ein bild von ikea mit den simpsons drauf ist cool.riders on the storm läuft gerad im radio. der wetter bericht es wird regnen karl lagerfeld stoppt seinen bmw und springt hinaus das dach zu schließen. das wetter spielt verrückt, mal so mal so, mit dem wetter kann man nicht mehr rechnen. gerade fährt er am haus von johnny depp vorbei, der hat auch ein bild von ikea, er hat es aber selbst gekauft, das bild von ikea. johnny depp was an american gigolo wie einst richard gere. das dach vom bmw ist zu der bmw rollt an aber erst nachdem karl lagerfeld in seinen bmw geklettert ist. logisch ohne karl kann der bmw ja nicht fahren. bei johnny depp steht ein auto vor der tür. ein audi. man hätte diesem depp mehr zugetraut mindestens einen kleinen bmw. denn bmw is just the best. karl lagerfeld will denn nun wieder heim. bei ikea war er schon. das bild von ikea hat er auch schon das bild vversace ist im icq. und calvin klein sieht ihm dabei zu. versace plaudert über wikipdia im speziellen über sido. calvin klein wil auch ins icq doch wie ist der download für dieses on ikea für claudia schiffer er hat das bild in den kofferraum vom bmw gesperrt ein kofferraum mit einem bild von ikea mit den simpsons für claudia schiffer für was braucht claudia schiffer ein bild von ikea mit den simpsons drauf egal ikea ist gut und das bild auch und die simpsons noch mehr.

lagerfeld hat sich verfahren

calvin klein sucht weiter im telefonbuch. sein bmw steht noch vor der post. er hat den bmw ja

auch abgesperrt. einen bmw muß man absperren. zuviele menschen mögen bmw. bmw ist ein tolles auto. im telefonbuch findet man nicht so viel. er blättert in diesem telefonbuch wie in einer zeitung. das telefonbuch ist verschmiert. seiten aus dem telefonbuch fehlen. das telefonbuch ist ein altes. ein neues telefonbuch sollte jeds jahr hierher, denkt calvin klein. mal sehen, ob paris hilton in diesem telefonbuch steht. wenn nein ist sie ja vielleicht mit britney spears in deren bmw

fortgefahren. alle lieben bmw.

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art was ist art im deutschen wohl die gattung. ansonsten kunst.

art for you art for all art for art

überall hört man davon es ist geldanlage - kunst es ist freude freude an art # freude an gattung

begattung nein an kunst art ist kunst art ist so vieles es gibt so viele art von art

kunst bild auch ikea hat art einfache art nicht große art große art hängt in den kunst - museen

art - kunst

große art hängt bei reichen leuten nicht im wohnzimmer große art hängt im kunst - tresorraum

große art darf nicht im wohnzimmer hängen denn große art wollen viele und große art ist teuer,

d.h. große art zieht kunst - diebe an nicht weil sie große art schätzen oder große art genießen wollen sondern weil sie große art verkaufen wollen große art ist anziehend große art ist anziehend große art ist eben große art. wer macht große art picasso oder rembrandt oder wer macht große art

Austrian postcard by Iris-Verlag, no. 761/1. Photo: Lux-Film.

Dary Holm (1897-1960) was a German actress of the silent cinema. She was the film partner of Harry Piel in several adventure films.

Dary Holm was born in 1897 in Hamburg as Anna Maria Dorothea Meyer. She grew up in Upper Bavaria and decided to take up acting after the First World War. Initially, she started her film career under the name Anna Holm. Through her colleague Bernd Aldor, she was recommended to director Otto Rippert in 1921, who cast her in his film Die Beute der Erinnyen, with Werner Krauß and Ressel Orla. In Munich she acted that year in the two-part film Hyänen der Welt and Der Todessegler, both by Fred Stranz, while in Berlin she acted in Die rätselhafte Zwölf by Martin Hartwig. In the following years, Dary Holm advanced from supporting to leading roles. In 1922-1923, she acted in several films at Union-Film-Co. in Munich, often opposite Ernst Rückert, and directed by directors like Franz Seitz and Josef Berger. Probably one of her first leads she had in 1923 opposite Bernd Aldor in Die Affäre der Baronesse Orlowska by Hans Werckmeister, while she also acted that year in e.g. the - lost - biopic Martin Luther by Karl Wüstenhagen.

From 1924 Dary Holm was regularly cast as a film partner of Harry Piel, first in Auf gefährlichen Spuren (Harry Piel, 1924), followed by several others, such as Der Mann ohne Nerven (1924), Abenteuer im Nachtexpreß (1925), Zigano, der Brigant von Monte Diavolo (1925), Der schwarze Pierrot (1926), and Rätsel einer Nacht (1927). In 1927, after Piel's divorce from Johanna Präder, Holm married the popular actor-director. The couple continued together in Panik, (Harry Piel, 1927-1928), Mann gegen Mann (1928), Männer ohne Beruf (1928), Sein bester Freund (1929), Achtung! Auto-Diebe! (1930), Schatten der Unterwelt (1931) - which was also shot in French version, and Jonny stiehlt Europa (1932).

Occasionally, Dary Holm also acted in films by other directors, but most were with Piel from 1924 onward. "Playing with adventure is what attracts me to film", Dary Holm let her audience know. "Certainly, other stars often have more opportunity to reveal their mimic talent and to win the audience's heart with the smile of their beautiful lips and the magic of their eyes. I, however, have to take dangers with my partner and have to win sympathy through my deathly courage. But it also works like this. The tempo of danger that carries me through the film is what gives me the greatest pleasure and not least brings success. This tempo is the most genuine film - the stage can never achieve such a thing!)." After her first talkies, Dary Holm retired into private life. She died at age 63 in 1960 in Munich and was buried there at the Waldfriedhof. When 2 1/2 years after Piel died too, he was buried in the same grave. And even Piel's third wife, Lilli Stromereder-Piel (1901-1984), was buried there.

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

Croatian postcard. Photo: Pan-film, Zagreb. Collection: Didier Hanson.

Ellen Kürti (1903-?) was a Hungarian-born film actress known for her roles in the German cinema. Between 1922 and 1928, she appeared in more than a dozen silent films. She retired from the film business with the sound film era.

Ellen Kürti was born in Budapest, Hungary, in 1903. She came to Germany when she was young and began a short-lived film career in Munich at the age of 19. In the following four years she played a number of supporting supporting roles and leading roles in Bavarian productions, including on the side of the film debutant Heinz Rühmann in the melodrama Das deutsche Mutterherz/The German Mother's Heart (Géza von Bolváry, 1926). Finally, Ellen Kürti went to Berlin, where in 1927-1928, she received leading roles in predominantly minor productions - with the exception of Richard Oswald's ambitious political drama Feme (1927) with Hans Stüwe. Already in 1928, after a tiny role in the Henny Porten film comedy Liebe und Diebe/Love and robbers (Carl Froelich, 1928), Ellen Kürti's career was over. If, when and where Ellen Kürti passed away is not known.

Sources: Wikipedia (English and German) and IMDb.

And, please check out our blog European Film Star Postcards.

21.07.2010 gegen 02:20h Hildburghauserstraße Berlin-Lankwitz.

.

Baumarkt-Diebe festgenommen.

Beamte der Polizeiabschnitte 45 und 47 nahmen in der vergangenen Nacht zwei Einbrecher in Marienfelde fest. Zunächst unbekannte Täter hatten nach bisherigen Erkenntnissen gestern, 20. Juli, hochwertige Geräte aus einem Baumarkt im Nahmitzer Damm gestohlen und sie in einem angrenzenden umzäunten Freigelände zum Abtransport „zwischengelagert“. Als die Männer heute gegen 2 Uhr 10 die Beute in einen Transporter geladen hatten und das Gelände verlassen wollten, griffen die Fahnder zu und nahmen das Duo im Alter von 37 und 40 Jahren fest. Im Fahrzeug wurden diverse Baumarktartikel sichergestellt. Die Tatverdächtigen wurden einem Einbruchskommissariat der Direktion 4 überstellt..

.

FOTOS: ANDREAS MARKUS.

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26.02.2003

die leere maske des seins

verwelkt in einem sumpf von müssen

rainer maria rolf röschke ( r3m1 )

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art was ist art im deutschen wohl die gattung. ansonsten kunst.

art for you art for all art for art

überall hört man davon es ist geldanlage - kunst es ist freude freude an art # freude an gattung

begattung nein an kunst art ist kunst art ist so vieles es gibt so viele art von art

kunst bild auch ikea hat art einfache art nicht große art große art hängt in den kunst - museen

art - kunst

große art hängt bei reichen leuten nicht im wohnzimmer große art hängt im kunst - tresorraum

große art darf nicht im wohnzimmer hängen denn große art wollen viele und große art ist teuer,

d.h. große art zieht kunst - diebe an nicht weil sie große art schätzen oder große art genießen wollen sondern weil sie große art verkaufen wollen große art ist anziehend große art ist anziehend große art ist eben große art. wer macht große art picasso oder rembrandt oder wer macht große art

Photo: Fenster in Nieblum auf Föhr

+++++++++++++++++++++++++++++

Der Tag ist hin

1.) Der Tag ist hin, der Sonnenglanz

Hat nunmehr sich verloren ganz,

Jetzt bricht die finstre Nacht herfür

Und öffnet uns die Sternentür.

2.) Auf, meine Seel und hab jetzt acht,

Was du den ganzen Tag gemacht,

Dein Schöpfer will, du sollst ihm nun

Von deinem Wandel Rechnung tun.

3.) Ich komm, o Vater, jetzt heran,

Wiewohl ich nichts mich rühmen kann,

Gesündigt hab ich diesen Tag,

So dass ich kaum erscheinen mag.

4.) O großer Gott, die Dunkelheit

Versetzet mich in Traurigkeit,

Dann die auf bösen Wegen gehn,

Die müssen stets im Dunkeln stehn.

5.) Wo soll ich hin? Die finstre Nacht

Hat mich zu schützen keine Macht.

Das Unrecht lässt sich bergen nicht,

Für dich, o Gott, du großes Licht.

6.) Nimm wieder mich zu Gnaden an,

Dieweil ich nicht entfliehen kann.

Durch Jesum such ich Fried und Ruh,

Es decke mich sein Unschuld zu.

7.) Durch Jesum Christum lob ich dich,

Dass du mich hast so gnädiglich

Beschützet diesen ganzen Tag

Vor mancher wohl verdienten Plag.

8.) Ach, Herr, ich bin ja nimmer Wert

Des Guten, so du mir beschert

Und was du sonst in dieser Bahn

Des Lebens hast an mir getan.

9.) Gib mir in dieser Nacht doch Ruh

Und decke mich in Gnaden zu,

Dein Engel bleibe stets bei mir,

Auf dass mich ja kein Unfall rühr'.

10.) Es müssen Diebe, Wasser, Feu'r,

Gespenste, Schrecken, Ungeheu'r,

Samt mancher Trübsal, Angst und Pein,

Sehr fern, o Vater, von mir sein.

11.) Herr, schütze mich in aller Not,

Lass einen bösen schnellen Tod

Auch diese Nacht mich treffen nicht,

Lass schauen mich des Tages Licht.

12.) Verleih', Herr, wann die finstre Nacht

Verstrichen ist, und ich erwach,

Dass ich zu früher Morgenzeit,

O großer Gott, dein Lob ausbreit'.

13.) Hierauf nun geh ich hin zur Ruh',

Und schließe Mund und Augen zu.

Mein Vater, lass dein Kind allein

In deinen Schutz befohlen sein.

+++++++++++++++++++++++++++++++++

Text: Johann Rist

Melodie: Herr Jesu Christ, dich zu uns wend

+++++++++++++++++++++++++++++++++

gefunden in:

Neu=vermehrtes Baden=Durlachisches Gesangbuch

aller evangelisch-lutherischen Kirchen

in den markgräflich Badischen Landen

Lied-Nummer 472.

Kapitel Abendlieder

Karlsruhe, 1772.

++++++++++++++++++++++++++++++++++

Johann Rist (* 8. März 1607 in Ottensen (heute Stadtteil von Hamburg); † 31. August 1667 in Wedel (Holstein)) war ein deutscher Dichter, Kirchenlieddichter und evangelisch-lutherischer Prediger.

Rist war der Sohn des aus Nördlingen stammenden evangelischen Pastors in Ottensen Caspar Rist und seiner Ehefrau Margarethe Ringemuth. Nach erstem Unterricht durch den Vater besuchte Rist das Johanneum in Hamburg; später dann das Gymnasium in Bremen.

An der Universität Rinteln studierte Rist Theologie u.a. bei Johannes Gisenius und Josua Stegmann. Um 1626 wechselte er an die Universität Rostock. Nach dem Studium ging Rist nach Hamburg zu seinem Rostocker Kommilitonen Ernst Stapel. Mit diesem schrieb und publizierte er Theaterstücke und trat auch selbst als Darsteller auf.

1633 wurde Rist Hauslehrer beim Landschreiber Heinrich Sager in Heide. Im gleichen Jahr verlobte er sich mit Elisabeth Stapel, der Schwester des früh verstorbenen Freundes Ernst Stapel und des Pinneberger Amtmanns Franz Stapel. Durch Hilfe des letzteren wurde er im Frühjahr 1635 zum Pastor im damals dänischen Wedel an der Unterelbe nahe Hamburg berufen. Kurz nach seinem Amtsantritt heiratete Rist seine Verlobte. Aus der Ehe gingen fünf Kinder hervor, von denen zwei früh verstarben.

Beim Einfall der Schweden unter General Lennart Torstensson im Torstenssonkrieg, während des Dreißigjährigen Krieges, verlor Rist durch Plünderungen seine wertvolle Bibliothek. Im Zweiten Nordischen Krieg verlor Rist 1658 noch einmal alles Hab und Gut und musste mit seiner Familie nach Hamburg flüchten. Nachdem 1662 seine Frau Elisabeth gestorben war, heiratete Rist zwei Jahre später Anna Hagedorn, geb. Badenhop, die Witwe seines 1660 verstorbenen Freundes Johann Philipp Hagedorn; sie starb 1680.

Ab 1663 veröffentlichte Rist in lockerer Folge sechs Monatsgespräche, Dialoge über jeweils ein spezielles Thema: Januar – die Tinte; Februar – das Landleben, März – der Stein der Weisen, April – die Malerei, Mai – Lese- und Schreibkunst, Juni – die Todesbetrachtung. Nach Rists Tod wurden die restlichen sechs Monatsgespräche durch Erasmus Finx ergänzt. Johann Rist starb hochgeachtet am 31. August 1667 im Alter von 60 Jahren in Wedel.

Johann Rist gilt neben Paul Gerhardt als der bedeutendste protestantische geistliche Dichter des 17. Jahrhunderts.

+++++++++++++++++++++++++++++++++++

Johann von Rist (1607-1667) was a German poet and dramatist best known for the hymns he wrote.

He was born at Ottensen in Holstein (today Hamburg) on 8 March 1607; the son of the Lutheran pastor of that place, Caspar Rist. He received his early training at the Johanneum in Hamburg and the Gymnasium Illustre in Bremen; he then studied theology at the University of Rinteln. Under the influence of Josua Stegman there, his interest in hymn writing began. On leaving Rinteln, he tutored the sons of a Hamburg merchant, accompanying them to the University of Rostock, where he himself studied Hebrew, mathematics, and medicine. During his time at Rostock, the Thirty Years War almost emptied the University, and Rist himself lay there for several weeks, suffering from pestilence.

In 1633 he became tutor in the house of Landschreiber Heinrich Sager at Heide, in Holstein. Two years later (1635) he was appointed pastor of the village of Wedel on the Elbe. The same year he married Elisabeth Stapel, sister of Franz Stapel, bailiff of nearby Pinneberg. They had 5 children, of whom 2 died early; Elisabeth died 1662. In 1664 he married Anna Hagedorn, born Badenhop, widow of his friend Phillipp Hagedorn. He died in Wedel on 31 August 1667

Rist first made his name known to the literary world by a drama, Perseus (1634), which he wrote while at Heide, and in the next succeeding years he produced a number of dramatic works of which the allegory Das friedewünschende Teutschland (1647) and Das friedejauchzende Teutschland (1653) (new ed. of both by H. M. Schletterer, 1864) are the most interesting. Rist soon became the central figure in a school of minor poets. The emperor Ferdinand III crowned him laureate in 1644, ennobled him in 1653, and invested him with the dignity of a Count Palatine, an honor which enabled him to crown, and to gain numerous poets for the Elbschwanen order ("Elbe Swan Order"), a literary and poetical society which he founded in 1660. He had already, in 1645, been admitted, under the name Daphnis aus Cimbrien, to the literary order of Pegnitz, and in 1647 he became, as Der Rüstige, a member of the Fruchtbringende Gesellschaft ("Fruitbearing Society").

German postcard by Ross Verlag, no. 3859/1, 1928-1929. Photo: Metro-Goldwyn-Mayer. Collection: Didier Hanson.

At 17, Austrian actress Eva von Berne (1910-2010) was spotted in Vienna by MGM's second in command, Irving Thalberg and introduced in Hollywood as 'the next Garbo'. However, she was not. After playing the ingénue in the apparently lost silent drama The Masks of the Devil (1928) directed by Victor Sjöström, she returned to Europe. Here she made a few more films. At 20, Eva von Berne was dead for Hollywood, but she lived happily for 80 more years.

Eva von Berne was born Genofeva Plentzner von Scharneck in Sarajevo, Austria-Hungary (now Bosnia and Herzegovina) in 1910. Eva fled with her family to Vienna following the outbreak of World War I in 1914. There she worked as a teenage model. In the quest to discover 'another Garbo', M.G.M. production chief Irving Thalberg and his actress wife, Norma Shearer, saw a picture in a newspaper of Eva while on a belated honeymoon to Europe, specifically Vienna, in late 1927 - early 1928. The 17-year-old Plentzner was signed to a contract and arrived in New York in July 1928. She spoke only a couple of words of English, but was the beneficiary of extra publicity by the studio's press department, who feared a repeat of their overlooking a potential star in the way they had done with Garbo. She was renamed Eva von Berne. Unfortunately, the completely untrained Miss von Berne was not prepared for the requirements and pressures of movie stardom. Her greatest fault was being 20 pounds overweight, causing her debut movie opposite M.G.M.'s top male star, John Gilbert, to be delayed while considering whether to replace the 17-year-old actress or not. The cast and crew liked Miss von Berne and vowed to help her during a forced recess in the filming, and have her underweight and skilled enough to resume her ingénue role. She completed Masks of the Devil (Victor Sjöström, 1928), but the damage had already been done.

Her reviews for Masks of the Devil were respectable, but, after no more than six months in the USA, Eva von Berne was sent back to Europe. As an American movie star, she was cast in a number of German films. In Somnambul/The Somnambulist (Adolf Trotz, 1929), she appeared opposite Fritz Kortner and Veit Harlan. Other films were Flucht in die Fremdenlegion/The Legionnaire (Louis Ralph, 1929) with Hans Stüwe, the mountain film Der Ruf des Nordens/The Call of the North (Nunzio Malasomma, Mario Bonnard, 1929) with Luis Trenker, and Trust der Diebe/Trust of Thieves (Erich Schönfelder, 1929). Von Berne gave up on film when the switch to sound was about to take place. In 1930, Hubert Voight, a publicist with M.G.M., erroneously released news of Von Berne's death. This notice was picked up in several American newspapers. In a 1980s article in the magazine Sight and Sound, Hubert Voight repeated his belief that Eva von Berne had passed, when in fact, she was very much alive. After 1930, Von Berne returned to Vienna, where she attended an art school. Eva later worked as an executive in window display for a Vienna department store. During World War II, she fled to Salzburg to be with her family. Eva married Helmut Krauss, a former major of the Austrian army, and became a sculptress. Her work was shown in galleries in several Austrian cities. In a telephone interview with German film journalist Toni Schieck in 2006, Miss von Berne said she believed it was fortunate that the world thought she was dead because she didn't have to deal with autograph hunters. Radkins at IMDb: "It is impossible to determine the quality of Miss von Berne's acting skills as Masks of the Devil is a lost film. Tragedy was no stranger to its cast, though, as it included John Gilbert, who was (one way or another) a casualty of sound and Alma Rubens, an actress reputed to have health issues emanating from a drug dependency." Eva von Berne died of natural causes in 2010 in Hédervár, Hungary. She was 100.

Sources: Radkins (IMDb), Andre Soares (Alt Film Guide), and IMDb.

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06.11.2003

momente der trauer

trüben das licht

ohne das jenseits

ohne verzicht -

das leben windet sich zum tode hin

- NEUBEGINN ?? -

die frage verzweifelt an ihrem sinn

allein die seele

spürt hoffnung und mut

und spricht dem leben die ewigkeit zu

- es vergeht der schein

- es bricht die lüge entzwei

- mein ICH und mein DU vereinen sich -

und wir sind frei . .. ...

rainer maria rolf röschke ( r3m1 )

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art was ist art im deutschen wohl die gattung. ansonsten kunst.

art for you art for all art for art

überall hört man davon es ist geldanlage - kunst es ist freude freude an art # freude an gattung

begattung nein an kunst art ist kunst art ist so vieles es gibt so viele art von art

kunst bild auch ikea hat art einfache art nicht große art große art hängt in den kunst - museen

art - kunst

große art hängt bei reichen leuten nicht im wohnzimmer große art hängt im kunst - tresorraum

große art darf nicht im wohnzimmer hängen denn große art wollen viele und große art ist teuer,

d.h. große art zieht kunst - diebe an nicht weil sie große art schätzen oder große art genießen wollen sondern weil sie große art verkaufen wollen große art ist anziehend große art ist anziehend große art ist eben große art. wer macht große art picasso oder rembrandt oder wer macht große art

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rainer maria rolf röschke ( r3m1 )

16.10.2003

es stirbt das sein

im schmerz der zeit

vergangenheit erzeugt die jahre

ohne gnade wächst das hassen

kinderherz

-- ertränkt im schein --

du bleibst verlassen -

- und allein

icq.

die telefonauskunft sagt nichts hierzu und calvin klein springt vor das haus direkt in seinen

bmw hinein. calvin klein liebt seinen bmw wohingegen versace lieber audi fährt. calvin klein fährt direkt zur nächsten post und sucht dort nach dem telefonbuch. seinen bmw hat er abgestellt. er will freunde einladen in dieses icq und braucht aber dringend dieses telefonbuch dazu. und wenn er dann die nummern findet im telefonbuch ruft er die freunde an und lädt sie ein ins icq. karl lagerfeld ist nicht daheim. er fährt auch bmw und wohl grad zu ikea. er braucht ein bild von ikea

als geschenk für claudia schiffer seine freundin. ein bild von ikea. ein bild mit den simpsons vorne drauf von ikea. er könnte auch zu cartier gehen, aber ein bild von ikea mit den simpsons drauf ist cool.riders on the storm läuft gerad im radio. der wetter bericht es wird regnen karl lagerfeld stoppt seinen bmw und springt hinaus das dach zu schließen. das wetter spielt verrückt, mal so mal so, mit dem wetter kann man nicht mehr rechnen. gerade fährt er am haus von johnny depp vorbei, der hat auch ein bild von ikea, er hat es aber selbst gekauft, das bild von ikea. johnny depp was an american gigolo wie einst richard gere. das dach vom bmw ist zu der bmw rollt an aber erst nachdem karl lagerfeld in seinen bmw geklettert ist. logisch ohne karl kann der bmw ja nicht fahren. bei johnny depp steht ein auto vor der tür. ein audi. man hätte diesem depp mehr zugetraut mindestens einen kleinen bmw. denn bmw is just the best. karl lagerfeld will denn nun wieder heim. bei ikea war er schon. das bild von ikea hat er auch schon das bild vversace ist im icq. und calvin klein sieht ihm dabei zu. versace plaudert über wikipdia im speziellen über sido. calvin klein wil auch ins icq doch wie ist der download für dieses on ikea für claudia schiffer er hat das bild in den kofferraum vom bmw gesperrt ein kofferraum mit einem bild von ikea mit den simpsons für claudia schiffer für was braucht claudia schiffer ein bild von ikea mit den simpsons drauf egal ikea ist gut und das bild auch und die simpsons noch mehr.

lagerfeld hat sich verfahren

calvin klein sucht weiter im telefonbuch. sein bmw steht noch vor der post. er hat den bmw ja

auch abgesperrt. einen bmw muß man absperren. zuviele menschen mögen bmw. bmw ist ein tolles auto. im telefonbuch findet man nicht so viel. er blättert in diesem telefonbuch wie in einer zeitung. das telefonbuch ist verschmiert. seiten aus dem telefonbuch fehlen. das telefonbuch ist ein altes. ein neues telefonbuch sollte jeds jahr hierher, denkt calvin klein. mal sehen, ob paris hilton in diesem telefonbuch steht. wenn nein ist sie ja vielleicht mit britney spears in deren bmw

fortgefahren. alle lieben bmw.

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art was ist art im deutschen wohl die gattung. ansonsten kunst.

art for you art for all art for art

überall hört man davon es ist geldanlage - kunst es ist freude freude an art # freude an gattung

begattung nein an kunst art ist kunst art ist so vieles es gibt so viele art von art

kunst bild auch ikea hat art einfache art nicht große art große art hängt in den kunst - museen

art - kunst

große art hängt bei reichen leuten nicht im wohnzimmer große art hängt im kunst - tresorraum

große art darf nicht im wohnzimmer hängen denn große art wollen viele und große art ist teuer,

d.h. große art zieht kunst - diebe an nicht weil sie große art schätzen oder große art genießen wollen sondern weil sie große art verkaufen wollen große art ist anziehend große art ist anziehend große art ist eben große art. wer macht große art picasso oder rembrandt oder wer macht große art

21.07.2010 gegen 02:20h Hildburghauserstraße Berlin-Lankwitz.

.

Baumarkt-Diebe festgenommen.

Beamte der Polizeiabschnitte 45 und 47 nahmen in der vergangenen Nacht zwei Einbrecher in Marienfelde fest. Zunächst unbekannte Täter hatten nach bisherigen Erkenntnissen gestern, 20. Juli, hochwertige Geräte aus einem Baumarkt im Nahmitzer Damm gestohlen und sie in einem angrenzenden umzäunten Freigelände zum Abtransport „zwischengelagert“. Als die Männer heute gegen 2 Uhr 10 die Beute in einen Transporter geladen hatten und das Gelände verlassen wollten, griffen die Fahnder zu und nahmen das Duo im Alter von 37 und 40 Jahren fest. Im Fahrzeug wurden diverse Baumarktartikel sichergestellt. Die Tatverdächtigen wurden einem Einbruchskommissariat der Direktion 4 überstellt..

.

FOTOS: ANDREAS MARKUS.

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