Hedda Vernon
German postcard by Ross Verlag, no. 360/2, 1919-1924. Photo: Becker & Maass Phot.
German actress, writer and producer Hedda Vernon (1866-?) appeared in more than 60 films of the early silent period. During the 1910’s she was such a popular film star that she got her own Hedda-Vernon serial.
Hedda Vernon (sometimes credited as Hedda Vernon-Moest) was born in 1866. In 1912 she made her first film appearances in short silent films for the Deutsche Bioscop Gmbh. in Berlin. That year she appeared in films like Die Rote Jule (1912, Emil Albes), Der Kampf um das Erbe (1912, Max Obal), and Die Papierspur (1912, Emil Albes). In the following years she appeared in Vitascope productions directed by Harry Piel, like Menschen und Masken 1 & 2 (1913), Die Millionenmine (1914) and Die braune Bestie (1914). But she worked most of the times with actor-director Hubert Moest on a series of Eiko-productions, including Zofenstreichen (1915), Maria Niemand und Ihre Zwölf Väter (1915) with Theodor Loos, Das Bild der Ahnfrau (1916) with Rudolf Forster and Harry Liedtke, Noemi die blonde Judin (1917), Der Peitschenhieb (1918), and Taumel (1919) with Alfred Abel and Paul Hartmann. In Zofia (1915, Hubert Moest) she impersonated a fifteen year old girl although she already was 29 years old at this time. Such ‘child parts’ were normal at that time and many actresses played such roles.
Hedda Vernon became so popular that she got her own serial which was financed by her production company Vernon-Produktion. She produced herself in Selbstgerichtet oder Die gelbe Fratze (1914, Hubert Moest) and Hedda Vernon’s Bühnensketch (1916, Hubert Moest). She also worked with director Richard Oswald on Der Eiserne Kreuz/The Iron Cross (1914) with Hanni Weisse, Der Tod des andern (1919) with Alwin Neuss, and Manolescus Memoiren (1920) starring Conrad Veidt. During the 1920's the interest in Hedda Vernon flagged. New stars became more in demand. To her few films in the 1920's belong Der Verächter des Todes (1920, Harry Piel), the Harry Piel series Der Reiter ohne Kopf (1921, Harry Piel) and Die Sonne von St. Moritz (1923, Friedrich Weissenberg; Hubert Moest). Her last film was Zwischen zwei Frauen (1925, Hubert Moest) opposite Reinhold Schünzel. More information about her life and the date of her death were not to be found on the internet.
Sources: Thomas Staedeli (Cyranos), Filmportal.de, Wikipedia and IMDb.
Hedda Vernon
German postcard by Ross Verlag, no. 360/2, 1919-1924. Photo: Becker & Maass Phot.
German actress, writer and producer Hedda Vernon (1866-?) appeared in more than 60 films of the early silent period. During the 1910’s she was such a popular film star that she got her own Hedda-Vernon serial.
Hedda Vernon (sometimes credited as Hedda Vernon-Moest) was born in 1866. In 1912 she made her first film appearances in short silent films for the Deutsche Bioscop Gmbh. in Berlin. That year she appeared in films like Die Rote Jule (1912, Emil Albes), Der Kampf um das Erbe (1912, Max Obal), and Die Papierspur (1912, Emil Albes). In the following years she appeared in Vitascope productions directed by Harry Piel, like Menschen und Masken 1 & 2 (1913), Die Millionenmine (1914) and Die braune Bestie (1914). But she worked most of the times with actor-director Hubert Moest on a series of Eiko-productions, including Zofenstreichen (1915), Maria Niemand und Ihre Zwölf Väter (1915) with Theodor Loos, Das Bild der Ahnfrau (1916) with Rudolf Forster and Harry Liedtke, Noemi die blonde Judin (1917), Der Peitschenhieb (1918), and Taumel (1919) with Alfred Abel and Paul Hartmann. In Zofia (1915, Hubert Moest) she impersonated a fifteen year old girl although she already was 29 years old at this time. Such ‘child parts’ were normal at that time and many actresses played such roles.
Hedda Vernon became so popular that she got her own serial which was financed by her production company Vernon-Produktion. She produced herself in Selbstgerichtet oder Die gelbe Fratze (1914, Hubert Moest) and Hedda Vernon’s Bühnensketch (1916, Hubert Moest). She also worked with director Richard Oswald on Der Eiserne Kreuz/The Iron Cross (1914) with Hanni Weisse, Der Tod des andern (1919) with Alwin Neuss, and Manolescus Memoiren (1920) starring Conrad Veidt. During the 1920's the interest in Hedda Vernon flagged. New stars became more in demand. To her few films in the 1920's belong Der Verächter des Todes (1920, Harry Piel), the Harry Piel series Der Reiter ohne Kopf (1921, Harry Piel) and Die Sonne von St. Moritz (1923, Friedrich Weissenberg; Hubert Moest). Her last film was Zwischen zwei Frauen (1925, Hubert Moest) opposite Reinhold Schünzel. More information about her life and the date of her death were not to be found on the internet.
Sources: Thomas Staedeli (Cyranos), Filmportal.de, Wikipedia and IMDb.