Ria Jende
German postcard by Ross Verlag, Berlin, no. 264/3, 1919-1924. Photo: Alex Binder.
German-Belgian actress Ria Jende (1898-?) was a star and producer of the silent German cinema. She appeared in 40 films, before she married and retired.
Ria Jende's life is largely hidden in the dark. We know that she was born in Brussels, Belgium, in 1898. As a young girl, she went from Belgium to Germany. Before the First World War, Edison brought her before the camera in Das Stelldichein der Verehrer (Manfred Noa, 1912) and another film pioneer Oskar Messter followed with Problematische Naturen (Hans Oberländer, 1912) with Erich Kaiser-Titz. After her film debut, she worked in the theatre. For a while she was a magician’s assistant. In 1917, Jende accepted another film offer by Messter-film and co-starred with Vigo Larsen in his Der graue Herr (Viggo Larsen, 1917). Then she co-starred with Bruno Kästner and Mia May in Ein Lichtstrahl im Dunkel (Joe May, 1917). For the next five years she appeared in several melodramas and crime & detective films. These included Die Liebe des van Royk (Lupu Pick, 1917) with Bernd Aldor, Der Ring der drei Wünsche (Arthur Wellin, 1918) with Alexander Moissi, Der Teufel/The Devil (Ewald André Dupont, 1918), the German Phantomas film Die erwachende Venus (Adolf Gärtner, 1918) with Rolf Loer, Die Bodega von Los Cuerros (Erik Lund, 1919) with Bruno Kastner, Das Herz des Casanova (Erik Lund, 1919) again with Kastner, Der Tänzer (Carl Froehlich, 1919) with Walter Janssen, Seelenverkäufer/Seller of Souls (Carl Boese, 1919) with Magnus Stifter, and the mystery Die Japanerin/The Japanese Woman (Ewald André Dupont, (1919) with Bernhard Goetzke and Max Landa.
During the production of Nixchen (Paul Legband, 1919), starring Georg Alexander, Ria Jende met author and scriptwriter Franz W. Koebner who eventually became her husband. In 1919 Jende started her own film company, Ria Jende Film. She produced Madeleine (Siegfried Philippi 1921) with Hermann Valentin, and Versunkene Welten (Siegfried Philippi, 1922) with Victor Varconi, but her company was short-lived. As an actress she appeared in films like Die Schlange mit dem Mädchenkopf (Rudolf Walther-Fein, 1920) opposite Hans Albers, Der Held des Tages (Rudi Bach, 1921) and Das Geheimnis der Santa Margherita (Rolf Randolf, 1921). In 1922, Ria Jende married and thus ended her film career. Her final film was Das blinde Glück (Iva Raffay, 1922). After that she once returned to the cinema, for a part in Die Abenteuer des Kapitän Hasswell (Rolf Randolf, 1925) with Ernst Pittschau. In 1926 Ria Jende published a travelogue of Malta in the Berlin magazine Das Magazin. Her husband also wrote for the same issue. Further data of her life are not known.
Sources: Thomas Staedeli (Cyranos), Filmportal.de, Wikipedia (German), and IMDb.
Ria Jende
German postcard by Ross Verlag, Berlin, no. 264/3, 1919-1924. Photo: Alex Binder.
German-Belgian actress Ria Jende (1898-?) was a star and producer of the silent German cinema. She appeared in 40 films, before she married and retired.
Ria Jende's life is largely hidden in the dark. We know that she was born in Brussels, Belgium, in 1898. As a young girl, she went from Belgium to Germany. Before the First World War, Edison brought her before the camera in Das Stelldichein der Verehrer (Manfred Noa, 1912) and another film pioneer Oskar Messter followed with Problematische Naturen (Hans Oberländer, 1912) with Erich Kaiser-Titz. After her film debut, she worked in the theatre. For a while she was a magician’s assistant. In 1917, Jende accepted another film offer by Messter-film and co-starred with Vigo Larsen in his Der graue Herr (Viggo Larsen, 1917). Then she co-starred with Bruno Kästner and Mia May in Ein Lichtstrahl im Dunkel (Joe May, 1917). For the next five years she appeared in several melodramas and crime & detective films. These included Die Liebe des van Royk (Lupu Pick, 1917) with Bernd Aldor, Der Ring der drei Wünsche (Arthur Wellin, 1918) with Alexander Moissi, Der Teufel/The Devil (Ewald André Dupont, 1918), the German Phantomas film Die erwachende Venus (Adolf Gärtner, 1918) with Rolf Loer, Die Bodega von Los Cuerros (Erik Lund, 1919) with Bruno Kastner, Das Herz des Casanova (Erik Lund, 1919) again with Kastner, Der Tänzer (Carl Froehlich, 1919) with Walter Janssen, Seelenverkäufer/Seller of Souls (Carl Boese, 1919) with Magnus Stifter, and the mystery Die Japanerin/The Japanese Woman (Ewald André Dupont, (1919) with Bernhard Goetzke and Max Landa.
During the production of Nixchen (Paul Legband, 1919), starring Georg Alexander, Ria Jende met author and scriptwriter Franz W. Koebner who eventually became her husband. In 1919 Jende started her own film company, Ria Jende Film. She produced Madeleine (Siegfried Philippi 1921) with Hermann Valentin, and Versunkene Welten (Siegfried Philippi, 1922) with Victor Varconi, but her company was short-lived. As an actress she appeared in films like Die Schlange mit dem Mädchenkopf (Rudolf Walther-Fein, 1920) opposite Hans Albers, Der Held des Tages (Rudi Bach, 1921) and Das Geheimnis der Santa Margherita (Rolf Randolf, 1921). In 1922, Ria Jende married and thus ended her film career. Her final film was Das blinde Glück (Iva Raffay, 1922). After that she once returned to the cinema, for a part in Die Abenteuer des Kapitän Hasswell (Rolf Randolf, 1925) with Ernst Pittschau. In 1926 Ria Jende published a travelogue of Malta in the Berlin magazine Das Magazin. Her husband also wrote for the same issue. Further data of her life are not known.
Sources: Thomas Staedeli (Cyranos), Filmportal.de, Wikipedia (German), and IMDb.