#briefkarte

[monkeyssalad-blog]

Jarmila Novotna by Truus, Bob & Jan too! Via Flickr: German postcard by Ross Verlag, no. 6837/1, 1931-1932. Photo: Walter Firner, Berlin. Czech soprano Jarmila Novotná (1907-1994) was one of the world-renowned opera luminaries of the 20th Century. Her film appearances were unfortunately few and far between. Jarmila Novotná was born in in Prague, Czech Republic in 1907. She studied singing with Emmy Destinn. In 1925, the 17-years-old Novotná made her operatic debut at the Prague Opera House as Marenka in Bedřich Smetana's Prodaná nevěsta (The Bartered Bride). Six days later, the lyric soprano sang there as Violetta in Giuseppe Verdi's La traviata. The following year, she made her film debut in the silent film Vyznavaci slunce/The Sun Disciples (Václav Binovec, 1926), starring Luigi Serventi. In 1928 she starred in Verona as Gilda opposite Giacomo Lauri-Volpi in Verdi's Rigoletto and at the Teatro San Carlo in Naples as Adina opposite Tito Schipa in Gaetano Donizetti's L'elisir d'amore. In 1929 she joined the Kroll Opera in Berlin, where she sang Violetta as well as the title roles of Giacomo Puccini's Manon Lescaut and Madama Butterfly. When talking pictures arrived, she headlined in German films like Brand in Der Oper/Fire in the Opera House (Carl Froelich, 1930), with Gustaf Gründgens, Der Bettelstudent/The Beggar Student (Victor Janson, 1931), and the film version of The Bartered Bride, Die Verkaufte Braut (Max Ophüls, 1932). Hal Erickson at AllMovie on Die Verkaufte Braut (1930): “The original libretto, involving the comic misadventures of two mismatched couples, is given a respectable amount of attention, but the film's biggest selling card is the photographic dexterity of Max Ophuls, who never met a camera crane he didn't like. Since filmed opera was seldom big box-office in 1932, Ophuls concentrates on the farcical elements of the story; especially worth noting are comic contributions by Paul Kemp and Otto Wernicke, who seldom let their German film fans down. Curiously, star Jarmila Novotna, whose ‘live’ appearances in The Bartered Bride were much prized by contemporary critics, doesn't come off all that well in this film version.” Other films followed such as Nacht Der Grossen Liebe/Night of the Great Love (Geza von Bolvary, 1933) with Gustav Fröhlich. In January 1933 she created the female lead in Jaromir Weinberger's new operetta Frühlingsstürme (Spring Storms), opposite Richard Tauber at the Theater im Admiralspalast, Berlin. This was the last new operetta produced in the Weimar Republic, and she and Tauber were both soon forced to leave Germany by the new Nazi regime. Jarmila Novotnà returned to Czechoslovakia to star in the film Skrivanci pisen/Lark's Songs (Svatopluk Innemann, 1933). In 1934, she left for Vienna, where she created the title role in Franz Lehár's operetta Giuditta opposite Richard Tauber. Her immense success in that role led to a contract with the Vienna State Opera, where she was named Kammersängerin. She also appeared there with Tauber in The Bartered Bride and Madama Butterfly. In the cinema, she starred in the Austrian operetta film Frasquita (Karel Lamac, 1934) with Heinz Ruhmann, the Austrian romantic thriller Der Kosak und die Nachtigall/The Cossack and the Nightingale (Phil Jutzi, 1935) with Iván Petrovich, and in the French-British operetta film La dernière valse/The Last Waltz (Leo Mittler, 1935), which was made in two language versions. She then left the film industry to concentrate on her stage work with the Viennese State Opera. After the Anschluss of Austria, she had to leave Vienna. In January 1940 she made her debut with the Metropolitan Opera in New York, as Mimí in Puccini's La bohème. From 1940 to 1956, Novotná performed regularly at the Met. In 1946 she returned before the cameras in a straight dramatic role in the Hollywood production The Search (Fred Zinnemann, 1946), starring Montgomery Clift. The Search is a semi-documentary film on the plight of WWII orphans. Novotná played a Czech mother who has lost contact with her young son when they were in Auschwitz and she now travels from one refugee camp to another in search of him. Novotna's then played turn of the century diva Maria Selka in the biopic The Great Caruso (Richard Thorpe, 1951), featuring Mario Lanza. The film traces legendary tenor Enrico Caruso's ascension from adolescent choir singer in Naples to the uppermost ranks of the opera world. Mario Lanza's tenor voice made this film one of the top box-office draws of 1951, and this helped to popularize opera among the general public. On TV she appeared in The Great Waltz (Max Liebman, 1955), which charts the life and times of composer Johann Strauss, Jr. She also played Hans’ mother in the TV musical Hans Brinker, or the Silver Skates (Sidney Lumet, 1958), starring Tab Hunter. Her last screen appearance was as an interviewee in the documentary Toscanini: The Maestro (Peter Rosen, 1985). At 85, Jarmila Novotná passed away in 1994 in New York. Sources: Hal Erickson (AllMovie), Wikipedia, and IMDb.

[kaleyl]

[midcenturyblog]

...And the Art of Sunbathing by Truus, Bob & Jan too!

East-German postcard by Verlag Carl Werner Reichenbach, Vogtl, no. 1207. Photo: dr. Paul Wolff. Caption: The sunbath.

[alanzoide]

Happy holidays! por Truus, Bob & Jan too! Por Flickr: Russian postcard. Gelukkig kerstfeest! Frohe Weihnachten! ¡Feliz Navidad! Joyeux Noël! Buon Natale! Sretan Božić! Καλά Χριστούγεννα! Boldog karácsonyt! Gleðileg jól! Nollaig Shona! Priecīgus Ziemassvētkus! Linksmų Kalėdų! Среќен Божиќ God jul! Wesołych Świąt! Feliz Natal! Crăciun fericit! С Рождеством Срећан Божић veselé Vianoce! Vesel božič! God Jul! Nadolig Llawen! Gëzuar Krishtlindjet! Eguberri! Merry Christmas!

[fuad-ramses-73]

Lilliane, L'Europeen da Truus, Bob & Jan too! Tramite Flickr: French postcard by W, 17e Série. Photo: Walery, Paris. Caption: Lilliane, L'Europeen. Yes, the vintage pin-up cards have returned. We post them daily till the end of the Summer. And, join now our group Vintage Bikini Postcards. And take a look at our albums Sizzling Swimwear Postcards, Va-Va-Va-Voom Vintage Pin-ups, Beefcake, Beautiful Bikini Beach Babes and It's a Bikini World .

[letterpressberlin]

#blumengrüsse #buchdruck #letterpress #zweifarbig #augenschmaus #berlin #letterpressberlin #weihnachtsbaum #feinpapier #braun #briefkarte (hier: Martin Z. Schröder, Drucker) https://www.instagram.com/p/BrpU-i-F4hO/?utm_source=ig_tumblr_share&igshid=10b9gdarhydoj

[artdecoblog]

<strong>Liane Haid and Gustav Fröhlich <a href="https://www.flickr.com/photos/truusbobjantoo/">by Truus, Bob & Jan too!</a></strong> <br /><i>Via Flickr:</i> <br />Dutch postcard. City Film, No. 382. Publicity still for <i>Ich will nicht wissen, wer du bist/I Don't Want To Know Who You Are</i> (1932, Géza von Bolváry).

Prima ballerina, dancer, singer and actress Liane Haid (1895-2000) was the first film star of Austria. She was the epitome of the Süßes Wiener Mädel (Sweet Viennese Girl) and from the mid-1910s on she made close to a hundred films.

Smart German actor Gustav Fröhlich (1902 - 1987) played Freder Fredersen in the classic Metropolis (1927) and became a popular star in light comedies. After the war he tried to escape from the standard roles of a charming gentleman with the part of a doomed painter in Die Sünderin (1951), but the effort went down in a scandal.

[vitaliyshendrik-blog]

Красивые фото со всего мира

Красивые фото со всего мира

Italian postcard by SAG, Trieste, Serie 27/1. Sent by mail in 1975.

Italian starlet Scilla Gabel (1938) often played the damsel in distress in peplums, the Italian sand and sandal epics of the late 1950’s and 1960’s. With her perfect body and face, she was a look-a-like for Sophia Loren. Between 1954 and 1982, the blue-eyed redhead appeared in 50 European and Hollywood films.

Scilla Gabel was…

[monkeyssalad-blog]

Polaire by Truus, Bob & Jan too! Via Flickr: French postcard, no. 8307. Photo: H. Manuel. Publicity still for the stage play Claudine à Paris (1902) at the Théâtre des Bouffes Parisiens. Collection: Didier Hanson. French singer and actress Polaire (1874-1939) had a career in the entertainment industry which stretched from the early 1890s to the mid-1930s, and encompassed the range from music-hall singer to stage and film actress. Her most successful period professionally was from the mid-1890s to the beginning of the First World War. Polaire was a French singer and actress, born Émilie Marie Bouchaud on May 14, 1874 in Agha (Algeria). According to her memoirs she was one of eleven children of whom only four survived – and eventually only two, Émilie and her brother Edmond. When her father died of typhoid her mother temporarily placed the children under the care of Polaire’s grandmother in Algiers. In 1891, at age 17 she came to Paris to join her brother Edmond who performed there in the café-concerts under the name of Dufleuve. She had already sung in cafes in Algiers and continued on this path, eventually becoming a popular music-hall singer and dancer, performing e.g. the French version of Ta-ra-ra Boom-de-ay: Tha ma ra boum di hé - her greatest success, already from the start. She became a big name and was e.g. portrayed by Henri de Toulouse-Lautrec in the magazine Le Rire in 1895. Not only her singing and dancing qualities were remarkable, Polaire also distinguished herself by her particular physique, having an exceptional wasp waist, at a time when women tortured themselves with tight corsets to refine their waist. After a first failed attempt to conquer New York as singer, Polaire returned to Paris where she expanded her range with prose theatre as well. She managed to get the role of Claudine in Colette’s play Claudine à Paris, performed at the Bouffes-Parisiens in 1902 and again performed in the US in 1910. This time she was a big hit in the US and came back loaded with money. Her obtaining of the part of Claudine was not so easy, Polaire writes in her memoirs, as Willy at the time reclaimed the rights of Colette’s novels, and didn’t consider this music-hall singer as fit for this serious part. But a dashing and headstrong Polaire managed to convince Willy in person that she was Claudine, so she got the part. Claudine à Paris was performed some 120 times in France, with great success. Colette herself was very satisfied about the result. Willy even managed to exploit the success by a whole line of merchandising. Afterwards Polaire would consider him her substitute father. From 1909, Polaire appeared in several film roles. After two films at Pathé frères, Moines et guerriers (Nuns and warriors, Julien Clément) and La tournée des grand-ducs (The Grandduke’s Tour, Léonce Perret 1910) – in the latter she aptly played a dancer - she went to Germany to play a Cuban lady in Zouza (Reinhard Bruck, 1911), in which future film director Richard Oswald was one of her co-stars. Back in France she acted again at Pathé in Le visiteur (The Visitor, Albert Capellani, René Leprince, 1911), but she mostly was active at the Éclair film company between 1911 and 1914, starting with Le poison de l’humanité (The Poison of Humanity, Émile Chautard, Victorin Jasset, 1911). From 1912 to 1914 she did a series of six films with then young and upcoming film director Maurice Tourneur, working for Éclair: Les gaîtés de l'escadron (The Funny Regiment, 1913), based on the novel by Georges Courteline; Le dernier pardon (1913), a comedy written by Gyp; La dame de Monsoreau (1913), after Dumas père; Le Friquet (1914), after Gyp and with Polaire in the title role; Soeurette (The Sparrow, 1914); and the mystery film Monsieur Lecoq (1914), after Émile Gaboriau. Her copartners in these films were often Maurice de Féraudy, Charles Krauss, Henry Roussel and Renée Sylvaire. Le Friquet was restored by the Cinémathèque française in the mid-1990s and shown in international festivals It deals with a poor trapeze worker who loses her lover to a rich, immoral lady and then commits suicide during her trapeze act. It was based on a play Polaire had performed herself in 1904. NB IMDB mixes up things by not making a distinction between Polaire and Pauline Polaire. In the 1920s a younger actress named Giulietta Gozzi (1904-1986), niece of the Italian diva Hesperia (Olga Mambelli), performed under the name of Pauline Polaire in several Italian silent films with the forzuti such as Maciste and Saetta. Polaire became a wealthy lady with a house on the Champs-Elysées and a country house in the Var, Villa Claudine. Well into the 1920s she continued to gamble away huge fortunes. After World War I, Polaire dedicated herself primarily to the stage. During her career, she recorderd many of her songs as Tha ma ra boum di hé (her greatest success, already from the start), La Glu (based on a poem by Jean Richepin), Tchique tchique by Vincent Scotto, the telephone song Allo ! Chéri!, song with her partner Marjal, and she recited Charlotte prays to Our Lady by Jehan Rictus. Polaire died October 11, 1939 at age 65 in Champigny-sur-Marne (Val-de-Marne). "Mademoiselle Polaire" is cited by the Guinness Book of Records as co-holder (with the British Ethel Granger) of the thinnest waist of 33 cm. She herself says in her memoirs to have repeatedly circled her waist by a fake collar of the "normal size” of 41 or 42 cm. Polaire posed for various painters such as Antonio de La Gandara, Henri de Toulouse-Lautrec, Leonetto Cappiello, Rupert Carabin and John / Juan Sala. The latter became in 1893 the portraitist of Parisian society. His life-sized portrait of Polaire (1910) was auctioned at Drouot's in Paris on 28 June 2016. Sources: English, French and Dutch Wikipedia, IMDB, deesk.pagesperso-orange.fr/polaire-1900/c_polaire_biograp..., www.dutempsdescerisesauxfeuillesmortes.net/fiches_bio/pol....

[kaleyl]

printable vintage collage frame, floral, B6, ATC, greeting cards, trading cards, nostalgic, victorian, postcard, journal, scrapbook,ephemera

[midcenturyblog]

Irresistible by Truus, Bob & Jan too!

British postcard by Camden Graphics Limited, London, no. PC363. Illustration: Rolf Armstrong / Brown and Bigelow. Model: Jewel Flowers. Caption: Irresistible.

[hajinjeong]

Briefkarte 2_we were lucky Pen mit Gouache (2017)

[fuad-ramses-73]

Cat on a Hot Tin Roof da Truus, Bob & Jan too! Tramite Flickr: Italian postcard by Fotocelere, Torino, Serie 50. Caption: Gattina al sole (Cat in the sun.). Join now our group Vintage Bikini Postcards. And take a look at our albums Sizzling Swimwear Postcards, Va-Va-Va-Voom Vintage Pin-ups, Beefcake, Beautiful Bikini Beach Babes and It's a Bikini World .

[letterpressberlin]

#sonne #saunderswaterford #letterpress #berlin #letterpressberlin #briefkarte #stationery #letterpressstationery #letterpressworkers #letterpressgreetingcards #letterpressprinter (hier: Martin Z. Schröder, Drucker) https://www.instagram.com/p/BzKl2ENCla7/?igshid=pt4eakflabjg

[artdecoblog]

<strong>Liane Haid <a href="https://www.flickr.com/photos/truusbobjantoo/">by Truus, Bob & Jan too!</a></strong> <br /><i>Via Flickr:</i> <br />Dutch postcard. Photo Paramount, No. 114.

Prima ballerina, dancer, singer and actress Liane Haid (1895-2000) was the first film star of Austria. She was the epitome of the Süßes Wiener Mädel (Sweet Viennese Girl) and from the mid-1910s on she made close to a hundred films.

[52ciab-blog]

Gloria Grahame in The Big Heat (1953)

German postcard by Ufa/Film-Foto, Berlin-Tempelhof, no. FK 897. Photo: Columbia Film. Gloria Grahame in The Big Heat (Fritz Lang, 1953).

American stage, film, television actress and singer Gloria Grahame (1923-1981) was often cast in Film Noirs as a tarnished beauty with an irresistible sexual allure. She received an Oscar for Best Supporting Actress nomination for Crossfire (1947), and would later win the award for The Bad and the Beautiful (1952). Her best known films are Sudden Fear (1952), Human Desire (1953), The Big Heat (1953), and Oklahoma! (1955), but her film career began to wane soon afterwards.

Gloria Grahame Hallward was born in in Los Angeles, California in 1921 Her father, Reginald Michael Bloxam Hallward, was an architect and author; her mother, Jeanne McDougall, who used the stage name Jean Grahame, was a British stage actress and acting teacher. Her older sister, Joy Hallward became an actress who married John Mitchum, the younger brother of Robert Mitchum. During Gloria’s childhood and adolescence, her mother taught her acting. Grahame attended Hollywood High School before dropping out to pursue acting. She was signed to a contract with MGM Studios under her professional name after Louis B. Mayer saw her performing on Broadway. Grahame made her film debut as a tart-with-a-heart in the sex comedy Blonde Fever (Richard Whorf, 1944) with Philip Dorne, and then scored one of her most widely praised roles as the flirtatious Violet Bick, saved from disgrace by James Stewart in It’s a Wonderful Life (Frank Capra, 1946). MGM was not able to develop her potential as a star and her contract was sold to RKO Studios in 1947. She was nominated for the Academy Award for Best Supporting Actress in Crossfire (Edward Dmytryk, 1947), a Film Noir which deals with the theme of anti-Semitism. During this time, she made films for several Hollywood studios. For Columbia Pictures, Grahame starred with Humphrey Bogart in the Film Noir In a Lonely Place (Nicholas Ray, 1950), a performance for which she again gained praise.

In 1952, 29-year-old Gloria Grahame starred in four major Hollywood-prodctions, including a part in the Film Noir Sudden Fear (David Miller, 1952), starring Joan Crawford, and a reunion with James Stewart in Cecil B. DeMille’s The Greatest Show on Earth, which won the Best Picture Oscar in 1953. Grahame was on the verge of superstardom, when she herself won the Supporting Actress Oscar for her performance in The Bad and the Beautiful (Vincente Minnelli, 1952), starring Lana Turner and Kirk Douglas. Sadly, following her Oscar victory, the beauty Grahame embodied so artfully on screen never reflected the personal turmoil festering under the surface. Her two marriages had ended in a divorce: one from allegedly abusive actor Stanley Clements (1945-1948), the other from Rebel Without a Cause director Nicholas Ray (1948-1952), with whom she had a son, Timothy. In the following years, her image hardened as the mysterious bad girl of Film Noir in The Big Heat (Fritz Lang, 1953) and Human Desire (Fritz Lang, 1954). In a classic, horrifying off-screen scene in The Big Heat, her character, mob moll Debby Marsh is scarred by hot coffee thrown in her face by Lee Marvin’s character. In 1954, she acted and sang in the adaptation of Richard Rodgers and Oscar Hammerstein’s musical Oklahoma! (Fred Zinnemann, 1955) as the ‘girl who can’t say no,’ Ado Annie. That same year she married writer-producer Cy Howard. After Oklahoma!, Grahame scaled back her work. There were rumours that she had been difficult to work with on the set of Oklahoma!. Two years later, she divorced Howard. In 1960, she married former stepson Tony Ray, son of Nicholas Ray. This led Nicholas Ray and Cy Howard to each sue for custody of each’s child by Grahame, putting gossip columnists and scandal sheets into overdrive. Rumours circulated that Grahame had initially seduced Tony when he was just 13. Along with her tarnished professional reputation, this gossip made her a Hollywood outcast.

In the 1960s, Gloria Grahame dedicated herself to raising her growing family after having two sons with Tony. The stress of the scandal, her waning career and her custody battle with Howard took its toll on Grahame and she had a nervous breakdown. She later underwent electroshock therapy in 1964. After that, she began a slow return to the theatre. She popped up as an occasional guest on TV series, and when she found her way back to the big screen, it was in exploitation films like Blood and Lace (Philip S. Gilbert, 1971) and Mama’s Dirty Girls (John Hayes, 1974). In March 1974, Grahame was diagnosed with breast cancer. She underwent radiation treatment, changed her diet, stopped smoking and drinking alcohol, and also sought homeopathic remedies. In less than a year the cancer went into remission. Grahame never reclaimed her former glory, but the Oscar itself stood proudly on her mantel, an enduring reminder of her accomplishments. In 1978, she met aspiring actor Peter Turner, while she was in Britain working on a stage production of W. Somerset Maugham’s Rain. Although Turner was nearly three decades her junior, they had a whirlwind romance. She co-starred in the British heist film A Nightingale Sang in Berkeley Square (Ralph Thomas, 1979) starring Richard Jordan, Oliver Tobias, and David Niven. In 1980 followed her last major film, Melvin and Howard, (Jonathan Demme, 1980), in which she played Mary Steenburgen’s mother. The cancer returned in 1980 but Grahame refused to acknowledge her diagnosis or seek radiation treatment. Despite her failing health, Grahame continued working in stage productions in the United States and the United Kingdom. At age 57, Gloria Grahame died in 1981 in a New York hospital from cancer-related complications. Peter Turner wrote about their love story in his memoir, Film Stars Don’t Die in Liverpool, which director Paul McGuigan adapted into a 2017 film starring Annette Bening and Jamie Bell.

Sources: Joey Nolfi (Entertainment Weekly), Wikipedia and IMDb.

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

Posted by Truus, Bob & Jan too! on 2019-11-25 04:15:52

Tagged: , Gloria Grahame , Gloria , Grahame , Hollywood , Movie Star , American , Actress , Vamp , Femme Fatale , Film Noir , Film , Cinema , Kino , Cine , Movie , Movies , Picture , Screen , Filmster , Star , Fifties , Vintage , Postcard , Carte , Postale , Cartolina , Postkarte , Tarjet , Postal , Postkaart , Briefkarte , Briefkaart , Ansichtskarte , Ansichtkaart , Ufa/Film-Foto , Columbia , The Big Heat , 1953

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