View allAll Photos Tagged schelling
The Schell Creek Mountains located east of Ely, Nevada is one of my favorite places. It’s the longest range of mountains in Nevada and has some interesting geological features like glacial remnants of moraines and cirques. The 33 mile Success Loop road is a beautiful drive over the pass and has some beautiful stands of aspen trees. I’ve spent many nights under the inky black skies in these mountains watching meteors and passing satellites.
spiny milkwort, Polygala subspinosa, Nevada, Schell Creek Range, Sidehill Pass, Cave Valley drainage, elevation 1860 m (6100 ft).
This low sub-shrub is widespread on calcareous, volcanic, and clay soils in the cold desert and lower mountain slopes of the Intermountain Region of the western US, in Nevada, Utah, western Colorado, northern Arizona, and northeast California.
Milkwort flowers have an odd structure. In this species the 5 sepals and the 2 upper petals are deep pink, while the third (lower) petal is yellow and forms a keel enveloping the style and 8 stamens.
Established in 1860, August Schell Brewery is the second oldest family owned brewery in the US. New Ulm, Minnesota USA
Jordu Schell's "Todd Schorr Worm", on display at the Virginia Museum of Contemporary Art (MOCA) in Va Beach. Todd Schorr's paintings are amazing!
I shot this with the iPhone XS Max "Portrait" mode, edited the shot in Lr Mobile, used the DepthCam app to extract the depth map from the original and add it to the edited photo, and uploaded it to Facebook as a 3D Photo. Check it out here:
www.facebook.com/groups/3dphotographs/?multi_permalinks=2...
West-German postcard by Kunst und Ausstellungshalledes Bundesrepublik Deutschland, Bonn. Photo: Stiftung Deutsche Kinemathek, Berlin. Maximilian Schell at the set of Marlene (Maximilian Schell, 1983).
Austrian-born Swiss actor Maximilian Schell (1930-2014) won an Oscar for his role in Judgment at Nuremberg (1961). He was also a respected writer, director and producer of several films, including intimate portraits of Marlene Dietrich and of his sister Maria Schell, for which he won many awards.
Maximilian Schell was born in Vienna, Austria in 1930. He was the son of Margarethe Schell née Noe von Nordberg, an actress who ran an acting school, and Hermann Ferdinand Schell, a Swiss poet, novelist, playwright, and owner of a pharmacy. Schell's late elder sister, Maria Schell, was also an actress; as are their two other siblings, Carl and Immy (Immaculata) Schell. When Austria became part of Nazi Germany after the ‘Anschluss’ of 1938, the Schell family moved to Zurich, Switzerland. Maximilian's interest in acting began at an early age. When 11, he appeared in a professional production of William Tell and in the same year he wrote a play which was produced by his school. Later he served in the Swiss Army, achieving the rank of corporal. In 1952, he began acting at the Basel Theatre. He played a small role as a desperate deserter in the war film Kinder, Mütter und ein General/Children, Mother, and the General (László Benedek, 1955) starring Hilde Krahl. That year he also played parts in Der 20. Juli/The Plot to Assassinate Hitler (Falk Harnack, 1955), Reifende Jugend/Ripening Youth (Ulrich Erfurth, 1955) and Ein Mädchen aus Flandern/The Girl from Flanders (Helmut Käutner, 1956) with Nicole Berger. His breakthrough in cinema was the German crime film Die Letzten werden die Ersten sein/The Last Ones Shall Be First (Rolf Hansen, 1957). The film, which starred O.E. Hasse and Ulla Jacobsson, was entered into the 7th Berlin International Film Festival. Schell made his Hollywood debut as a Nazi officer in the World War II film The Young Lions (Edward Dmytryk, 1958) starring Marlon Brando and Montgomery Clift. According to Jon C. Hopwood at IMDb “quite by accident, as the producers had wanted to hire his sister Maria Schell, but lines of communication got crossed, and he was the one hired.”
Maximilian Schell stayed in America and in 1959, he appeared as Hans Rolfe, an enigmatic defence attorney, in a live Playhouse 90 television production of Judgment at Nuremberg (George Roy Hill, 1959). In 1961, Schell reprised the role for the big screen remake Judgement at Nuremberg (Stanley Kramer, 1961) with an all-star cast including Spencer Tracy, Burt Lancaster, and Marlene Dietrich. As the first German-speaking actor after World War II, Schell won the Academy Award for Best Actor. He also won a Golden Globe and the New York Film Critics Circle Award for the role. In the following years, he starred in international productions like the Italian-French drama I sequestrati di Altona/The Condemned of Altona (Vittorio De Sica, 1962) opposite Sophia Loren, the heist film Topkapi (Jules Dassin, 1964) with Melina Mercouri, the British drama Return from the Ashes (J. Lee Thompson, 1965) with Ingrid Thulin, and the British espionage–thriller The Deadly Affair (Sidney Lumet, 1966) based on John le Carré's first novel Call for the Dead. In Hollywood, he was often top-billed in Third Reich-themed films, such as Counterpoint (Ralph Nelson, 1968), The Man in the Glass Booth (Arthur Hiller, 1975) – a role for which he was nominated for an Academy Award, Cross of Iron (Sam Peckinpah, 1977), Julia (Fred Zinnemann, 1977) – for which he got another Oscar nomination, and A Bridge Too Far (Richard Attenborough, 1977). However, he also played in various films with different subjects, including the historical disaster film Krakatoa, East of Java (Bernard L. Kowalski, 1969), the science fiction film The Black Hole (Gary Nelson, 1979), and the crime comedy The Freshman (Andrew Bergman, 1990) starring Marlon Brando and Matthew Broderick.
Maximilian Schell has also served as a writer, producer and director for a variety of films. In 1968, Schell produced and starred in the adaptation of Kafka's novel Das Schloss/The Castle. Two years later, Erste Liebe/First Love (1970) - written, directed, produced, and starred in by Schell - was hailed by the critics. His Der Fußgänger/The Pedestrian (1974), in which he also starred, was nominated for the Oscar for Best Foreign Language Film and won a Golden Globe. His documentary on Marlene Dietrich, Marlene (1984) was based on the audio tape recordings of his 17-hours-long interview session with Dietrich. Using original footage, documentary material and interview passages, he managed to present an intimate portrait of her, which won also several awards. 18 years later, he made a documentary about his late sister Maria Schell, Meine Schwester Maria/My Sister Maria (2002). Connor McMadden at AllMovie: "Using excerpts of her feature films along with home movie footage, Schell explores the high points of his sister's career throughout the 1950s, as well as the personal problems that cast her into obscurity only a decade later. The film offers quite a few emotional peaks, especially when an elderly Maria Schell goes before her brother's camera to speak candidly about her life, and a suicide attempt which she refers to as her 'first death.'" In addition to his film career, Maximilian Schell has also been active as a director, writer and actor in the European theatre. In 1958, he made his Broadway debut in Ira Levin’s Interlock. In 1965, he starred in John Osborne’s groundbreaking A Patriot for Me, first at London’s Royal Court Theatre and later on Broadway. He has twice played Hamlet on stage, originally under the direction of the legendary Gustaf Grundgens and later under his own direction. In 1972 he starred in Peter Hall's German language première of Harold Pinter's Old Times at the Burgtheater in Vienna. In 1977 he directed Tales from the Vienna Woods at the National Theatre in London. In later life he also began directing operatic productions, starting with Giuseppe Verdi's La Traviata. This passion was triggered when he was performing in the play Jedermann (Everyman) in Salzburg, Austria from 1978-1982, and he came into contact with several musical conductors including Leonard Bernstein, James Levine and Claudio Abbado. In 2006 he appeared in Arthur Miller's Resurrection Blues directed by Robert Altman at the Old Vic in London. He also often appeared on television, such as in the miniseries Peter the Great (Marvin J. Chomsky, Lawrence Schiller, 1986), with Vanessa Redgrave and Laurence Olivier. He was twice been nominated for an Emmy for his TV work, and in 1993, he won a Golden Globe for his part as Vladimir Lenin in the HBO miniseries Stalin (Ivan Passer, 1992). In 1990, he refused to receive the Honorary German Film Award because he felt too young to be awarded an award for lifetime achievement. For German television, he played in the television miniseries The Return of the Dancing Master (Urs Egger, 2004), which was based on Henning Mankell's crime novel.
Through the decades he continued to star in international film productions, such as The Rose Garden (Fons Rademakers, 1986), Left Luggage (Jeroen Krabbé, 1998), Deep Impact (Mimi Leder, 1998), Vampires (John Carpenter, 1998), and the American comedy The Brothers Bloom (Rian Johnson, 2008) with Adrien Brody and Mark Ruffalo. At IMDb, Jon C. Hopwood writes: “with the exception of Maurice Chevalier and Marcello Mastroianni, Schell is undoubtedly the most successful non-Anglophone foreign actor in the history of American cinema.” Maximilian Schell was married to actress Natalya Andreychenko (1985-2005). Their daughter is actress Nastassja Schell (born in 1989). He was also the godfather of actress Angelina Jolie. Recently, Maximilian Schell could be seen in two new films, Les brigands (Pol Cruchten, Frank Hoffmann, 2013) opposite Tchéky Karyo, and An Artist's Emblem (Michael J. Narvaez, 2013) with Harry Dean Stanton.
Sources: Sandra Brennan (AllMovie), Jon C. Hopwood (IMDb), Connor McMadden (AllMovie), Filmportal.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Schellen und Altarglöckchen werden in der katholischen Kirche von Ministranten (Messdienern) bei besonderen Stellen z.B. bei der Wandlung geläutet.
DSC_8425
West-German postcard by WS-Druck, Wanne-Eickel. Photo: Schorchtfilm-Verleih. Maria Schell in Es kommt ein Tag/A Day Will Come (Rudolf Jugert, 1950).
Pretty, wide-eyed Austrian leading lady Maria Schell (1926-2005) became one of the first film idols of the European postwar generation. With her ‘smile under tears,’ she appeared in dozens of German and Austrian popular films, but she also starred in British, French, Italian, and Hollywood productions.
Margarete Schell was born in Vienna in 1926 as the daughter of the Swiss author Ferdinand Hermann Schell and Austrian actress Margarete Schell Noé. She was the older sister of the actors Immy, Carl, and Maximilian Schell. Her family had to escape from the Nazi regime in 1938, and she received dramatic training in Zurich, Switzerland. To pay for her studies she worked as a secretary. Billed as Gritli Schell, she made her screen debut at 16 in the Swiss-filmed drama Steibruch (Sigfrit Steiner, 1942). It would be six years before she'd appear before the cameras again in Der Engel mit der Posaune (Karl Hartl, 1948). This Austro-German production was simultaneously filmed in an English-language version, The Angel With the Trumpet (Anthony Bushell, 1950), which brought her to the attention of international filmgoers. In the 1950s Maria often played the sweet and innocent Mädchen in numerous Austrian and German films. She starred opposite Dieter Borsche in popular melodramas like Es kommt ein Tag/A Day Will Come (Rudolf Jugert, 1950) and Dr. Holl (Rolf Hansen, 1951). With O.W. Fischer she formed one of the 'Dream Couples of the German cinema' in romantic melodramas like Bis wir uns wiedersehen/Till We Meet Again (Gustav Ucicky, 1952), Der träumende Mund/Dreaming Lips (Josef von Báky, 1953), and Solange Du da bist/As Long As You're Near Me (Rolf Hansen, 1953). She also starred in British productions like The Magic Box (John Boulting, 1951) with Robert Donat, and The Heart of the Matter (George More O'Ferrall, 1953) opposite Trevor Howard.
In 1954, Maria Schell won a Cannes Film Festival award for her dramatic portrayal of a German nurse imprisoned in wartime Yugoslavia in Die letzte Brücke/The Last Bridge (Helmut Käutner, 1954). Two years later, she claimed a Venice Film Festival prize for her role in Gervaise (René Clément, 1956). In this adaptation of Emile Zola’s 'L’Assommoir', she played one of her best roles as a hardworking laundress surrounded by drunks. Other important films were Robert Siodmak’s thriller Die Ratten/The Rats (1955), and Luchino Visconti’s romantic Fyodor Dostoyevski adaptation Le Notti bianche/White Nights (1957), with Schell as the young and innocent girl in love with Jean Marais but loved by Marcello Mastroianni. Hollywood called and Maria Schell was contracted to star as Grushenka opposite Yul Brynner in The Brothers Karamazov (Richard Brooks, 1958), a messy adaptation of another classic novel by Dostoyevsky. This was followed by roles in the Gary Cooper Western The Hanging Tree (Delmer Daves, 1959), the remake of Edna Ferber's Cimarron (Anthony Mann, 1961), and The Mark (Guy Green, 1961), opposite Academy Award nominee Stuart Whitman. Then she returned to Germany for the family drama Das Riesenrad/The Giant Ferris Wheel (Géza von Radványi, 1961), again with O. W. Fischer.
In 1963, dissatisfied with the diminishing value of the characters she was called upon to play, Maria Schell retired. But in 1969 she made a come-back with the witty French comedy Le Diable par la queue/The Devil By The Tail (Philippe de Broca, 1969) opposite Yves Montand. Then followed two horror films by cult director Jesus Franco, Der Heisse Tod/ 99 Women (1969), and Il Trono di fuoco/Throne of the Blood Monster (1970), starring Christopher Lee. Among her, later assignments were Voyage of the Damned (Stuart Rosenberg, 1976), Superman: The Movie (Richard Donner, 1978), Schöner Gigolo, armer Gigolo/Just A Gigolo (David Hemmings, 1978) with David Bowie and Marlene Dietrich. On TV she portrayed the mother of Nazi architect Albert Speer (Rutger Hauer) in Inside the Third Reich (Marvin J. Chomsky, 1992). She also played Mother Maria in the TV sequel to Lilies of the Field called Christmas Lilies of the Field (Ralph Nelson, 1982), and she did guest appearances in popular crime series like Der Kommissar (1969-1975) starring Erik Ode, Kojak (1976) starring Telly Savalas, Derrick (1977-1978), and Tatort (1975-1996). Besides being a film star; Maria Schell appeared in plays in Zurich, Basel, Vienna, Berlin, and Munich, at the Salzburg Festival, and she went on provincial tours from 1963. Among the plays she performed were such classics as Shakespeare's Hamlet, Goethe's Faust, and modern classics such as Pygmalion by George Bernard Shaw. With her brother, Maximilian Schell Maria only appeared in one film, the thriller The Odessa File (Ronald Neame, 1974). In 2002 Maximilian made a documentary about her called Meine Schwester, Maria/My Sister, Maria, in which he documented how her mental health deteriorated along with her finances during her later years. In 2005 Maria Schell died at age 79 of heart failure in her sleep. She was twice married, first to film director Horst Hächler and later to another film director, Veit Relin. She was the mother of actor Oliver Schell and of actress Marie-Therese Relin, who is married to Bavarian playwright Franz Xaver Kroetz and has three children. In 1974 Maria Schell was awarded the Bundesverdienstkreuz (Germany's Cross of Merit) and in 1977 the Filmband in Gold for her impressive contributions to the German cinema.
Sources: Stephanie D'Heil (Steffie-line), Guy Bellinger (IMDb), Hal Erickson (AllMovie), Wikipedia, AbsoluteFacts.nl, and IMDb.
And, please check out our blog European Film Star Postcards.
Dutch postcard by Takken, no 3044. Photo: Filmex NV. Maria Schell in The Brothers Karamazov (Richard Brooks, 1958).
Pretty, wide-eyed Austrian leading lady Maria Schell (1926-2005) became one of the first film idols of the European postwar generation. With her ‘smile under tears,’ she appeared in dozens of German and Austrian popular films, but she also starred in British, French, Italian, and Hollywood productions.
Margarete Schell was born in Vienna in 1926 as the daughter of the Swiss author Ferdinand Hermann Schell and Austrian actress Margarete Schell Noé. She was the older sister of the actors Immy, Carl, and Maximilian Schell. Her family had to escape from the Nazi regime in 1938, and she received dramatic training in Zurich, Switzerland. To pay for her studies she worked as a secretary. Billed as Gritli Schell, she made her screen debut at 16 in the Swiss-filmed drama Steibruch (Sigfrit Steiner, 1942). It would be six years before she'd appear before the cameras again in Der Engel mit der Posaune (Karl Hartl, 1948). This Austro-German production was simultaneously filmed in an English-language version, The Angel With the Trumpet (Anthony Bushell, 1950), which brought her to the attention of international filmgoers. In the 1950s Maria often played the sweet and innocent Mädchen in numerous Austrian and German films. She starred opposite Dieter Borsche in popular melodramas like Es kommt ein Tag/A Day Will Come (Rudolf Jugert, 1950) and Dr. Holl (Rolf Hansen, 1951). With O.W. Fischer she formed one of the 'Dream Couples of the German cinema' in romantic melodramas like Bis wir uns wiedersehen/Till We Meet Again (Gustav Ucicky, 1952), Der träumende Mund/Dreaming Lips (Josef von Báky, 1953), and Solange Du da bist/As Long As You're Near Me (Rolf Hansen, 1953). She also starred in British productions like The Magic Box (John Boulting, 1951) with Robert Donat, and The Heart of the Matter (George More O'Ferrall, 1953) opposite Trevor Howard.
In 1954, Maria Schell won a Cannes Film Festival award for her dramatic portrayal of a German nurse imprisoned in wartime Yugoslavia in Die letzte Brücke/The Last Bridge (Helmut Käutner, 1954). Two years later, she claimed a Venice Film Festival prize for her role in Gervaise (René Clément, 1956). In this adaptation of Emile Zola’s 'L’Assommoir', she played one of her best roles as a hardworking laundress surrounded by drunks. Other important films were Robert Siodmak’s thriller Die Ratten/The Rats (1955), and Luchino Visconti’s romantic Fyodor Dostoyevski adaptation Le Notti bianche/White Nights (1957), with Schell as the young and innocent girl in love with Jean Marais but loved by Marcello Mastroianni. Hollywood called and Maria Schell was contracted to star as Grushenka opposite Yul Brynner in The Brothers Karamazov (Richard Brooks, 1958), a messy adaptation of another classic novel by Dostoyevsky. This was followed by roles in the Gary Cooper Western The Hanging Tree (Delmer Daves, 1959), the remake of Edna Ferber's Cimarron (Anthony Mann, 1961), and The Mark (Guy Green, 1961), opposite Academy Award nominee Stuart Whitman. Then she returned to Germany for the family drama Das Riesenrad/The Giant Ferris Wheel (Géza von Radványi, 1961), again with O. W. Fischer.
In 1963, dissatisfied with the diminishing value of the characters she was called upon to play, Maria Schell retired. But in 1969 she made a come-back with the witty French comedy Le Diable par la queue/The Devil By The Tail (Philippe de Broca, 1969) opposite Yves Montand. Then followed two horror films by cult director Jesus Franco, Der Heisse Tod/ 99 Women (1969), and Il Trono di fuoco/Throne of the Blood Monster (1970), starring Christopher Lee. Among her, later assignments were Voyage of the Damned (Stuart Rosenberg, 1976), Superman: The Movie (Richard Donner, 1978), Schöner Gigolo, armer Gigolo/Just A Gigolo (David Hemmings, 1978) with David Bowie and Marlene Dietrich. On TV she portrayed the mother of Nazi architect Albert Speer (Rutger Hauer) in Inside the Third Reich (Marvin J. Chomsky, 1992). She also played Mother Maria in the TV sequel to Lilies of the Field called Christmas Lilies of the Field (Ralph Nelson, 1982), and she did guest appearances in popular crime series like Der Kommissar (1969-1975) starring Erik Ode, Kojak (1976) starring Telly Savalas, Derrick (1977-1978), and Tatort (1975-1996). Besides being a film star; Maria Schell appeared in plays in Zurich, Basel, Vienna, Berlin, and Munich, at the Salzburg Festival, and she went on provincial tours from 1963. Among the plays she performed were such classics as Shakespeare's Hamlet, Goethe's Faust, and modern classics such as Pygmalion by George Bernard Shaw. With her brother, Maximilian Schell Maria only appeared in one film, the thriller The Odessa File (Ronald Neame, 1974). In 2002 Maximilian made a documentary about her called Meine Schwester, Maria/My Sister, Maria, in which he documented how her mental health deteriorated along with her finances during her later years. In 2005 Maria Schell died at age 79 of heart failure in her sleep. She was twice married, first to film director Horst Hächler and later to another film director, Veit Relin. She was the mother of actor Oliver Schell and of actress Marie-Therese Relin, who is married to Bavarian playwright Franz Xaver Kroetz and has three children. In 1974 Maria Schell was awarded the Bundesverdienstkreuz (Germany's Cross of Merit) and in 1977 the Filmband in Gold for her impressive contributions to the German cinema.
Sources: Stephanie D'Heil (Steffie-line), Guy Bellinger (IMDb), Hal Erickson (AllMovie), Wikipedia, AbsoluteFacts.nl, and IMDb.
And, please check out our blog European Film Star Postcards.
Bain News Service,, publisher.
Schelling
[between ca. 1920 and ca. 1925]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Bain News Service photograph collection (DLC) 2005682517
General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.34357
Call Number: LC-B2- 5747-8
West-German postcard by F.B.Z., no. 500. Photo: Europa / Fama-Film / Wesel.
Pretty, wide-eyed Austrian leading lady Maria Schell (1926-2005) became one of the first film idols of the European postwar generation. With her ‘smile under tears,’ she appeared in dozens of German and Austrian popular films, but she also starred in British, French, Italian, and Hollywood productions.
Margarete Schell was born in Vienna in 1926 as the daughter of the Swiss author Ferdinand Hermann Schell and Austrian actress Margarete Schell Noé. She was the older sister of the actors Immy, Carl, and Maximilian Schell. Her family had to escape from the Nazi regime in 1938, and she received dramatic training in Zurich, Switzerland. To pay for her studies she worked as a secretary. Billed as Gritli Schell, she made her screen debut at 16 in the Swiss-filmed drama Steibruch (Sigfrit Steiner, 1942). It would be six years before she'd appear before the cameras again in Der Engel mit der Posaune (Karl Hartl, 1948). This Austro-German production was simultaneously filmed in an English-language version, The Angel With the Trumpet (Anthony Bushell, 1950), which brought her to the attention of international filmgoers. In the 1950s Maria often played the sweet and innocent Mädchen in numerous Austrian and German films. She starred opposite Dieter Borsche in popular melodramas like Es kommt ein Tag/A Day Will Come (Rudolf Jugert, 1950) and Dr. Holl (Rolf Hansen, 1951). With O.W. Fischer she formed one of the 'Dream Couples of the German cinema' in romantic melodramas like Bis wir uns wiedersehen/Till We Meet Again (Gustav Ucicky, 1952), Der träumende Mund/Dreaming Lips (Josef von Báky, 1953), and Solange Du da bist/As Long As You're Near Me (Rolf Hansen, 1953). She also starred in British productions like The Magic Box (John Boulting, 1951) with Robert Donat, and The Heart of the Matter (George More O'Ferrall, 1953) opposite Trevor Howard.
In 1954, Maria Schell won a Cannes Film Festival award for her dramatic portrayal of a German nurse imprisoned in wartime Yugoslavia in Die letzte Brücke/The Last Bridge (Helmut Käutner, 1954). Two years later, she claimed a Venice Film Festival prize for her role in Gervaise (René Clément, 1956). In this adaptation of Emile Zola’s 'L’Assommoir', she played one of her best roles as a hardworking laundress surrounded by drunks. Other important films were Robert Siodmak’s thriller Die Ratten/The Rats (1955), and Luchino Visconti’s romantic Fyodor Dostoyevski adaptation Le Notti bianche/White Nights (1957), with Schell as the young and innocent girl in love with Jean Marais but loved by Marcello Mastroianni. Hollywood called and Maria Schell was contracted to star as Grushenka opposite Yul Brynner in The Brothers Karamazov (Richard Brooks, 1958), a messy adaptation of another classic novel by Dostoyevsky. This was followed by roles in the Gary Cooper Western The Hanging Tree (Delmer Daves, 1959), the remake of Edna Ferber's Cimarron (Anthony Mann, 1961), and The Mark (Guy Green, 1961), opposite Academy Award nominee Stuart Whitman. Then she returned to Germany for the family drama Das Riesenrad/The Giant Ferris Wheel (Géza von Radványi, 1961), again with O. W. Fischer.
In 1963, dissatisfied with the diminishing value of the characters she was called upon to play, Maria Schell retired. But in 1969 she made a come-back with the witty French comedy Le Diable par la queue/The Devil By The Tail (Philippe de Broca, 1969) opposite Yves Montand. Then followed two horror films by cult director Jesus Franco, Der Heisse Tod/ 99 Women (1969), and Il Trono di fuoco/Throne of the Blood Monster (1970), starring Christopher Lee. Among her, later assignments were Voyage of the Damned (Stuart Rosenberg, 1976), Superman: The Movie (Richard Donner, 1978), Schöner Gigolo, armer Gigolo/Just A Gigolo (David Hemmings, 1978) with David Bowie and Marlene Dietrich. On TV she portrayed the mother of Nazi architect Albert Speer (Rutger Hauer) in Inside the Third Reich (Marvin J. Chomsky, 1992). She also played Mother Maria in the TV sequel to Lilies of the Field called Christmas Lilies of the Field (Ralph Nelson, 1982), and she did guest appearances in popular crime series like Der Kommissar (1969-1975) starring Erik Ode, Kojak (1976) starring Telly Savalas, Derrick (1977-1978), and Tatort (1975-1996). Besides being a film star; Maria Schell appeared in plays in Zurich, Basel, Vienna, Berlin, and Munich, at the Salzburg Festival, and she went on provincial tours from 1963. Among the plays she performed were such classics as Shakespeare's Hamlet, Goethe's Faust, and modern classics such as Pygmalion by George Bernard Shaw. With her brother, Maximilian Schell Maria only appeared in one film, the thriller The Odessa File (Ronald Neame, 1974). In 2002 Maximilian made a documentary about her called Meine Schwester, Maria/My Sister, Maria, in which he documented how her mental health deteriorated along with her finances during her later years. In 2005 Maria Schell died at age 79 of heart failure in her sleep. She was twice married, first to film director Horst Hächler and later to another film director, Veit Relin. She was the mother of actor Oliver Schell and of actress Marie-Therese Relin, who is married to Bavarian playwright Franz Xaver Kroetz and has three children. In 1974 Maria Schell was awarded the Bundesverdienstkreuz (Germany's Cross of Merit) and in 1977 the Filmband in Gold for her impressive contributions to the German cinema.
Sources: Stephanie D'Heil (Steffie-line), Guy Bellinger (IMDb), Hal Erickson (AllMovie), Wikipedia, AbsoluteFacts.nl, and IMDb.
And, please check out our blog European Film Star Postcards.
SCHELL BROTHERS II LLC
(2011) Cessna T206H
PHL - October 08, 2021
*------------------------------------*
Copyright 2021
Paul Kanagie
Austrian postcard by Verlag Hubmann (HDH), Wien, no. 117. Maria Schell in Solange du da bist/As Long as You're Near Me (Harald Braun, 1953).
Pretty, wide-eyed Austrian leading lady Maria Schell (1926-2005) became one of the first film idols of the European postwar generation. With her ‘smile under tears,’ she appeared in dozens of German and Austrian popular films, but she also starred in British, French, Italian, and Hollywood productions.
Margarete Schell was born in Vienna in 1926 as the daughter of the Swiss author Ferdinand Hermann Schell and Austrian actress Margarete Schell Noé. She was the older sister of the actors Immy, Carl, and Maximilian Schell. Her family had to escape from the Nazi regime in 1938, and she received dramatic training in Zurich, Switzerland. To pay for her studies she worked as a secretary. Billed as Gritli Schell, she made her screen debut at 16 in the Swiss-filmed drama Steibruch (Sigfrit Steiner, 1942). It would be six years before she'd appear before the cameras again in Der Engel mit der Posaune (Karl Hartl, 1948). This Austro-German production was simultaneously filmed in an English-language version, The Angel With the Trumpet (Anthony Bushell, 1950), which brought her to the attention of international filmgoers. In the 1950s Maria often played the sweet and innocent Mädchen in numerous Austrian and German films. She starred opposite Dieter Borsche in popular melodramas like Es kommt ein Tag/A Day Will Come (Rudolf Jugert, 1950) and Dr. Holl (Rolf Hansen, 1951). With O.W. Fischer she formed one of the 'Dream Couples of the German cinema' in romantic melodramas like Bis wir uns wiedersehen/Till We Meet Again (Gustav Ucicky, 1952), Der träumende Mund/Dreaming Lips (Josef von Báky, 1953), and Solange Du da bist/As Long As You're Near Me (Rolf Hansen, 1953). She also starred in British productions like The Magic Box (John Boulting, 1951) with Robert Donat, and The Heart of the Matter (George More O'Ferrall, 1953) opposite Trevor Howard.
In 1954, Maria Schell won a Cannes Film Festival award for her dramatic portrayal of a German nurse imprisoned in wartime Yugoslavia in Die letzte Brücke/The Last Bridge (Helmut Käutner, 1954). Two years later, she claimed a Venice Film Festival prize for her role in Gervaise (René Clément, 1956). In this adaptation of Emile Zola’s 'L’Assommoir', she played one of her best roles as a hardworking laundress surrounded by drunks. Other important films were Robert Siodmak’s thriller Die Ratten/The Rats (1955), and Luchino Visconti’s romantic Fyodor Dostoyevski adaptation Le Notti bianche/White Nights (1957), with Schell as the young and innocent girl in love with Jean Marais but loved by Marcello Mastroianni. Hollywood called and Maria Schell was contracted to star as Grushenka opposite Yul Brynner in The Brothers Karamazov (Richard Brooks, 1958), a messy adaptation of another classic novel by Dostoyevsky. This was followed by roles in the Gary Cooper Western The Hanging Tree (Delmer Daves, 1959), the remake of Edna Ferber's Cimarron (Anthony Mann, 1961), and The Mark (Guy Green, 1961), opposite Academy Award nominee Stuart Whitman. Then she returned to Germany for the family drama Das Riesenrad/The Giant Ferris Wheel (Géza von Radványi, 1961), again with O. W. Fischer.
In 1963, dissatisfied with the diminishing value of the characters she was called upon to play, Maria Schell retired. But in 1969 she made a come-back with the witty French comedy Le Diable par la queue/The Devil By The Tail (Philippe de Broca, 1969) opposite Yves Montand. Then followed two horror films by cult director Jesus Franco, Der Heisse Tod/ 99 Women (1969), and Il Trono di fuoco/Throne of the Blood Monster (1970), starring Christopher Lee. Among her, later assignments were Voyage of the Damned (Stuart Rosenberg, 1976), Superman: The Movie (Richard Donner, 1978), Schöner Gigolo, armer Gigolo/Just A Gigolo (David Hemmings, 1978) with David Bowie and Marlene Dietrich. On TV she portrayed the mother of Nazi architect Albert Speer (Rutger Hauer) in Inside the Third Reich (Marvin J. Chomsky, 1992). She also played Mother Maria in the TV sequel to Lilies of the Field called Christmas Lilies of the Field (Ralph Nelson, 1982), and she did guest appearances in popular crime series like Der Kommissar (1969-1975) starring Erik Ode, Kojak (1976) starring Telly Savalas, Derrick (1977-1978), and Tatort (1975-1996). Besides being a film star; Maria Schell appeared in plays in Zurich, Basel, Vienna, Berlin, and Munich, at the Salzburg Festival, and she went on provincial tours from 1963. Among the plays she performed were such classics as Shakespeare's Hamlet, Goethe's Faust, and modern classics such as Pygmalion by George Bernard Shaw. With her brother, Maximilian Schell Maria only appeared in one film, the thriller The Odessa File (Ronald Neame, 1974). In 2002 Maximilian made a documentary about her called Meine Schwester, Maria/My Sister, Maria, in which he documented how her mental health deteriorated along with her finances during her later years. In 2005 Maria Schell died at age 79 of heart failure in her sleep. She was twice married, first to film director Horst Hächler and later to another film director, Veit Relin. She was the mother of actor Oliver Schell and of actress Marie-Therese Relin, who is married to Bavarian playwright Franz Xaver Kroetz and has three children. In 1974 Maria Schell was awarded the Bundesverdienstkreuz (Germany's Cross of Merit) and in 1977 the Filmband in Gold for her impressive contributions to the German cinema.
Sources: Stephanie D'Heil (Steffie-line), Guy Bellinger (IMDb), Hal Erickson (AllMovie), Wikipedia, AbsoluteFacts.nl, and IMDb.
And, please check out our blog European Film Star Postcards.
Schell Creek Range. View to the north. This mountain range is the second longest in Nevada extending about 132 miles. The stratigraphic column here is about 5 miles thick and is composed of rocks of late Precambrian to Recent age. The range exhibits some of the oldest extensional faulting in the eastern Great Basin including two low-angle detachment faults. Humboldt-Toiyabe National Forest. White Pine Co., Nevada
West-German postcard by Ufa/Film-Foto, Berlin-Tempelhof, no. FK 1247, 1956. Photo: Arthur Grimm.
Pretty, wide-eyed Austrian leading lady Maria Schell (1926-2005) became one of the first film idols of the European postwar generation. With her ‘smile under tears’ she appeared in dozens of German and Austrian popular films, but she also starred in British, French, Italian, and Hollywood productions.
Margarete Schell was born in Vienna in 1926 as the daughter of the Swiss author Ferdinand Hermann Schell and Austrian actress Margarete Schell Noé. She was the older sister of the actors Immy, Carl, and Maximilian Schell. Her family had to escape from the Nazi regime in 1938, and she received dramatic training in Zurich, Switzerland. To pay for her studies she worked as a secretary. Billed as Gritli Schell, she made her screen debut at 16 in the Swiss-filmed drama Steibruch (Sigfrit Steiner, 1942). It would be six years before she'd appear before the cameras again in Der Engel mit der Posaune (Karl Hartl, 1948). This Austro-German production was simultaneously filmed in an English-language version, The Angel With the Trumpet (Anthony Bushell, 1950), which brought her to the attention of international filmgoers. In the 1950s Maria often played the sweet and innocent Mädchen in numerous Austrian and German films. She starred opposite Dieter Borsche in popular melodramas like Es kommt ein Tag/A Day Will Come (Rudolf Jugert, 1950) and Dr. Holl (Rolf Hansen, 1951). With O.W. Fischer she formed one of the 'Dream Couples of the German cinema' in romantic melodramas like Bis wir uns wiedersehen/Till We Meet Again (Gustav Ucicky, 1952), Der träumende Mund/Dreaming Lips (Josef von Báky, 1953), and Solange Du da bist/As Long As You're Near Me (Rolf Hansen, 1953). She also starred in British productions like The Magic Box (John Boulting, 1951) with Robert Donat, and The Heart of the Matter (George More O'Ferrall, 1953) opposite Trevor Howard.
In 1954, Maria Schell won a Cannes Film Festival award for her dramatic portrayal of a German nurse imprisoned in wartime Yugoslavia in Die letzte Brücke/The Last Bridge (Helmut Käutner, 1954). Two years later, she claimed a Venice Film Festival prize for her role in Gervaise (René Clément, 1956). In this adaptation of Emile Zola’s 'L’Assommoir', she played one of her best roles as a hardworking laundress surrounded by drunks. Other important films were Robert Siodmak’s thriller Die Ratten/The Rats (1955), and Luchino Visconti’s romantic Fyodor Dostoyevski adaptation Le Notti bianche/White Nights (1957), with Schell as the young and innocent girl in love with Jean Marais but loved by Marcello Mastroianni. Hollywood called and Maria Schell was contracted to star as Grushenka opposite Yul Brynner in The Brothers Karamazov (Richard Brooks, 1958), a messy adaptation of another classic novel by Dostoyevsky. This was followed by roles in the Gary Cooper Western The Hanging Tree (Delmer Daves, 1959), the remake of Edna Ferber's Cimarron (Anthony Mann, 1961), and The Mark (Guy Green, 1961), opposite Academy Award nominee Stuart Whitman. Then she returned to Germany for the family drama Das Riesenrad/The Giant Ferris Wheel (Géza von Radványi, 1961), again with O. W. Fischer.
In 1963, dissatisfied with the diminishing value of the characters she was called upon to play, Maria Schell retired. But in 1969 she made a come-back with the witty French comedy Le Diable par la queue/The Devil By The Tail (Philippe de Broca, 1969) opposite Yves Montand. Then followed two horror films by cult director Jesus Franco, Der Heisse Tod/ 99 Women (1969), and Il Trono di fuoco/Throne of the Blood Monster (1970), starring Christopher Lee. Among her, later assignments were Voyage of the Damned (Stuart Rosenberg, 1976), Superman: The Movie (Richard Donner, 1978), Schöner Gigolo, armer Gigolo/Just A Gigolo (David Hemmings, 1978) with David Bowie and Marlene Dietrich. On TV she portrayed the mother of Nazi architect Albert Speer (Rutger Hauer) in Inside the Third Reich (Marvin J. Chomsky, 1992). She also played Mother Maria in the TV sequel to Lilies of the Field called Christmas Lilies of the Field (Ralph Nelson, 1982), and she did guest appearances in popular crime series like Der Kommissar (1969-1975) starring Erik Ode, Kojak (1976) starring Telly Savalas, Derrick (1977-1978), and Tatort (1975-1996). Besides being a film star; Maria Schell appeared in plays in Zurich, Basel, Vienna, Berlin, and Munich, at the Salzburg Festival, and she went on provincial tours from 1963. Among the plays she performed were such classics as Shakespeare's Hamlet, Goethe's Faust, and modern classics such as Pygmalion by George Bernard Shaw. With her brother, Maximilian Schell Maria only appeared in one film, the thriller The Odessa File (Ronald Neame, 1974). In 2002 Maximilian made a documentary about her called Meine Schwester, Maria/My Sister, Maria, in which he documented how her mental health deteriorated along with her finances during her later years. In 2005 Maria Schell died at age 79 of heart failure in her sleep. She was twice married, first to film director Horst Hächler and later to another film director, Veit Relin. She was the mother of actor Oliver Schell and of actress Marie-Therese Relin, who is married to Bavarian playwright Franz Xaver Kroetz and has three children. In 1974 Maria Schell was awarded the Bundesverdienstkreuz (Germany's Cross of Merit) and in 1977 the Filmband in Gold for her impressive contributions to the German cinema.
Sources: Stephanie D'Heil (Steffie-line), Guy Bellinger (IMDb), Hal Erickson (AllMovie), Wikipedia, AbsoluteFacts.nl, and IMDb.
And, please check out our blog European Film Star Postcards.
West-German postcard by Rüdel-Verlag, Hamburg-Bergedorf, no. 2261. Photo: Metro-Goldwyn-Mayer. Maria Schell and Yul Brynner in The Brothers Karamazov (Richard Brooks, 1958).
Pretty, wide-eyed Austrian leading lady Maria Schell (1926-2005) became one of the first film idols of the European postwar generation. With her ‘smile under tears’ she appeared in dozens of German and Austrian popular films, but she also starred in British, French, Italian, and Hollywood productions.
Yul Brynner (Юлий Борисович Бринер, 1920–1985) was a Russian-born United States-based film and stage actor. He was best known for his portrayal of the King Mongkut of Siam in the Rodgers and Hammerstein musical The King and I. He played the role 4,625 times on stage and won two Tony Awards. For the film version, The King and I (Walter Lang, 1956), he also won the Academy Award. He quickly gained superstar status with his roles as Rameses II in the blockbuster The Ten Commandments (Cecil B. DeMille, 1956) and General Bounine in the historical drama Anastasia (Anatole Litvak, 1956) opposite Ingrid Bergman, and made the 'Top 10 Stars of the Year' list in both 1957 and 1958. Later roles include Chris Adams in the Western The Magnificent Seven (John Sturges, 1960) and a gunslinger robot in the Science fiction Western-thriller Westworld (Michael Crichton, 1973).
And, please check out our blog European Film Star Postcards.
You Can't Be What You Can't See
Kristen Schell, The Turquoise Table
Hi, I'm Kristen.
Walking with a friend in the dark is better than walking alone in the light. — Helen Keller
During [a] frazzled time of life, I managed to squeeze in a conference in my hometown of Austin, Texas. I was drawn to the Verge Conference for people living out the gospel in community, which was exactly what I was longing to do. The Austin Music Hall was jam-packed. Each speaker took the stage for fifteen minutes. The lights went up; they gave their talk. The music started; the lights went down. The routine was fast, like a Twitter stream, pouring out information on discipleship in fifteen-minute chunks.
Then the dark stage lit up, shining on Jo Saxton, a respected leader who speaks on helping people see better how to live in community with one another. She wooed me with her British accent, delivering the line that changed everything:
“You can’t be what you can’t see.”
Jo said it over and over. Or maybe she only said it once, but I heard it over and over. “You can’t be what you can’t see.” Her speech ended, the lights went down, and I sat in that dark auditorium, alone in the crowd.
I actually clenched my fists and raised them, duking it out with God while I cried in the dark. As loud music played, I pleaded with God. “I can’t see how to open up my life and home to others! I can’t see how to build community! I can’t see how to love my neighbors! I can’t be what I can’t see, so show me!”
Right there, in the middle of the Austin Music Hall, surrounded by 1,200 people, I had a major spiritual meltdown. Then, on massive screens flanking the stage, a documentary started. The film shows an elderly woman walking slowly down cobblestone streets. She enters a food market. The subtitle says, “Ludmilla’s Story.”
As I watched the film, I “met” Ludmilla, an eighty-four-year-old widow in Prague. She’s survived two totalitarian regimes and lives in the heart of the most atheistic country in Europe. Yet she placed a small bronze plaque on the outside of her tiny brownstone apartment that reads “Embassy of the Kingdom of Heaven.”
The Ministry of Presence
Every day Ludmilla opens her home to friends and strangers who need to talk. Sometimes she knows the people who come. Sometimes strangers show up — led by word of mouth. She offers them something small, nothing overdone or extravagant. Tea. A cookie from a tin. A warm, simple gesture of welcome to her table. In a way that is quiet and genuine, Ludmilla listens and prays, and in doing so communicates that her guests matter. At her table, they belong.
Fully present, Ludmilla serves more than just cookies and tea. She offers her heart.
God answered my prayer to see how to love my neighbors with the story of a woman half the world away who was being the hands and feet of Christ. Her actions were so simple — the antithesis of the frazzled lifestyle I was living. Ludmilla modeled how simple hospitality could be through her ministry of being present. I could see it. Maybe now I could be it.
What would it take for me to put a plaque on my door that reads “Embassy of the Kingdom of Heaven”?
I’m still the same old me. The person who makes things harder than need be, planning too much, focused on the outcome, trapped in the minutiae of the doing rather than loosening my tight grip on control and resting in the being. But I was beginning to see the vast difference between entertainment and hospitality.
I needed a change of heart. Am I fully present? Are my motives for hosting self-serving or genuinely out of care, concern, and love? Am I more concerned with Kristin or with being an ambassador to the kingdom?
I really want to be like Ludmilla. Actually, I want to be a guest at her table! She’s a beautiful role model of hospitality. I want to have a simple table spread with abundant love. To offer an atmosphere of joy and peace.
A Change of Heart
As my heart began to change, pieces of my life started to feel as if they had purpose. Maybe the summer in France with the longing for the table, my new home, and my promise to keep the tradition of neighborhood community going could be melded with the vision of this woman a million miles away to create the kind of inspired hospitality I could live out.
The realization hit me: I’d been making it so hard, spinning around on a hamster wheel instead of sitting still, like Ludmilla, focusing on being present. I was doing instead of being, trying hard to execute community, and it seemed so contrived. Ludmilla pointed back to the promise, to the party. Ludmilla took me back to that table in France and its comfortable, leisurely interaction. The Party at the Cove and Ludmilla’s presence were beginning to show me how gathering people at a table can help them belong.
If we have no peace, it is because we have forgotten we belong to each other. — Mother Teresa
But what could I do in a suburban neighborhood in Texas that would offer the same experience Ludmilla was providing in her tiny Prague apartment? I don’t have the time Ludmilla does to be available to people throughout the day, so I knew whatever I did would look different. But I could feel my heart shifting from confusion to possibilities. I still didn’t have the precise answer, but hope was born.
Let’s get real. Neither you nor I have very much in common with an eighty-four-year-old woman in Prague. But that doesn’t let us off the hook. Romans 12:13 remains the same no matter where you live or what stage of life you’re in. You might live in a gated community, apartment complex, rural area, city, or suburb. Maybe you’re single or a grandmother or a mother of eight. Whatever your situation, how can you be present for others? What simple ways can you let people know they matter and create space for people to belong?
Ludmilla took every opportunity to open her home and life to others. It wasn’t hard. She didn’t consult Pinterest. She wasn’t frazzled. She was simply open to the people who came to her, making them feel they belonged, right where she lived.
I could feel I was on the verge of doing this too, but God knew I needed one more little push. He gave me a dare.
Excerpted from The Turquoise Table by Kristen Schell, copyright Kristen Schell.
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The Penang War Museum. South East Asia's largest WW2 fort.
Yugoslavian postcard by Sedma Sila. Photo: Morava Film, Beograd (Belgrade).
Pretty, wide-eyed Austrian leading lady Maria Schell (1926-2005) became one of the first film idols to the European postwar generation. With her ‘smile under tears’ she appeared in dozens of German and Austrian popular films, but she also starred in British, French, Italian, and Hollywood productions.
West-German postcard by Kolibri-Verlag G.m.b.H, Minden/Westf. Photo: CCC / Gloria / Arthur Grimm. Maria Schell in Das Riesenrad/The Giant Wheel (Géza von Radványi, 1961).
Pretty, wide-eyed Austrian leading lady Maria Schell (1926-2005) became one of the first film idols of the European postwar generation. With her ‘smile under tears,’ she appeared in dozens of German and Austrian popular films, but she also starred in British, French, Italian, and Hollywood productions.
Margarete Schell was born in Vienna in 1926 as the daughter of the Swiss author Ferdinand Hermann Schell and Austrian actress Margarete Schell Noé. She was the older sister of the actors Immy, Carl, and Maximilian Schell. Her family had to escape from the Nazi regime in 1938, and she received dramatic training in Zurich, Switzerland. To pay for her studies she worked as a secretary. Billed as Gritli Schell, she made her screen debut at 16 in the Swiss-filmed drama Steibruch (Sigfrit Steiner, 1942). It would be six years before she'd appear before the cameras again in Der Engel mit der Posaune (Karl Hartl, 1948). This Austro-German production was simultaneously filmed in an English-language version, The Angel With the Trumpet (Anthony Bushell, 1950), which brought her to the attention of international filmgoers. In the 1950s Maria often played the sweet and innocent Mädchen in numerous Austrian and German films. She starred opposite Dieter Borsche in popular melodramas like Es kommt ein Tag/A Day Will Come (Rudolf Jugert, 1950) and Dr. Holl (Rolf Hansen, 1951). With O.W. Fischer she formed one of the 'Dream Couples of the German cinema' in romantic melodramas like Bis wir uns wiedersehen/Till We Meet Again (Gustav Ucicky, 1952), Der träumende Mund/Dreaming Lips (Josef von Báky, 1953), and Solange Du da bist/As Long As You're Near Me (Rolf Hansen, 1953). She also starred in British productions like The Magic Box (John Boulting, 1951) with Robert Donat, and The Heart of the Matter (George More O'Ferrall, 1953) opposite Trevor Howard.
In 1954, Maria Schell won a Cannes Film Festival award for her dramatic portrayal of a German nurse imprisoned in wartime Yugoslavia in Die letzte Brücke/The Last Bridge (Helmut Käutner, 1954). Two years later, she claimed a Venice Film Festival prize for her role in Gervaise (René Clément, 1956). In this adaptation of Emile Zola’s 'L’Assommoir', she played one of her best roles as a hardworking laundress surrounded by drunks. Other important films were Robert Siodmak’s thriller Die Ratten/The Rats (1955), and Luchino Visconti’s romantic Fyodor Dostoyevski adaptation Le Notti bianche/White Nights (1957), with Schell as the young and innocent girl in love with Jean Marais but loved by Marcello Mastroianni. Hollywood called and Maria Schell was contracted to star as Grushenka opposite Yul Brynner in The Brothers Karamazov (Richard Brooks, 1958), a messy adaptation of another classic novel by Dostoyevsky. This was followed by roles in the Gary Cooper Western The Hanging Tree (Delmer Daves, 1959), the remake of Edna Ferber's Cimarron (Anthony Mann, 1961), and The Mark (Guy Green, 1961), opposite Academy Award nominee Stuart Whitman. Then she returned to Germany for the family drama Das Riesenrad/The Giant Ferris Wheel (Géza von Radványi, 1961), again with O. W. Fischer.
In 1963, dissatisfied with the diminishing value of the characters she was called upon to play, Maria Schell retired. But in 1969 she made a come-back with the witty French comedy Le Diable par la queue/The Devil By The Tail (Philippe de Broca, 1969) opposite Yves Montand. Then followed two horror films by cult director Jesus Franco, Der Heisse Tod/ 99 Women (1969), and Il Trono di fuoco/Throne of the Blood Monster (1970), starring Christopher Lee. Among her, later assignments were Voyage of the Damned (Stuart Rosenberg, 1976), Superman: The Movie (Richard Donner, 1978), Schöner Gigolo, armer Gigolo/Just A Gigolo (David Hemmings, 1978) with David Bowie and Marlene Dietrich. On TV she portrayed the mother of Nazi architect Albert Speer (Rutger Hauer) in Inside the Third Reich (Marvin J. Chomsky, 1992). She also played Mother Maria in the TV sequel to Lilies of the Field called Christmas Lilies of the Field (Ralph Nelson, 1982), and she did guest appearances in popular crime series like Der Kommissar (1969-1975) starring Erik Ode, Kojak (1976) starring Telly Savalas, Derrick (1977-1978), and Tatort (1975-1996). Besides being a film star; Maria Schell appeared in plays in Zurich, Basel, Vienna, Berlin, and Munich, at the Salzburg Festival, and she went on provincial tours from 1963. Among the plays she performed were such classics as Shakespeare's Hamlet, Goethe's Faust, and modern classics such as Pygmalion by George Bernard Shaw. With her brother, Maximilian Schell Maria only appeared in one film, the thriller The Odessa File (Ronald Neame, 1974). In 2002 Maximilian made a documentary about her called Meine Schwester, Maria/My Sister, Maria, in which he documented how her mental health deteriorated along with her finances during her later years. In 2005 Maria Schell died at age 79 of heart failure in her sleep. She was twice married, first to film director Horst Hächler and later to another film director, Veit Relin. She was the mother of actor Oliver Schell and of actress Marie-Therese Relin, who is married to Bavarian playwright Franz Xaver Kroetz and has three children. In 1974 Maria Schell was awarded the Bundesverdienstkreuz (Germany's Cross of Merit) and in 1977 the Filmband in Gold for her impressive contributions to the German cinema.
Sources: Stephanie D'Heil (Steffie-line), Guy Bellinger (IMDb), Hal Erickson (AllMovie), Wikipedia, AbsoluteFacts.nl, and IMDb.
And, please check out our blog European Film Star Postcards.
Die Daten der Lok bei Rangierdiesel.de :
www.rangierdiesel.de/index.php?nav=1406157&id=53027&a...
Eine Reproduktion und Veröffentlichung des Fotos ist ohne Erlaubnis nicht erlaubt. A reproduction and publication of the photo is not allowed without permission.
West-German collectors card in the Unsere Filmlieblinge series by Kauvit, München (Munich). Photo: Real-Film / Europa.
Austrian-born Swiss actor Maximilian Schell (1930-2014) won an Oscar for his role in Judgment at Nuremberg (1961). He was also a respected writer, director and producer of several films, including intimate portraits of Marlene Dietrich and of his sister Maria Schell, for which he won many awards.
Maximilian Schell was born in Vienna, Austria in 1930. He was the son of Margarethe Schell née Noe von Nordberg, an actress who ran an acting school, and Hermann Ferdinand Schell, a Swiss poet, novelist, playwright, and owner of a pharmacy. Schell's late elder sister, Maria Schell, was also an actress; as are their two other siblings, Carl and Immy (Immaculata) Schell. When Austria became part of Nazi Germany after the ‘Anschluss’ of 1938, the Schell family moved to Zurich, Switzerland. Maximilian's interest in acting began at an early age. When 11, he appeared in a professional production of William Tell and in the same year he wrote a play which was produced by his school. Later he served in the Swiss Army, achieving the rank of corporal. In 1952, he began acting at the Basel Theatre. He played a small role as a desperate deserter in the war film Kinder, Mütter und ein General/Children, Mother, and the General (László Benedek, 1955) starring Hilde Krahl. That year he also played parts in Der 20. Juli/The Plot to Assassinate Hitler (Falk Harnack, 1955), Reifende Jugend/Ripening Youth (Ulrich Erfurth, 1955) and Ein Mädchen aus Flandern/The Girl from Flanders (Helmut Käutner, 1956) with Nicole Berger. His breakthrough in cinema was the German crime film Die Letzten werden die Ersten sein/The Last Ones Shall Be First (Rolf Hansen, 1957). The film, which starred O.E. Hasse and Ulla Jacobsson, was entered into the 7th Berlin International Film Festival. Schell made his Hollywood debut as a Nazi officer in the World War II film The Young Lions (Edward Dmytryk, 1958) starring Marlon Brando and Montgomery Clift. According to Jon C. Hopwood at IMDb “quite by accident, as the producers had wanted to hire his sister Maria Schell, but lines of communication got crossed, and he was the one hired.”
Maximilian Schell stayed in America and in 1959, he appeared as Hans Rolfe, an enigmatic defence attorney, in a live Playhouse 90 television production of Judgment at Nuremberg (George Roy Hill, 1959). In 1961, Schell reprised the role for the big screen remake Judgement at Nuremberg (Stanley Kramer, 1961) with an all-star cast including Spencer Tracy, Burt Lancaster, and Marlene Dietrich. As the first German-speaking actor after World War II, Schell won the Academy Award for Best Actor. He also won a Golden Globe and the New York Film Critics Circle Award for the role. In the following years, he starred in international productions like the Italian-French drama I sequestrati di Altona/The Condemned of Altona (Vittorio De Sica, 1962) opposite Sophia Loren, the heist film Topkapi (Jules Dassin, 1964) with Melina Mercouri, the British drama Return from the Ashes (J. Lee Thompson, 1965) with Ingrid Thulin, and the British espionage–thriller The Deadly Affair (Sidney Lumet, 1966) based on John le Carré's first novel Call for the Dead. In Hollywood, he was often top-billed in Third Reich-themed films, such as Counterpoint (Ralph Nelson, 1968), The Man in the Glass Booth (Arthur Hiller, 1975) – a role for which he was nominated for an Academy Award, Cross of Iron (Sam Peckinpah, 1977), Julia (Fred Zinnemann, 1977) – for which he got another Oscar nomination, and A Bridge Too Far (Richard Attenborough, 1977). However, he also played in various films with different subjects, including the historical disaster film Krakatoa, East of Java (Bernard L. Kowalski, 1969), the science fiction film The Black Hole (Gary Nelson, 1979), and the crime comedy The Freshman (Andrew Bergman, 1990) starring Marlon Brando and Matthew Broderick.
Maximilian Schell has also served as a writer, producer and director for a variety of films. In 1968, Schell produced and starred in the adaptation of Kafka's novel Das Schloss/The Castle. Two years later, Erste Liebe/First Love (1970) - written, directed, produced, and starred in by Schell - was hailed by the critics. His Der Fußgänger/The Pedestrian (1974), in which he also starred, was nominated for the Oscar for Best Foreign Language Film and won a Golden Globe. His documentary on Marlene Dietrich, Marlene (1984) was based on the audio tape recordings of his 17-hours-long interview session with Dietrich. Using original footage, documentary material and interview passages, he managed to present an intimate portrait of her, which won also several awards. 18 years later, he made a documentary about his late sister Maria Schell, Meine Schwester Maria/My Sister Maria (2002). Connor McMadden at AllMovie: "Using excerpts of her feature films along with home movie footage, Schell explores the high points of his sister's career throughout the 1950s, as well as the personal problems that cast her into obscurity only a decade later. The film offers quite a few emotional peaks, especially when an elderly Maria Schell goes before her brother's camera to speak candidly about her life, and a suicide attempt which she refers to as her 'first death.'" In addition to his film career, Maximilian Schell has also been active as a director, writer and actor in the European theatre. In 1958, he made his Broadway debut in Ira Levin’s Interlock. In 1965, he starred in John Osborne’s groundbreaking A Patriot for Me, first at London’s Royal Court Theatre and later on Broadway. He has twice played Hamlet on stage, originally under the direction of the legendary Gustaf Grundgens and later under his own direction. In 1972 he starred in Peter Hall's German language première of Harold Pinter's Old Times at the Burgtheater in Vienna. In 1977 he directed Tales from the Vienna Woods at the National Theatre in London. In later life he also began directing operatic productions, starting with Giuseppe Verdi's La Traviata. This passion was triggered when he was performing in the play Jedermann (Everyman) in Salzburg, Austria from 1978-1982, and he came into contact with several musical conductors including Leonard Bernstein, James Levine and Claudio Abbado. In 2006 he appeared in Arthur Miller's Resurrection Blues directed by Robert Altman at the Old Vic in London. He also often appeared on television, such as in the miniseries Peter the Great (Marvin J. Chomsky, Lawrence Schiller, 1986), with Vanessa Redgrave and Laurence Olivier. He was twice been nominated for an Emmy for his TV work, and in 1993, he won a Golden Globe for his part as Vladimir Lenin in the HBO miniseries Stalin (Ivan Passer, 1992). In 1990, he refused to receive the Honorary German Film Award because he felt too young to be awarded an award for lifetime achievement. For German television, he played in the television miniseries The Return of the Dancing Master (Urs Egger, 2004), which was based on Henning Mankell's crime novel.
Through the decades he continued to star in international film productions, such as The Rose Garden (Fons Rademakers, 1986), Left Luggage (Jeroen Krabbé, 1998), Deep Impact (Mimi Leder, 1998), Vampires (John Carpenter, 1998), and the American comedy The Brothers Bloom (Rian Johnson, 2008) with Adrien Brody and Mark Ruffalo. At IMDb, Jon C. Hopwood writes: “with the exception of Maurice Chevalier and Marcello Mastroianni, Schell is undoubtedly the most successful non-Anglophone foreign actor in the history of American cinema.” Maximilian Schell was married to actress Natalya Andreychenko (1985-2005). Their daughter is actress Nastassja Schell (born in 1989). He was also the godfather of actress Angelina Jolie. Recently, Maximilian Schell could be seen in two new films, Les brigands (Pol Cruchten, Frank Hoffmann, 2013) opposite Tchéky Karyo, and An Artist's Emblem (Michael J. Narvaez, 2013) with Harry Dean Stanton.
Sources: Sandra Brennan (AllMovie), Jon C. Hopwood (IMDb), Connor McMadden (AllMovie), Filmportal.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
In an issue of the Architectural Review, this for May 1948, a review of two stations in Amsterdam, The Netherlands, that had actually opened nearly a decade earlier in October 1939 and that shows, I suspect, the "pause" in the ability to be able to wholly review such works caused by the impact of World War Two. It is fascinating, from a British perspective, to look particularly at the railway architecture of the north European countries in the pre-WW2 period. Working as I did for London Underground, the impact of both style and materiality of such architecture on the works of Charles Holden, especially from the early 1930s onwards, is a reminder of the interplay across the North Sea. The two stations seen here are therefore interesting in their own right as well as comparators with some of the proposed late Underground stations of the New Works Programme, 1935 - 40, that were never built as well as some of the proposed say, Great Western Railway or London Midland & Scottish stations that again were not constructed. This was due to post-war austerity, the impact of nationalisation in 1948 and, possibly, the changes in architecture that were already underway in post-war years.
Anyhow, the article covers Amstel and Muiderpoort stations, designed by H G J Schelling, and that opened as part of the Amesterdam east side railway scheme. Both share a similarity in terms of a lofty station hall, and both use an interesting palette of materials with reinforced concrete and brick tempered with some high class stone and ceramics. The article notes the use of welded steel frame construction that was starting to see more widespread use as against traditional rivetted or bolted construction.
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Eine Reproduktion und Veröffentlichung des Fotos ist ohne Erlaubnis nicht erlaubt. A reproduction and publication of the photo is not allowed without permission.
West-German card. Photo: Urmich. Maria Schell and O.W. Fischer.
Pretty, wide-eyed Austrian leading lady Maria Schell (1926-2005) became one of the first film idols of the European postwar generation. With her ‘smile under tears,’ she appeared in dozens of German and Austrian popular films, but she also starred in British, French, Italian, and Hollywood productions.
Margarete Schell was born in Vienna in 1926 as the daughter of the Swiss author Ferdinand Hermann Schell and Austrian actress Margarete Schell Noé. She was the older sister of the actors Immy, Carl, and Maximilian Schell. Her family had to escape from the Nazi regime in 1938, and she received dramatic training in Zurich, Switzerland. To pay for her studies she worked as a secretary. Billed as Gritli Schell, she made her screen debut at 16 in the Swiss-filmed drama Steibruch (Sigfrit Steiner, 1942). It would be six years before she'd appear before the cameras again in Der Engel mit der Posaune (Karl Hartl, 1948). This Austro-German production was simultaneously filmed in an English-language version, The Angel With the Trumpet (Anthony Bushell, 1950), which brought her to the attention of international filmgoers. In the 1950s Maria often played the sweet and innocent Mädchen in numerous Austrian and German films. She starred opposite Dieter Borsche in popular melodramas like Es kommt ein Tag/A Day Will Come (Rudolf Jugert, 1950) and Dr. Holl (Rolf Hansen, 1951). With O.W. Fischer she formed one of the 'Dream Couples of the German cinema' in romantic melodramas like Bis wir uns wiedersehen/Till We Meet Again (Gustav Ucicky, 1952), Der träumende Mund/Dreaming Lips (Josef von Báky, 1953), and Solange Du da bist/As Long As You're Near Me (Rolf Hansen, 1953). She also starred in British productions like The Magic Box (John Boulting, 1951) with Robert Donat, and The Heart of the Matter (George More O'Ferrall, 1953) opposite Trevor Howard.
In 1954, Maria Schell won a Cannes Film Festival award for her dramatic portrayal of a German nurse imprisoned in wartime Yugoslavia in Die Letzte Brücke/The Last Bridge (Helmut Käutner, 1954). Two years later, she claimed a Venice Film Festival prize for her role in Gervaise (René Clément, 1956). In this adaptation of Emile Zola’s L’Assommoir, she played one of her best roles as a hardworking laundress surrounded by drunks. Other important films were Robert Siodmak’s thriller Die Ratten/The Rats (1955), and Luchino Visconti’s romantic Fyodor Dostoyevski adaptation Le Notti Bianche/White Nights (1957), with Schell as the young and innocent girl in love with Jean Marais but loved by Marcello Mastroianni. Hollywood called and Maria Schell was contracted to star as Grushenka opposite Yul Brynner in The Brothers Karamazov (Richard Brooks, 1958), a messy adaptation of another classic novel by Dostoyevsky. This was followed by roles in the Gary Cooper Western The Hanging Tree (Delmer Daves, 1959), the remake of Edna Ferber's Cimarron (Anthony Mann, 1961), and The Mark (Guy Green, 1961), opposite Academy Award nominee Stuart Whitman. Then she returned to Germany for the family drama Das Riesenrad/The Giant Ferris Wheel (Géza von Radványi, 1961), again with O. W. Fischer.
In 1963, dissatisfied with the diminishing value of the characters she was called upon to play, Maria Schell retired. But in 1969 she made a come-back with the witty French comedy Le Diable par la queue/The Devil By The Tail (Philippe de Broca, 1969) opposite Yves Montand. Then followed two horror films by cult director Jesus Franco, Der Heisse Tod/ 99 Women (1969), and Il Trono di fuoco/Throne of the Blood Monster (1970), starring Christopher Lee. Among her later assignments were Voyage of the Damned (Stuart Rosenberg, 1976), Superman: The Movie (Richard Donner, 1978), Schöner Gigolo, armer Gigolo/Just A Gigolo (David Hemmings, 1978) with David Bowie and Marlene Dietrich. On TV she portrayed the mother of Nazi architect Albert Speer (Rutger Hauer) in Inside the Third Reich (Marvin J. Chomsky, 1992). She also played Mother Maria in the TV sequel to Lilies of the Field called Christmas Lilies of the Field (Ralph Nelson, 1982), and she did guest appearances in popular crime series like Der Kommissar (1969-1975) starring Erik Ode, Kojak (1976) starring Telly Savalas, Derrick (1977-1978), and Tatort (1975-1996). Besides being a film star; Maria Schell appeared in plays in Zurich, Basel, Vienna, Berlin, and Munich, at the Salzburg Festival, and she went on provincial tours from 1963. Among the plays she performed were such classics as Shakespeare's Hamlet, Goethe's Faust, and modern classics such as Pygmalion by George Bernard Shaw. With her brother, Maximilian Schell Maria only appeared in one film, the thriller The Odessa File (Ronald Neame, 1974). In 2002 Maximilian made a documentary about her called Meine Schwester, Maria/My Sister, Maria, in which he documented how her mental health deteriorated along with her finances during her later years. In 2005 Maria Schell died at age 79 of heart failure in her sleep. She was twice married, first to film director Horst Hächler and later to another film director, Veit Relin. She was the mother of actor Oliver Schell and of actress Marie-Therese Relin, who is married to Bavarian playwright Franz Xaver Kroetz and has three children. In 1974 Maria Schell was awarded the Bundesverdienstkreuz (Germany's Cross of Merit) and in 1977 the Filmband in Gold for her impressive contributions to the German cinema.
Sources: Stephanie D'Heil (Steffie-line), Guy Bellinger (IMDb), Hal Erickson (AllMovie), Wikipedia, AbsoluteFacts.nl, and IMDb.
And, please check out our blog European Film Star Postcards.
Schelling Salon is a landmark in Munich and since 1872 one of the cities most famous cafe/pubs.
If you are ever in Munich a visit to this piece of history is a must. The likes of Lenin, Brecht, Ibsen, Kandinsky and a certain Hr. H. have all been guests here.
West-German postcard by Rüdel-Verlag, Hamburg-Bergedorf, no. 2155. Photo: G. B. Poletto / J. Arthur Rank. Maria Schell and Jean Marais in Le notti bianche/White Nights (Luchino Visconti, 1957).
Pretty, wide-eyed Austrian leading lady Maria Schell (1926-2005) became one of the first film idols of the European postwar generation. With her ‘smile under tears,’ she appeared in dozens of German and Austrian popular films, but she also starred in British, French, Italian, and Hollywood productions.
With his heroic physique, Jean Marais (1913-1998) was France’s answer to Errol Flynn, the epitome of the swashbuckling romantic hero of French cinema. The blonde and incredibly good-looking actor played over 100 roles in film and on television and was also known as a director, writer, painter, and sculptor. His mentor was the legendary poet and director Jean Cocteau, who was also his lover.
And, please check out our blog European Film Star Postcards.
In an issue of the Architectural Review, this for May 1948, a review of two stations in Amsterdam, The Netherlands, that had actually opened nearly a decade earlier in October 1939 and that shows, I suspect, the "pause" in the ability to be able to wholly review such works caused by the impact of World War Two. It is fascinating, from a British perspective, to look particularly at the railway architecture of the north European countries in the pre-WW2 period. Working as I did for London Underground, the impact of both style and materiality of such architecture on the works of Charles Holden, especially from the early 1930s onwards, is a reminder of the interplay across the North Sea. The two stations seen here are therefore interesting in their own right as well as comparators with some of the proposed late Underground stations of the New Works Programme, 1935 - 40, that were never built as well as some of the proposed say, Great Western Railway or London Midland & Scottish stations that again were not constructed. This was due to post-war austerity, the impact of nationalisation in 1948 and, possibly, the changes in architecture that were already underway in post-war years.
Anyhow, the article covers Amstel and Muiderpoort stations, designed by H G J Schelling, and that opened as part of the Amesterdam east side railway scheme. Both share a similarity in terms of a lofty station hall, and both use an interesting palette of materials with reinforced concrete and brick tempered with some high class stone and ceramics. The article notes the use of welded steel frame construction that was starting to see more widespread use as against traditional rivetted or bolted construction.