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Charlie Chaplin in The Gold Rush (1925) by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Charlie Chaplin in The Gold Rush (1925)

Austrian postcard by Iris Verlag, no. 440. Photo: Sascha. Charlie Chaplin in The Gold Rush (Charles Chaplin, 1925).

English comedian Charles ‘Charlie’ Chaplin (1889-1977) was one of the most creative and influential personalities of the silent-film era. His most famous role was that of The Tramp with his toothbrush moustache, undersized bowler hat and bamboo cane who struggled to survive while keeping his dignity in a world with great social injustice. Chaplin used mime, slapstick and other visual comedy routines, and he not only starred in his films, but also directed, wrote and produced them, and composed the music as well. His working life in entertainment spanned over 75 years, from the Victorian stage and the Music Hall in the United Kingdom as a child performer, until close to his death at the age of 88. Author George Bernard Shaw called Chaplin "the only genius to come out of the movie industry".

Charles Spencer Chaplin was born in 1889, in London, England. His parents were both entertainers in the music hall tradition; his father, Charles Spencer Chaplin Sr., was a vocalist and an actor and his mother, Hannah Chaplin, a singer and an actress with the stage name Lilly Harley. They separated before Charlie was three. He lived with his mother and his older half-brother Sydney. Chaplin's father was an alcoholic and had little contact with his son, though Chaplin and Sydney briefly lived with their father and his mistress, while their mentally ill mother lived at an asylum. Hannah's first crisis came in 1894 when she performed at The Canteen, a theatre in Aldershot. Rioters and soldiers mainly frequented the theatre. Hannah was injured by the objects the audience threw at her and was booed off the stage. Backstage, she cried and argued with her manager. Meanwhile, the five-year-old Chaplin went on stage alone and sang a well-known tune at that time, 'Jack Jones'. The young Chaplin brothers forged a close relationship in order to survive. They gravitated to the Music Hall while still very young, and both of them proved to have considerable natural stage talent. At eight Charlie toured in a musical, The Eight Lancaster Lads. Nearly 11, he appeared in Giddy Ostende at London's Hippodrome. Chaplin's early years of desperate poverty were a great influence on his characters. Themes in his films in later years would re-visit the scenes of his childhood deprivation in Lambeth. His father died of cirrhosis of the liver when Charlie was twelve in 1901. Chaplin's mother died in 1928 in Hollywood, seven years after having been brought to the US by her sons. Unknown to Charlie and Sydney until years later, they had a half-brother through their mother. The boy, Wheeler Dryden, was raised abroad by his father but later connected with the rest of the family and went to work for Chaplin at his Hollywood studio.

From age 17 to 24 Charlie Chaplin was with Fred Karno's English vaudeville troupe. He first toured the United States with the Fred Karno troupe from 1910 to 1912. After five months back in England, he returned to the US for a second tour. In the Karno Company were also his brother Sydney and Arthur Stanley Jefferson, who later became known as Stan Laurel. In late 1913, Chaplin's act with the Karno Troupe was seen by Mack Sennett, Mabel Normand, Minta Durfee, and Fatty Arbuckle. Sennett hired him for his studio, the Keystone Film Company as a replacement for Ford Sterling. Chaplin had considerable initial difficulty adjusting to the demands of film acting and his performance suffered for it. After Chaplin's first film appearance, Making a Living (Henry Lehrman, 1914) was filmed, Sennett felt he had made a costly mistake. Mabel Normand persuaded him to give Chaplin another chance, and she directed and wrote a handful of his earliest films. He first played The Tramp in the Keystone comedy Kid Auto Races at Venice (Henry Lehrman, 1914). This picture saw him wearing baggy pants borrowed from 'Roscoe 'Fatty' Arbuckle', size 14 shoes belonging to Ford Sterling (and worn upside down to keep them from falling off), a tiny jacket from Keystone Kop Charles Avery, a bowler hat belonging to Arbuckle's father-in-law and some crepe paper belonging to Mack Swain (which became the tramp's moustache). The only item that actually belonged to Charlie was the whangee cane. Two films Chaplin made in 1915, The Tramp and The Bank created the characteristics of his screen persona. Chaplin was influenced by his predecessor, the French silent film comedian Max Linder, to whom he dedicated one of his films. Quickly the little tramp became the most popular Keystone star. From the April 1914 one-reeler Twenty Minutes of Love (Charles Chaplin, Joseph Maddern, 1914) onwards he was writing and directing most of his films, by 1916 he was also producing, and from 1918 composing the music. He made 35 films in 1914, moved to Essanay in 1915, and did 14 more, then jumped over to Mutual for 12 two-reelers in 1916 and 1917. In 1918 he joined First National (later absorbed by Warner Bros.) and in 1919 formed United Artists along with Douglas Fairbanks, Mary Pickford, and D.W. Griffith. His first full-length film was The Kid (1921) with Jackie Coogan; his first for UA, which he produced and directed himself, was A Woman of Paris: A Drama of Fate (1923) starring Edna Purviance. Chaplin continued to play the Tramp through dozens of short films and, later, feature-length productions. In only a handful of films, he played characters other than the little tramp. The Tramp was closely identified with the silent era, and was considered an international character; when the sound era began in the late 1920s, Chaplin refused to make a talkie featuring the character. City Lights (1931) featured no dialogue. Chaplin officially retired the character in Modern Times (1936), which appropriately ended with the Tramp and his girl (played by Chaplin’s third wife, Paulette Godard) walking down an endless highway toward the horizon. The film was only a partial talkie and is often called the last silent film. The Tramp remains silent until near the end of the film when, for the first time, his voice is finally heard, albeit only as part of a French/Italian-derived gibberish song. This allowed the Tramp to finally be given a voice but not tarnish his association with the silent era.

Charlie Chaplin’s high-profile public and private life encompassed both adulation and controversy. Chaplin's identification with the left ultimately forced him to resettle in Europe during the McCarthy era in the early 1950s. Chaplin's political sympathies always had laid with the left. His silent films made prior to the Great Depression typically did not contain overt political themes or messages, apart from the Tramp's plight in poverty and his run-ins with the law, but his 1930s films were more openly political. Modern Times (1936) depicts workers and poor people in dismal conditions. In The Great Dictator (1940) Chaplin plays a humorous caricature of Adolf Hitler. Some thought the film was poorly done and in bad taste. However, it grossed over $5 million and earned five Academy Award Nominations. The final dramatic speech in The Great Dictator, which was critical of following patriotic nationalism without question, and his vocal public support for the opening of a second European front in 1942 to assist the Soviet Union in World War II were controversial. Chaplin declined to support the war effort as he had done for the First World War which led to public anger, although his two sons saw service in the Army in Europe. For most of World War II he was fighting serious criminal and civil charges related to his involvement with 22-year-old actress Joan Barry. In 1943 he was accused of fathering her child; the papers made much of the scandal, but it was proved in a court trial that he was not the father. The same year he entered his fourth marriage, to Oona Chaplin, daughter of playwright Eugene O'Neill. After the war, his black comedy, Monsieur Verdoux (1947) showed a critical view of capitalism. Chaplin's final American film, Limelight, was less political and more autobiographical in nature. Limelight also featured Claire Bloom and Chaplin’s longtime friend, Buster Keaton. In 1952, Chaplin left the US for what was intended as a brief trip home to the United Kingdom for the London premiere of Limelight. J. Edgar Hoover, head of the FBI, learned of the trip and negotiated with the Immigration and Naturalization Service to revoke Chaplin's re-entry permit, exiling Chaplin so he could not return for his alleged political leanings. His following European-made film, A King in New York (1957), satirized the political persecution and paranoia that had forced him to leave the US five years earlier.

Charles Chaplin made his home in Vevey, Switzerland. His final two films were made in London: A King in New York (1957) in which he starred, wrote, directed and produced; and A Countess from Hong Kong (1967), which he directed, produced, and wrote. The latter film stars Sophia Loren and Marlon Brando, and Chaplin made his final on-screen appearance in a brief cameo role as a seasick steward. He also composed the music for both films. The theme song from A Countess From Hong Kong, This is My Song, reached number one in the UK as sung by Petula Clark. Chaplin also compiled a film The Chaplin Revue (1959) from three First National films A Dog's Life (1918), Shoulder Arms (1918), and The Pilgrim (1923) for which he composed the music and recorded an introductory narration. As well as directing these final films, Chaplin also wrote My Autobiography, between 1959 and 1963, which was published in 1964. He briefly and triumphantly returned to the United States in April 1972, with his wife Oona, to receive an Honorary Oscar, and also to discuss how his films would be re-released and marketed. Chaplin's last completed work was the score for his film A Woman of Paris (1923), which was completed in 1976, by which time Chaplin was extremely frail, even finding communication difficult. Charles Chaplin died in his sleep in Vevey, Switzerland on Christmas Day 1977. He and Oona had eight children, including film actress Geraldine Chaplin. From his marriages, he had a total of 11 children. In 1921 Chaplin was decorated by the French government for his outstanding work as a filmmaker and was elevated to the rank of Officer of the Legion of Honor in 1952. In 1929, at the first Oscar Awards, he won a special award "for versatility and genius in writing, acting, directing and producing" The Circus (1928). In 1975 he was named Knight Commander of the British Empire. In 1999, the American Film Institute ranked Chaplin the 10th Greatest Actor on The 50 Greatest Screen Legends list. His bowler and cane were sold for $150,000 in 1987.

Sources: Ed Stephan (IMDb), Amy Smith (IMDb), Wikipedia, and IMDb.

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

Kathleen Key in A Lover's Oath (1925) by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Kathleen Key in A Lover's Oath (1925)

Austrian postcard by Iris Verlag, no. 835/2. Photo: Allianz-Film. Kathleen Key in A Lover's Oath (Ferdinand P. Earle, 1925).

Kathleen Key (1903–1954) was an American actress who achieved a brief period of fame during the silent era. She is best remembered for playing Tirzah in the 1925 film Ben-Hur.

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

Ramon Novarro and Kathleen Key in A Lover's Oath (1925) by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Ramon Novarro and Kathleen Key in A Lover's Oath (1925)

Austrian postcard by Iris Verlag, no. 835/4. Photo: Allianz-Film. Ramon Novarro and Kathleen Key in A Lover's Oath (Ferdinand P. Earle, 1925).

Mexican-American actor Ramon Novarro (1899-1968) was a popular Latin Lover of the 1920s and early 1930s.

Kathleen Key (1903–1954) was an American actress who achieved a brief period of fame during the silent era. She is best remembered for playing Tirzah in the 1925 film Ben-Hur.

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

Harold Lloyd by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Harold Lloyd

Austrian postcard by Iris Verlag, no. 5088. Photo: Paramount.

American actor, comedian, director, producer, screenwriter, and stunt performer Harold Lloyd (1893-1971) is best known for his silent comedies. He ranks alongside Charlie Chaplin and Buster Keaton as one of the three most popular and influential comedians of silent film. Between 1914 and 1947, Lloyd made nearly 200 comedies, often as a bespectacled 'Glass' character, a resourceful, success-seeking go-getter who was perfectly in tune with the 1920s-era United States. His films frequently contained 'thrill sequences' of extended chase scenes and daredevil physical feats. A classic is Lloyd hanging from the hands of a clock high above the street in Safety Last! (1923).

Harold Clayton Lloyd was born in 1893 in Burchard, Nebraska, the son of James Darsie Lloyd and Sarah Elisabeth Fraser. In 1910, after his father had several business ventures fail, Lloyd's parents divorced and his father moved with his son to San Diego, California. Lloyd had acted in theatre since a child, and in San Diego, he received his stage training at the School of Dramatic Art and began acting in one-reel film comedies around 1912. Lloyd worked with Thomas Edison's motion picture company, and his first role was a bit part as a Yaqui Indian in The Old Monk's Tale (J. Searle Dawley, 1913). At the age of 20, Lloyd moved to Los Angeles and took up roles in several Keystone comedies. He was also hired by Universal Studios as an extra. Lloyd began collaborating with his friend Hal Roach who had formed his own studio in 1913. They created Will E. Work and then Lonesome Luke, variations of Charles Chaplin's Little Tramp character. In 1914, Lloyd hired Bebe Daniels as a supporting actress. The two were involved romantically and were known as The Boy and The Girl. In 1919, she left him after it became apparent he was unable to commit, and she pursued her dramatic aspirations. Later that year, Lloyd replaced Daniels with Mildred Davis, whom he would marry in 1923. By 1918, Lloyd and Roach had begun to develop a new character beyond an imitation of his contemporaries. Harold Lloyd would move away from tragicomic personas and portray an everyman with unwavering confidence and optimism. The persona Lloyd referred to as his 'Glass' character was a much more mature comedy character with greater potential for sympathy and emotional depth and was easy for audiences of the time to identify with. To create his new character Lloyd donned a pair of lensless horn-rimmed eyeglasses but wore normal clothing. Previously, he had worn a fake moustache and ill-fitting clothes as the Chaplinesque Lonesome Luke. In August 1919, while posing for some promotional still photographs in the Los Angeles Witzel Photography Studio, he was seriously injured holding a prop bomb thought merely to be a smoke pot. It exploded and mangled his right hand, causing him to lose a thumb and forefinger. The blast was severe enough that the cameraman and prop director nearby were also seriously injured. Lloyd was in the act of lighting a cigarette from the fuse of the bomb when it exploded, also badly burning his face and chest and injuring his eye. Despite the proximity of the blast to his face, he retained his sight.

Beginning in 1921, Harold Lloyd and Hal Roach moved from shorts to feature-length comedies. These included the acclaimed Grandma's Boy, which pioneered the combination of complex character development and film comedy, the highly popular Safety Last! (Fred C. Newmeyer, Sam Taylor, 1923), which cemented Lloyd's stardom, and Why Worry? (Fred C. Newmeyer, Sam Taylor, 1923). Lloyd and Roach parted ways in 1924, and Lloyd became the independent producer of his own films. These included his most accomplished mature features Girl Shy (Fred C. Newmeyer, Sam Taylor, 1924), The Freshman (Fred C. Newmeyer, Sam Taylor, 1923) - his highest-grossing silent feature, The Kid Brother (Ted Wilde, J.A. Howe, 1927), and Speedy (Ted Wilde, 1928), his final silent film. Welcome Danger (Clyde Bruckman, 1929) was originally a silent film but Lloyd decided late in the production to remake it with dialogue. All of these films were enormously successful and profitable, and Lloyd would eventually become the highest-paid film performer of the 1920s. Although Lloyd's films were not as commercially successful as Chaplin's on average, he was far more prolific (releasing 12 feature films in the 1920s while Chaplin released just four), and made more money overall ($15.7 million than Chaplin's $10.5 million). The huge financial success of Welcome Danger proved that audiences were eager to hear Lloyd's voice on film. Lloyd's rate of film releases, which had been one or two a year in the 1920s, slowed to about one every two years until 1938. The films released during this period were: Feet First (Clyde Bruckman, 1930), with a similar scenario to Safety Last which found him clinging to a skyscraper at the climax; Movie Crazy (Clyde Bruckman, 1932) with Constance Cummings; The Cat's-Paw (Sam Taylor, 1934), which was a dark political comedy and a big departure for Lloyd; and The Milky Way (Leo McCarey, 1936), which was Lloyd's only attempt at the fashionable genre of the screwball comedy film. However, his go-getting screen character was out of touch with the Great Depression movie audiences of the 1930s. As the length of time between his film releases increased, his popularity declined, as did the fortunes of his production company. His final film of the decade, Professor Beware (Elliott Nugent, 1938), was made by the Paramount staff, with Lloyd functioning only as an actor and partial financier.

In 1937, Harold Lloyd sold the land of his studio, Harold Lloyd Motion Picture Company, to The Church of Jesus Christ of Latter-day Saints. The location is now the site of the Los Angeles California Temple. Lloyd produced two comedies for RKO, A Girl, a Guy, and a Gob (Richard Wallace, 1941) with Lucille Ball, and a Kay Kyser vehicle, My Favorite Spy (Tay Garnett, 1942) which must have looked good on paper but went nowhere at the box office. He retired from the screen until an additional starring appearance in The Sin of Harold Diddlebock (Preston Sturges, 1947), an ill-fated homage to Lloyd's career, financed by Howard Hughes. This film had the inspired idea of following Harold's Jazz Age, the optimistic character from The Freshman into the Great Depression years. Diddlebock opened with footage from The Freshman (for which Lloyd was paid a royalty of $50,000, matching his actor's fee) and Lloyd was sufficiently youthful-looking to match the older scenes quite well. Lloyd and Sturges had different conceptions of the material and fought frequently during the shoot. The finished film was released briefly in 1947, then shelved by producer Hughes. Hughes issued a recut version of the film in 1951 through RKO under the title Mad Wednesday. Lloyd sued Howard Hughes, the California Corporation and RKO for damages to his reputation "as an outstanding motion picture star and personality", eventually accepting a $30,000 settlement. In October 1944, Lloyd emerged as the director and host of The Old Gold Comedy Theater, an NBC radio anthology series, after Preston Sturges, who had turned the job down, recommended him for it. The show presented half-hour radio adaptations of recently successful film comedies, beginning with Palm Beach Story with Claudette Colbert and Robert Young and ending in June 1945 with an adaptation of Tom, Dick and Harry, featuring June Allyson. The show was not renewed for the following season.

Harold Lloyd remained involved in several other interests, including civic and charity work. He appeared as himself on several television shows during his retirement, such as Ed Sullivan's variety show Toast of the Town (1949 and 1958). He appeared as the Mystery Guest on What's My Line? (1953), and twice on This Is Your Life: in 1954 for Mack Sennett, and again in 1955, on his own episode. In 1953, Lloyd received an Academy Honorary Award for being a "master comedian and good citizen". He studied colours and microscopy and was very involved with photography, including 3D photography and colour film experiments. He became known for his nude photographs of models, such as Bettie Page and stripper Dixie Evans, for several men's magazines. He also took photos of Marilyn Monroe lounging at his pool in a bathing suit, which were published after her death. In 2004, his granddaughter Suzanne produced a book of selections from his photographs, Harold Lloyd's Hollywood Nudes in 3D! Lloyd also provided encouragement and support for many younger actors, such as Debbie Reynolds, Robert Wagner, and particularly Jack Lemmon, whom Harold declared as his own choice to play him in a movie of his life and work. In the early 1960s, Lloyd produced two compilation films, featuring scenes from his old comedies, Harold Lloyd's World of Comedy (Harold Lloyd, 1962) and The Funny Side of Life (Harry Kerwin, 1963). The first film was premiered at the 1962 Cannes Film Festival, where Lloyd was fêted as a major rediscovery. The renewed interest in Lloyd helped restore his status among film historians. Lloyd and Mildred Davis had two children together: Gloria Lloyd (1923–2012) and Harold Clayton Lloyd Jr. (1931–1971). They also adopted Gloria Freeman (1924–1986) in 1930, whom they renamed Marjorie Elizabeth Lloyd but was known as Peggy for most of her life. Lloyd discouraged Davis from continuing her acting career. He later relented but by that time her career momentum was lost. Davis died from a heart attack in 1969, two years before Lloyd died at age 77 from prostate cancer, at his Greenacres home in Beverly Hills, California. He was interred in a crypt in the Great Mausoleum at Forest Lawn Memorial Park Cemetery in Glendale, California. In 1990, Kevin Brownlow and David Gill produced the documentary, Harold Lloyd: The Third Genius. Composer Carl Davis wrote a new score for Safety Last! which he performed live during a showing of the film with the Royal Scottish National Orchestra to great acclaim in 1993. The Brownlow and Gill documentary created a renewed interest in Lloyd's work in the United States, but the films were largely unavailable. Criterion Collection has since acquired the home video rights to the Lloyd Library, and has released Safety Last!, The Freshman, and Speedy.

Sources: Wikipedia and IMDb.

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

Harold Lloyd in The Kid Brother (1927) by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Harold Lloyd in The Kid Brother (1927)

Austrian postcard by Iris Verlag, no. 5649. Photo: Paramount. Harold Lloyd in The Kid Brother (Ted Wilde, 1927).

American actor, comedian, director, producer, screenwriter, and stunt performer Harold Lloyd (1893-1971) is best known for his silent comedies. He ranks alongside Charlie Chaplin and Buster Keaton as one of the three most popular and influential comedians of silent film. Between 1914 and 1947, Lloyd made nearly 200 comedies, often as a bespectacled 'Glass' character, a resourceful, success-seeking go-getter who was perfectly in tune with the 1920s-era United States. His films frequently contained 'thrill sequences' of extended chase scenes and daredevil physical feats. A classic is Lloyd hanging from the hands of a clock high above the street in Safety Last! (1923).

Harold Clayton Lloyd was born in 1893 in Burchard, Nebraska, the son of James Darsie Lloyd and Sarah Elisabeth Fraser. In 1910, after his father had several business ventures fail, Lloyd's parents divorced and his father moved with his son to San Diego, California. Lloyd had acted in theatre since a child, and in San Diego, he received his stage training at the School of Dramatic Art and began acting in one-reel film comedies around 1912. Lloyd worked with Thomas Edison's motion picture company, and his first role was a bit part as a Yaqui Indian in The Old Monk's Tale (J. Searle Dawley, 1913). At the age of 20, Lloyd moved to Los Angeles and took up roles in several Keystone comedies. He was also hired by Universal Studios as an extra. Lloyd began collaborating with his friend Hal Roach who had formed his own studio in 1913. They created Will E. Work and then Lonesome Luke, variations of Charles Chaplin's Little Tramp character. In 1914, Lloyd hired Bebe Daniels as a supporting actress. The two were involved romantically and were known as The Boy and The Girl. In 1919, she left him after it became apparent he was unable to commit, and she pursued her dramatic aspirations. Later that year, Lloyd replaced Daniels with Mildred Davis, whom he would marry in 1923. By 1918, Lloyd and Roach had begun to develop a new character beyond an imitation of his contemporaries. Harold Lloyd would move away from tragicomic personas and portray an everyman with unwavering confidence and optimism. The persona Lloyd referred to as his 'Glass' character was a much more mature comedy character with greater potential for sympathy and emotional depth and was easy for audiences of the time to identify with. To create his new character Lloyd donned a pair of lensless horn-rimmed eyeglasses but wore normal clothing. Previously, he had worn a fake moustache and ill-fitting clothes as the Chaplinesque Lonesome Luke. In August 1919, while posing for some promotional still photographs in the Los Angeles Witzel Photography Studio, he was seriously injured holding a prop bomb thought merely to be a smoke pot. It exploded and mangled his right hand, causing him to lose a thumb and forefinger. The blast was severe enough that the cameraman and prop director nearby were also seriously injured. Lloyd was in the act of lighting a cigarette from the fuse of the bomb when it exploded, also badly burning his face and chest and injuring his eye. Despite the proximity of the blast to his face, he retained his sight.

Beginning in 1921, Harold Lloyd and Hal Roach moved from shorts to feature-length comedies. These included the acclaimed Grandma's Boy, which pioneered the combination of complex character development and film comedy, the highly popular Safety Last! (Fred C. Newmeyer, Sam Taylor, 1923), which cemented Lloyd's stardom, and Why Worry? (Fred C. Newmeyer, Sam Taylor, 1923). Lloyd and Roach parted ways in 1924, and Lloyd became the independent producer of his own films. These included his most accomplished mature features Girl Shy (Fred C. Newmeyer, Sam Taylor, 1924), The Freshman (Fred C. Newmeyer, Sam Taylor, 1923) - his highest-grossing silent feature, The Kid Brother (Ted Wilde, J.A. Howe, 1927), and Speedy (Ted Wilde, 1928), his final silent film. Welcome Danger (Clyde Bruckman, 1929) was originally a silent film but Lloyd decided late in the production to remake it with dialogue. All of these films were enormously successful and profitable, and Lloyd would eventually become the highest-paid film performer of the 1920s. Although Lloyd's films were not as commercially successful as Chaplin's on average, he was far more prolific (releasing 12 feature films in the 1920s while Chaplin released just four), and made more money overall ($15.7 million than Chaplin's $10.5 million). The huge financial success of Welcome Danger proved that audiences were eager to hear Lloyd's voice on film. Lloyd's rate of film releases, which had been one or two a year in the 1920s, slowed to about one every two years until 1938. The films released during this period were: Feet First (Clyde Bruckman, 1930), with a similar scenario to Safety Last which found him clinging to a skyscraper at the climax; Movie Crazy (Clyde Bruckman, 1932) with Constance Cummings; The Cat's-Paw (Sam Taylor, 1934), which was a dark political comedy and a big departure for Lloyd; and The Milky Way (Leo McCarey, 1936), which was Lloyd's only attempt at the fashionable genre of the screwball comedy film. However, his go-getting screen character was out of touch with the Great Depression movie audiences of the 1930s. As the length of time between his film releases increased, his popularity declined, as did the fortunes of his production company. His final film of the decade, Professor Beware (Elliott Nugent, 1938), was made by the Paramount staff, with Lloyd functioning only as an actor and partial financier.

In 1937, Harold Lloyd sold the land of his studio, Harold Lloyd Motion Picture Company, to The Church of Jesus Christ of Latter-day Saints. The location is now the site of the Los Angeles California Temple. Lloyd produced two comedies for RKO, A Girl, a Guy, and a Gob (Richard Wallace, 1941) with Lucille Ball, and a Kay Kyser vehicle, My Favorite Spy (Tay Garnett, 1942) which must have looked good on paper but went nowhere at the box office. He retired from the screen until an additional starring appearance in The Sin of Harold Diddlebock (Preston Sturges, 1947), an ill-fated homage to Lloyd's career, financed by Howard Hughes. This film had the inspired idea of following Harold's Jazz Age, the optimistic character from The Freshman into the Great Depression years. Diddlebock opened with footage from The Freshman (for which Lloyd was paid a royalty of $50,000, matching his actor's fee) and Lloyd was sufficiently youthful-looking to match the older scenes quite well. Lloyd and Sturges had different conceptions of the material and fought frequently during the shoot. The finished film was released briefly in 1947, then shelved by producer Hughes. Hughes issued a recut version of the film in 1951 through RKO under the title Mad Wednesday. Lloyd sued Howard Hughes, the California Corporation and RKO for damages to his reputation "as an outstanding motion picture star and personality", eventually accepting a $30,000 settlement. In October 1944, Lloyd emerged as the director and host of The Old Gold Comedy Theater, an NBC radio anthology series, after Preston Sturges, who had turned the job down, recommended him for it. The show presented half-hour radio adaptations of recently successful film comedies, beginning with Palm Beach Story with Claudette Colbert and Robert Young and ending in June 1945 with an adaptation of Tom, Dick and Harry, featuring June Allyson. The show was not renewed for the following season.

Harold Lloyd remained involved in several other interests, including civic and charity work. He appeared as himself on several television shows during his retirement, such as Ed Sullivan's variety show Toast of the Town (1949 and 1958). He appeared as the Mystery Guest on What's My Line? (1953), and twice on This Is Your Life: in 1954 for Mack Sennett, and again in 1955, on his own episode. In 1953, Lloyd received an Academy Honorary Award for being a "master comedian and good citizen". He studied colours and microscopy and was very involved with photography, including 3D photography and colour film experiments. He became known for his nude photographs of models, such as Bettie Page and stripper Dixie Evans, for several men's magazines. He also took photos of Marilyn Monroe lounging at his pool in a bathing suit, which were published after her death. In 2004, his granddaughter Suzanne produced a book of selections from his photographs, Harold Lloyd's Hollywood Nudes in 3D! Lloyd also provided encouragement and support for many younger actors, such as Debbie Reynolds, Robert Wagner, and particularly Jack Lemmon, whom Harold declared as his own choice to play him in a movie of his life and work. In the early 1960s, Lloyd produced two compilation films, featuring scenes from his old comedies, Harold Lloyd's World of Comedy (Harold Lloyd, 1962) and The Funny Side of Life (Harry Kerwin, 1963). The first film was premiered at the 1962 Cannes Film Festival, where Lloyd was fêted as a major rediscovery. The renewed interest in Lloyd helped restore his status among film historians. Lloyd and Mildred Davis had two children together: Gloria Lloyd (1923–2012) and Harold Clayton Lloyd Jr. (1931–1971). They also adopted Gloria Freeman (1924–1986) in 1930, whom they renamed Marjorie Elizabeth Lloyd but was known as Peggy for most of her life. Lloyd discouraged Davis from continuing her acting career. He later relented but by that time her career momentum was lost. Davis died from a heart attack in 1969, two years before Lloyd died at age 77 from prostate cancer, at his Greenacres home in Beverly Hills, California. He was interred in a crypt in the Great Mausoleum at Forest Lawn Memorial Park Cemetery in Glendale, California. In 1990, Kevin Brownlow and David Gill produced the documentary, Harold Lloyd: The Third Genius. Composer Carl Davis wrote a new score for Safety Last! which he performed live during a showing of the film with the Royal Scottish National Orchestra to great acclaim in 1993. The Brownlow and Gill documentary created a renewed interest in Lloyd's work in the United States, but the films were largely unavailable. Criterion Collection has since acquired the home video rights to the Lloyd Library, and has released Safety Last!, The Freshman, and Speedy.

Sources: Wikipedia and IMDb.

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

Louise Fazenda by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Louise Fazenda

Austrian postcard by Iris Verlag, no. 5591. Photo: Monroe, L.A. / DPC. Collection: Marlene Pilaete.

On 28 March 2024, there will be a La Collectionneuse post on dazzling Louise Fazenda at European Film Star Postcards!

Leo Slezak by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Leo Slezak

Austrian postcard by Iris Verlag, no. 694. Photo: Residenz-Atelier.

Leo Slezak (1873-1946) was an Austrian dramatic tenor. He was associated in particular with Austrian opera as well as the title role in Verdi's 'Otello'. In 1932, he started a second career as a character actor and singer in German and Austrian films. Slezak is the father of actors Walter Slezak and Margarete Slezak and the grandfather of soap actress Erika Slezak.

Leo Slezak was born in Šumperk (German: Mährisch-Schönberg), northern Moravia (then part of Austria-Hungary), as the son of a miller. Slezak worked briefly as a blacksmith and an engineer's fitter, and he served in the army before taking singing lessons with the first-class baritone and pedagogue, Adolf Robinson. He made his debut as Lohengrin in 1896 in Brno (Brünn) and proceeded to sing leading roles in Bohemia and Germany, appearing in 1898–1899 in Berlin. He then moved to Breslau, where he met his future wife, the actress Elsa Wertheim. From 1901 onwards, he was a permanent member of the ensemble of the Vienna State Opera. His successful career began. A tall, barrel-chested man, Slezak possessed a large and attractive lyric-dramatic voice which enabled him to undertake all but the very heaviest Wagnerian parts such as Tristan or Siegfried. Slezak's international career commenced in London at the Royal Opera House, Covent Garden, where he sang Siegfried and Lohengrin in 1900. In 1907, he studied in Paris with the great tenor Jean de Reszke. Slezak wanted to learn to sing his roles in the original language, especially in Italian (Donizetti, Verdi, Puccini, Leoncavallo, etc.) and French (Meyerbeer, Halévy, Bizet, Boieldieu, Delibes, etc.). He purposefully laid the foundations for an international career. Slezak had a distinctive tonal quality, which became markedly darker after his studies with de Reszke. In 1909, Slezak secured a three-year contract with the New York Metropolitan Opera. Met audiences acclaimed him in performances of works by Wagner and Verdi. Along with Italy's Giovanni Zenatello, he became one of the most famous Otellos of his generation, famously performing the role at the Met with Arturo Toscanini conducting. Leo Slezak had a versatile repertory which embraced 66 roles. When the First World War broke out during a guest performance in Russia, he had to flee and was welcomed back with open arms by the Viennese. He was not only successful on the opera stage but also as a lieder singer. In April 1934, he took to the stage of the Vienna State Opera for the last time as Otello.

Leo Slezak made hundreds of disc and cylinder recordings from the early 1900s into the 1930s. They were produced by several different record companies and include arias, duets and songs by a wide selection of composers, ranging from Mozart to Wagner. Most of his best records have been released on CD compilations. Some of his film work as an actor survives as well. Slezak appeared and sang in two early sound shorts, Wilhelm Tell: Die Sonne strahlt (1907) and Troubadour: Miserere (1909). In 1932, he began his second career as a star in German and Austrian films. He mostly played comic roles and almost always sang as well. His films included La Paloma / The Dove (Karl Heinz Martin, Robert Neppach, 1934), Rendezvous in Wien / Rendezvous in Vienna (Victor Janson, 1936), Konfetti / Confetti (Hubert Marischka, 1936), the Operetta film Gasparone (Georg Jacoby, 1937), starring Marika Rökk and Johannes Heesters, and Es war eine rauschende Ballnacht / The Life and Loves of Tschaikovsky (Carl Froelich, 1939) with Zarah Leander and Marika Rökk. Slezak's final film role was as the portly Sultan Abd ul Hamid in the Ufa prestige production Münchhausen (Josef von Báky, 1943), starring Hans Albers. In 1944, Slezak was on the 'Gottbegnadeten-Liste', the list of those pardoned by the Reich Ministry for Popular Enlightenment and Propaganda. Slezak's autobiography, published in 1938 in English as 'Song of Motley: Being the Reminiscences of a Hungry Tenor', contains pen-portraits of many of the musicians and artists with whom he worked, including Gustav Mahler, Arturo Toscanini and Cosima Wagner. It describes his tours of America, Russia and the Balkans and recalls his doomed audition for Frau Wagner at Bayreuth, when he foolishly chose to sing music from Pagliacci. Later in life, he published several very humorous, semi-autobiographical books, notably 'Meine sämtlichen Werke' (All of my works), 'Der Wortbruch' (The broken promise), and 'Der Rückfall' (The relapse). Leo Slezak spent the last years of his life in Rottach-Egern, where he died of a heart attack in 1946. He is buried in the cemetery of St Laurentius Church (Egern) next to his wife, Elisabeth. His son, Walter Slezak, was a successful character actor in Hollywood during the 1940s and appeared in anti-Nazi films. His granddaughter and Walter's daughter is the actress Erika Slezak, noted for her role on the soap opera 'One Life to Live'.

Sources: Wikipedia (English and German) and IMDb.

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Henry Stuart by Truus, Bob & Jan too!

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Henry Stuart

Vintage Austrian postcard. Iris Verlag, No. 5111. Photo by Atelier Hanni Schwarz.

Henry Stuart (1885-1948) was a Swiss actor, director and writer, who worked mostly in German silent cinema.

Antonio Moreno by Truus, Bob & Jan too!

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Antonio Moreno

Vintage Austrian postcard. Iris Verlag 401-2, Fanamet-Film. Antonio Moreno in Mare Nostrum (Rex Ingram, MGM 1926).

Antonio 'Tony' Moreno (1887-1967) was a Spanish-born American actor and film director of the silent film era and through the 1950s. In his early films, Moreno was often typecast as the 'Latin Lover'. He is best known for films such as The Spanish Dancer (1923) with Pola Negri, Mare Nostrum (1926) with Alice Terry, The Temptress (1926) with Greta Garbo, and It (1927) with Clara Bow.

Lillian Roth in Madam Satan (1930) by Truus, Bob & Jan too!

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Lillian Roth in Madam Satan (1930)

Austrian postcard by Iris Verlag, no. 6283. Photo: Metro-Goldwyn-Mayer. Lillian Roth in Madam Satan (Cecil B. DeMille, 1930).Collection: Geoffrey Donaldson Institute.

American singer and actress Lillian Roth was a Broadway star and Hollywood actress. Among the films she made with Paramount were The Love Parade (1929) with Maurice Chevalier, The Vagabond King (1930), Cecil B. DeMille's Madam Satan (1930), and the Marx Brothers second film, Animal Crackers (1930). She rebelled against the pressure of her domineering stage mother and reacted to the death of her fiancé by becoming an alcoholic. Her life story was told in the popular biopic I'll Cry Tomorrow (Daniel Mann, 1955) starring Susan Hayward.

Lillian Roth was born Lillian Rutstein in Boston, Massachusetts, in 1910. She was the daughter of Katie (née Silverman) and Arthur Rutstein. She had a younger sister, Anne, and the family was Jewish. She was given her first name in honour of singer Lillian Russell. Her daunting stage parents groomed Lillian and Anne for stardom at an early age. In 1916, when Lillian was five and Anne three, the family moved to New York City to be near the various casting offices. Her mother took her to Educational Pictures, a major film distribution company, where she became the company's trademark, symbolised by a living statue holding a lamp of knowledge. In her autobiographical book, 'I’ll Cry Tomorrow', she writes of being molested by the artist who was hired to create the logo. Lillian attended the Professional Children’s School with classmates Ruby Keeler and Milton Berle. In 1917, the six-year-old made her Broadway debut in The Inner Man, a production of the famous Shubert brothers, who are responsible for the establishment of Broadway as the hub of the theatre industry in the United States. Her film debut came as an extra in Pershing's Crusaders (1918), a semi-documentary on American troops in France in the First World War. She was rewarded with casting in another Shubert production called Shaving with the billing 'Broadway's Youngest Star.' Throughout her childhood, Roth’s father’s alcoholism resulted in his periodic lengthy separations from the family. As a result, her ambitious mother moulded her and her younger sister Anne into vaudeville headliners billed as 'Lillian Roth and Co.' or 'The Roth Kids'. A vaudeville tour on the Keith-Orpheum circuit, a chain of vaudeville and movie theatres, made both of the girls famous. Her theme song became 'When the Red, Red Robin (Comes Bob, Bob, Bobbin' Along)'. One of the most exciting moments for her came when she met U.S. President Woodrow Wilson. The President and Mrs Wilson attended their vaudeville act in Washington D.C. According to her autobiography, the enamoured president took Lillian and her sister for a ride around the block in his open touring car. She appeared in Artists and Models in 1923 but was soon transferred to the Chicago company of the show because New York legal authorities considered her too young to be in a 'risqué' show. She went on to make Revels with Frank Fay. During production for the show, she told management she was 19 years of age despite being only 13 at the time. In 1927, when Roth was 17, she made the first of three Earl Carroll Vanities. She enhanced her image as a wild party girl and flapper and she introduced the ribald song Drizzle, Drizzle, The Party's a Fizzle, O! What A Night to Love'. This was soon followed by a leading role in Midnight Frolics, a Florenz Ziegfeld production. Variety and New York City newspapers praised Roth’s singing voice and stage personality. Her next step was to go to Hollywood...

In 1929, Lillian Roth signed a seven-year contract with Paramount Pictures. Her film career coincided with the beginning of the sound film. First, she appeared as Lulu in Ernst Lubitsch's musical comedy The Love Parade (Ernst Lubitsch, 1929) starring Maurice Chevalier and Jeanette MacDonald. Lubitsch's first sound film was a huge box-office hit. Then she played another supporting role in the Operetta The Vagabond King (Ludwig Berger, 1930) which was photographed entirely in two-colour Technicolor. The film told the story of the renegade French poet François Villon, played by Dennis King. The film was nominated for an Academy Award for Best Art Direction. Then followed the all-star revue Paramount on Parade (1930), directed by several directors including Edmund Goulding, Dorothy Arzner, and Ernst Lubitsch, and Honey (Wesley Ruggles, 1930) in which she introduced her signature song 'Sing, You Sinners'. A curiosity is the musical extravaganza Madam Satan (Cecil B. DeMille, 1930) with Reginald Denny and Kay Johnson. According to Wikipedia, it is "one of the oddest films DeMille made and certainly one of the oddest MGM made during its 'golden age'." Thematically, DeMille attempted to return to the boudoir comedy genre that had brought him success at the box office 10 years earlier. Roth also appeared in Sea Legs (Victor Heerman, 1930) with Jack Oakie, and in Animal Crackers (Victor Heerman, 1930) the second film of the Marx Brothers. In this comedy mayhem and zaniness ensue when a valuable painting goes missing during a party in honour of famed African explorer Captain Jeffrey T. Spaulding (Groucho Marx). It was a critical and commercial success. Things seemed to be running smoothly for her. Then the sudden death of her fiance David Lyons, who died of tuberculosis, drove Lillian into deep despair. She found liquor to be a calming sensation, which led in the following years to a full-scale addiction. She took over Ethel Merman's stage role in the film version of Take a Chance (Monte Brice, Laurence Schwab, 1933), singing 'Eadie Was a Lady'. After leaving Paramount, she had a supporting role at Warner Bros. in the women's prison film Ladies They Talk About (Howard Bretherton, William Keighley, 1933) with Barbara Stanwyck.

Lilian Roth headlined the Palace Theatre in New York City and performed in the Earl Carroll Vanities in 1928, 1931, and 1932. She continued to make strides as a singer in an era when so much was being set to music. By the end of the 1930s, her career was over and she disappeared from the theatre scene. Her private life was in scrambles decimated by alcoholism. She acknowledged that she had earned over one million dollars, and lost it all. Lillian with suicidal tendencies, became a common drunk which led to failed marriages. In 1945, she committed herself to a New York mental institution, but the treatment did not provide a permanent cure for her illness. Finally, her friends and Alcoholics Anonymous were her salvation. In the late 1940s, she reemerged as a singer again doing club work. A sober Lillian appeared across the country and then Australia and New Zealand. She returned to Hollywood with a successful booking at Ciro's. In 1953, she appeared on a special episode of the TV series This Is Your Life with Ralph Edwards. In response to her honesty in relating her story of alcoholism, she received more than 40,000 letters. This overwhelming response encouraged her to write her autobiography, which described openly and touchingly her struggle against alcoholism and mental illness. 'I'll Cry Tomorrow', written with author-collaborators Mike Connolly and Gerald Frank, was an instant sensation, selling more than 100,000 copies in a few months. A toned-down version of it was made into the hit film I'll Cry Tomorrow (Daniel Mann, 1955) with Susan Hayward, who was nominated for an Oscar and won the Best Actress award at the Cannes Film Festival. The book would sell worldwide more than seven million copies in twenty languages, and the film renewed the public interest in Roth. In 1958, Lillian Roth published a second book, 'Beyond My Worth'. Roth had managed to reinvent herself as a major concert and nightclub performer. She appeared at venues in Las Vegas and New York's Copacabana and was a popular attraction in Australia. In 1962, she was featured as Elliott Gould's mother in the Broadway musical 'I Can Get It for You Wholesale, in which Barbra Streisand made her Broadway debut. Despite the acclaim for Streisand, producer David Merrick realised that Roth's name still sold tickets, and he elevated her to above-title star billing after the show's opening, with Gould, Streisand, and Sheree North listed below. Roth remained with the show for its full run of 301 performances and recorded the cast album for Columbia Records. She was also featured as Mrs. Brice in the national touring company of 'Funny Girl' in 1964, again getting top billing. Roth was married five times: to aviator William C. Scott, New York Judge Benjamin Shalleck, Eugene J. Weiner, Edward Goldman, and Thomas Burt McGuire. She divorced her first husband in 1932 after 13 months of marriage. Roth met her last husband, Thomas Burt McGuire, scion of Funk and Wagnalls Publishing Company at an Alcoholics Anonymous meeting (Roth joined Alcoholics Anonymous in 1946). The Catholic McGuire affected her in such a way both spiritually and emotionally that Roth converted to Catholicism in 1948. The two wed and McGuire managed Roth until September 1963, when she received a note from him stating that their marriage was finished. McGuire left Roth for another man and according to Roth, after withdrawing all funds from their joint bank account. Roth returned to Broadway in 1971 in the John Kander and Fred Ebb musical 70, Girls, 70, which had a short run. She played a pathologist in the horror film Alice, Sweet Alice/Communion (Alfred Sole, 1976), Brooke Shields' feature film debut. Her last film was Boardwalk (Stephen Verona, 1979), with Lee Strasberg, Ruth Gordon, and Janet Leigh. In 1980, Lillian Roth died from a stroke in New York City. She was 69. The inscription on her marker in Mount Pleasant Cemetery in Westchester County, New York reads: 'As bad as it was it was good.' At The American Vaudeville, Klaudia Kendall writes: "Roth was representative of the aesthetics of the tail-end of the Jazz age, with her vampire makeup, pale skin, and dark hair. As a performer, Roth blurred the lines between a comedienne and a serious actress and expanded her use of humour and hardships into her biography while simultaneously using her stardom as an outlet to help those affected by alcoholism and to spread awareness about the destructive nature of the substance had on her own life. Although Roth was subject to both physical and emotional hardship in her career as a vaudeville star, she has remained in the public’s memory as both an advocate for the previously unheard, a beauty, a star in her own right and a woman of mystery."

Sources: Klaudia Kendall (The American Vaudeville), Donald Greyfield (Find A Grave), Gary Brumburgh (IMDb), Bonnie Rothbart Stark (Jewish Women's Archive), Barron H. Lerner (The New York Times), Wikipedia and IMDb.

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

Lois Moran by Truus, Bob & Jan too!

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Lois Moran

Austrian postcard by Iris Verlag / Amag, no. 5900. Photo: Max Munn Autrey / Fox.

Lois Moran (1909-1990) was an American stage and film actress. She started her career as a dancer at the Paris Opera in France. Her film debut was in a French silent film after which she starred in French and American films till 1931. Her major claim to fame, however, was as F. Scott Fitzgerald's inspiration for the character of Rosemary in his classic novel 'Tender Is the Night'.

Lois Moran was born Lois Darlington Dowling in Pittsburgh, Pennsylvania, in 1909. She was the only child of Roger and Gladys Evans Dowling. Her father died in a car accident when she was one year old. Her mother then married Dr Timothy Moran, from whom Lois Moran derived her later stage name. When Lois was nine years old, her stepfather, whom she regarded as the most important person in her life alongside her mother, died of influenza. Lois grew up in Pennsylvania and attended Seton Hill Academy in Greensburg. Lois trained in dance and moved to Paris with her mother at the age of 10 to study seriously, with funding provided by Lois's great-aunt. They lived in France between 1921 and 1925. At the age of thirteen, Lois made her first small appearances as a singer and dancer at the Paris Opera. She had a leading role in her film debut, the drama La galerie des monstres/The Gallery of Monsters (Jaque Catelain, 1924), set against the background of a circus in Spain. It was produced by Cinégraphic, the production company of Marcel L'Herbier and it was the second film to be directed by the actor Jaque Catelain, following the relative success of his previous film Le Marchand de plaisirs/The Merchant of Pleasures (1923). In 1925, Moran was seen in a leading role in the French silent drama Feu Mathias Pascal/The Late Matthias Pascal (Marcel L'Herbier, 1925) starring Ivan Mozzukhine. It was the first film adaptation of Luigi Pirandello's novel 'Il fu Mattia Pascal'.

After her return to the United States, Lois Moran achieved greater fame in the same year with the role of Laurel Dallas, daughter of the title character, in the monumental tearjerker Stella Dallas (Henry King, 1925) starring Ronald Colman and Belle Bennett. Film offers came flying her way and in 1926 she co-starred as the daughter of Lon Chaney in The Road to Mandalay (Tod Browning, 1926). In the following years, Lois Moran appeared as the leading actress in numerous silent films such as the drama The Music Master (Allan Dwan, 1927) opposite British actor Alec B. Francis. In 1927, Moran had a short-lived relationship with the writer F. Scott Fitzgerald, who is said to have modelled the character of Rosemary Hoyt on her in his novel 'Tender is the Night'. She co-starred with Warner Baxter in the mystery film Behind That Curtain (Irving Cummings, 1929). It was the first Charlie Chan film to be made at Fox Studios. Moran played another major role in Mammy (Michael Curtiz, 1930) alongside Al Jolson. However, like many other actors, she was unable to make a successful transition from silent to talkies. She moved to Broadway, where she appeared in the play 'This Is New York' (1930), the George Gershwin musical 'Of Thee I Sing'. the musicals Of Thee I Sing (1933) and its sequel 'Let 'Em Eat Cake' (1934). In 1935, she married Clarence M. Young, then assistant secretary of commerce, with whom she had a son, Timothy. The marriage lasted until Young died in 1973. She stopped acting, but she made a comeback in the television series Waterfront (1954-1955) with Preston Foster. It ran for three seasons. In later years she settled in Sedona, Arizona with her husband, who died in 1972. She ran a weekly local column for a time. In 1974, Moran returned to the big screen for the last time. In Wim Wenders' road movie Alice in den Städten/Alice in the Cities (1974), she was seen in a small role as the Pan Am booking agent at the airport in New York. Lois Moran died of cancer in 1990 in a nursing home in Sedona, Arizona, at the age of 81. She was cremated and her ashes were scattered in Red Rock Country in Arizona.

Sources: Gary Brumburgh (IMDb), Wikipedia (Dutch, German and English) and IMDb.

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

Lois Moran by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Lois Moran

Austrian postcard by Iris Verlag, no. 5325. Photo: Fox.

Lois Moran (1909-1990) was an American stage and film actress. She started her career as a dancer at the Paris Opera in France. Her film debut was in a French silent film after which she starred in French and American films till 1931. Her major claim to fame, however, was as F. Scott Fitzgerald's inspiration for the character of Rosemary in his classic novel 'Tender Is the Night'.

Lois Moran was born Lois Darlington Dowling in Pittsburgh, Pennsylvania, in 1909. She was the only child of Roger and Gladys Evans Dowling. Her father died in a car accident when she was one year old. Her mother then married Dr Timothy Moran, from whom Lois Moran derived her later stage name. When Lois was nine years old, her stepfather, whom she regarded as the most important person in her life alongside her mother, died of influenza. Lois grew up in Pennsylvania and attended Seton Hill Academy in Greensburg. Lois trained in dance and moved to Paris with her mother at the age of 10 to study seriously, with funding provided by Lois's great-aunt. They lived in France between 1921 and 1925. At the age of thirteen, Lois made her first small appearances as a singer and dancer at the Paris Opera. She had a leading role in her film debut, the drama La galerie des monstres/The Gallery of Monsters (Jaque Catelain, 1924), set against the background of a circus in Spain. It was produced by Cinégraphic, the production company of Marcel L'Herbier and it was the second film to be directed by the actor Jaque Catelain, following the relative success of his previous film Le Marchand de plaisirs/The Merchant of Pleasures (1923). In 1925, Moran was seen in a leading role in the French silent drama Feu Mathias Pascal/The Late Matthias Pascal (Marcel L'Herbier, 1925) starring Ivan Mozzukhine. It was the first film adaptation of Luigi Pirandello's novel 'Il fu Mattia Pascal'.

After her return to the United States, Lois Moran achieved greater fame in the same year with the role of Laurel Dallas, daughter of the title character, in the monumental tearjerker Stella Dallas (Henry King, 1925) starring Ronald Colman and Belle Bennett. Film offers came flying her way and in 1926 she co-starred as the daughter of Lon Chaney in The Road to Mandalay (Tod Browning, 1926). In the following years, Lois Moran appeared as the leading actress in numerous silent films such as the drama The Music Master (Allan Dwan, 1927) opposite British actor Alec B. Francis. In 1927, Moran had a short-lived relationship with the writer F. Scott Fitzgerald, who is said to have modelled the character of Rosemary Hoyt on her in his novel 'Tender is the Night'. She co-starred with Warner Baxter in the mystery film Behind That Curtain (Irving Cummings, 1929). It was the first Charlie Chan film to be made at Fox Studios. Moran played another major role in Mammy (Michael Curtiz, 1930) alongside Al Jolson. However, like many other actors, she was unable to make a successful transition from silent to talkies. She moved to Broadway, where she appeared in the play 'This Is New York' (1930), the George Gershwin musical 'Of Thee I Sing'. the musicals Of Thee I Sing (1933) and its sequel 'Let 'Em Eat Cake' (1934). In 1935, she married Clarence M. Young, then assistant secretary of commerce, with whom she had a son, Timothy. The marriage lasted until Young died in 1973. She stopped acting, but she made a comeback in the television series Waterfront (1954-1955) with Preston Foster. It ran for three seasons. In later years she settled in Sedona, Arizona with her husband, who died in 1972. She ran a weekly local column for a time. In 1974, Moran returned to the big screen for the last time. In Wim Wenders' road movie Alice in den Städten/Alice in the Cities (1974), she was seen in a small role as the Pan Am booking agent at the airport in New York. Lois Moran died of cancer in 1990 in a nursing home in Sedona, Arizona, at the age of 81. She was cremated and her ashes were scattered in Red Rock Country in Arizona.

Sources: Gary Brumburgh (IMDb), Wikipedia (Dutch, German and English) and IMDb.

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

Marion Davies in Yolanda (1924) by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Marion Davies in Yolanda (1924)

Austrian postcard by Iris Verlag, no. 399/2. Photo: Fanamet-Film. Marion Davies in Yolanda (Robert G. Vignola, 1924).

Marion Davies (1897-1961) was one of the great comedic actresses of the silent era. She starred in nearly four dozen films between 1917 and 1937.

Marion Davies was born Marion Cecelia Douras in the borough of Brooklyn, New York in 1897. She had been bitten by the show biz bug early as she watched her sisters perform in local stage productions. She wanted to do the same. As Marion got older, she tried out for various school plays and did fairly well. Once her formal education had ended, Marion began her career as a chorus girl in New York City, first in the Pony Follies and eventually in the famous Ziegfeld Follies. Her stage name came when she and her family passed the Davies Insurance Building. One of her sisters called out "Davies!!! That shall be my stage name," and the whole family took on that name. Marion wanted more than to dance. Acting, to her, was the epitome of show business and she aimed her sights in that direction. She had met newspaper magnate William Randolph Hearst and went to live with him at his San Simeon castle. They stayed together for over 30 years, while Hearst’s wife Millicent resided in New York. Millicent would not grant him a divorce so that he could marry Davies. San Simeon is a spectacular and elaborate mansion, which now stands as a California landmark. At San Simeon, the couple threw elaborate parties, which were frequented by all of the top names in Hollywood and other celebrities including the mayor of New York City, President Calvin Coolidge and Charles Lindbergh. When she was 20, Marion made her first film, Runaway Romany (George W. Lederer, 1917). Written by Marion and directed by her brother-in-law, the film wasn't exactly a box-office smash, but for Marion, it was a start and a stepping stone to bigger things. The following year Marion starred in The Burden of Proof (John G. Adolfi, Julius Steger, 1918) and Cecilia of the Pink Roses (Julius Steger, 1918). The latter film was backed by Hearst. Because of Hearst's newspaper empire, Marion would be promoted as no actress before her. She appeared in numerous films over the next few years, including the superior comedy Getting Mary Married (Allan Dwan, 1919) with Norman Kerry, the suspenseful The Cinema Murder (George D. Baker, 1919) and the drama The Restless Sex (Leon D'Usseau, Robert Z. Leonard, 1920) with Carlyle Blackwell.

In 1922, Marion Davies appeared as Mary Tudor in the historical romantic epic, When Knighthood Was in Flower (Robert G. Vignola, 1922). It was a film into which Hearst poured millions of dollars as a showcase for her. Although Marion didn't normally appear in period pieces, she turned in a wonderful performance and the film became a box office hit. Marion remained busy, one of the staples in movie houses around the country. At the end of the twenties, it was obvious that sound films were about to replace silent films. Marion was nervous because she had a stutter when she became excited and worried she wouldn't make a successful transition to the new medium, but she was a true professional who had no problem with the change. Time after time, film after film, Marion turned in masterful performances. Her best films were the comedies The Patsy (1928) also with Marie Dressler, and Show People (1929) with William Haines, both directed by King Vidor. In 1930, two of her better films were Not So Dumb (King Vidor, 1930) and The Florodora Girl (Harry Beaumont, 1930), with Lawrence Grant. By the early 1930s, Marion had lost her box office appeal and the downward slide began. Hearst tried to push MGM executives to hire Marion for the role of Elizabeth Barrett in The Barretts of Wimpole Street (Sidney Franklin, 1934). Louis B. Mayer had other ideas and hired producer Irving Thalberg's wife Norma Shearer instead. Hearst reacted by pulling his newspaper support for MGM without much impact. By the late 1930s Hearst was suffering financial reversals and it was Marion who bailed him out by selling off $1 million of her jewelry. Hearst's financial problems also spelt the end of her career. Although she had made the transition to sound, other stars fared better and her roles became fewer and further between. In 1937, a 40-year-old Marion filmed her last movie, Ever Since Eve (Lloyd Bacon, 1937) with Robert Montgomery. Out of films and with the intense pressures of her relationship with Hearst, Marion turned more and more to alcohol. Despite those problems, Marion was a very sharp and savvy businesswoman. When Hearst lay dying in 1951 at age 88, Davies was given a sedative by his lawyer. When she awoke several hours later, she discovered that Hearst had passed away and that his associates had removed his body as well as all his belongings and any trace that he had lived there with her. His family had a big formal funeral for him in San Francisco, from which she was banned. Later, Marion married for the first time at the age of 54, to Horace Brown. The union would last until she died of cancer in 1961 in Los Angeles, California. She was 64 years old. Upon Marion’s niece Patricia Van Cleve Lake's death, it was revealed she had been the love child of Davies and Hearst. The love affair of Marion Davies and William Randolph Hearst was mirrored in the films Citizen Kane (Orson Welles, 1941), RKO 281 (Benjamin Ross, 1999), and The Cat's Meow (Peter Bogdanovich, 2001). In Citizen Kane (1941), the title character's second wife (played by Dorothy Comingore—an untalented singer whom he tries to promote—was widely assumed to be based on Davies. But many commentators, including Citizen Kane writer/director Orson Welles himself, have defended Davies' record as a gifted actress, to whom Hearst's patronage did more harm than good.

Sources: Denny Jackson (IMDb), Wikipedia and IMDb.

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

Betty Compson by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Betty Compson

Vintage Austrian postcard. Distr. Lux-Film Verleih. Iris Verlag, 5841.

American actress and film producer Betty Compson (1897–1974) peaked in the silent cinema and the early talkies. She is best known for her performances as a suicidal prostitute rescued by a stoker (George Bancroft) in The Docks of New York (Josef von Sternberg, 1928), and as the manipulative carnival girl Carrie in the part-talkie The Barker (George Fitzmaurice, 1928), the latter earning her a nomination for the Academy Award for Best Actress.

Buster Keaton by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Buster Keaton

Austrian postcard by Iris Verlag, no. 6256. Photo: Metro Goldwyn Mayer.

Stone-faced Buster Keaton (1895-1966) was one of the three greatest comedians of Silent Hollywood.

Buster Keaton was born Joseph Frank Keaton in 1895 into a vaudeville family. His father was Joseph Hallie ‘Joe’ Keaton, who owned a travelling show with Harry Houdini called the Mohawk Indian Medicine Company. Keaton was born in Piqua, Kansas, the small town where his mother, Myra Keaton (née Myra Edith Cutler), happened to go into labour. When he was 3, Keaton began performing with his parents in The Three Keatons. He was thrown around the stage, into the orchestra pit, or even into the audience. His little suits even concealed a handle at the waist, so Joe could sling him like luggage. "It was the roughest knockabout act that was ever in the history of the theatre," Keaton told the historian Kevin Brownlow. It led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. Noticing that his laughing drew fewer laughs from the audience, Keaton adopted his famous deadpan expression whenever he was working. For the rest of his career, Keaton was "the great stone face," with an expression that ranged from impassive to slightly quizzical. By the time he was 21, his father's alcoholism threatened the reputation of the family act, so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film. In February 1917, Keaton met Roscoe ‘Fatty’ Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. He was hired as a co-star and gagman, making his first appearance in the short The Butcher Boy (Roscoe 'Fatty' Arbuckle, 1917). He appeared in a total of 14 Arbuckle shorts, running into 1920. They were popular and, Keaton and Arbuckle became close friends. Keaton was one of few people to defend Arbuckle's character during accusations that he was responsible for the death of actress Virginia Rappe in 1921. In The Saphead (Herbert Blaché, Winchell Smith, 1920), Keaton had his first starring role in a full-length feature. It was a success and Schenck gave him his production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week (Edward F. Cline, Buster Keaton, 1920), The Boat (Edward F. Cline, Buster Keaton, 1921), Cops (Edward F. Cline, Buster Keaton, 1922), and The Paleface (Edward F. Cline, Buster Keaton, 1922). Keaton then moved to full-length features. His first feature, Three Ages (Edward F. Cline, Buster Keaton, 1923), was produced similarly to his short films and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the storylines and characterization. His most enduring features include Our Hospitality (John G. Blystone, Buster Keaton, 1923), The Navigator (Donald Crisp, Buster Keaton, 1924), Sherlock Jr. (Buster Keaton, 1924), College (James W. Horne, Buster Keaton, 1927), and The General (Clyde Bruckman, Buster Keaton, 1927). The General, set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline re-enacted an actual wartime incident. Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy. It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements.

Buster Keaton endured this treatment for two more feature films, including Steamboat Bill Jr. (Charles Reisner, Buster Keaton, 1928), and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, In 1921, Keaton had married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. She co-starred with Keaton in Our Hospitality. The couple had two sons, James (1922-2007) and Robert (1924–2009), but after the birth of Robert, the relationship began to suffer. Influenced by her family, Talmadge decided not to have any more children and this led to the couple staying in separate bedrooms. Her financial extravagance (she would spend up to a third of his salary on clothes) was another factor in the breakdown of the marriage. Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that MGM’s studio system would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage (Edward Sedgwick, Buster Keaton, 1929), as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton some creative participation in his last originally developed/written silent film The Cameraman (Edward Sedgwick, Buster Keaton, 1928). which was his first project under contract with them. Keaton was forced to use a stunt double during some of the more dangerous scenes, something he had never done in his heyday, as MGM wanted badly to protect its investment. Some of his most financially successful films for the studio were during this period. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber (Edward Sedgwick, 1932), Speak Easily (Edward Sedgwick, 1932), and What! No Beer? (Edward Sedgwick, 1933). In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. In 1932, Nathalie Talmadge divorced Keaton, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. With the failure of his marriage and the loss of his independence as a filmmaker, Keaton lapsed into a period of alcoholism.

Buster Keaton was so demoralized during the production of What! No Beer? (Edward Sedgwick, 1933) that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing. Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. When they divorced in 1936, it was again at great financial cost to Keaton. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées/The King of the Champs Elysees (Max Nosseck, 1934) with Paulette Dubost. In England, he made another film, The Invader/An Old Spanish Custom (Adrian Brunel, 1936). Upon Keaton's return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself, often recycling ideas from his family vaudeville act and his earlier films. The high point in the Educational series is Grand Slam Opera (Buster Keaton, Charles Lamont, 1936), featuring Buster in his own screenplay as a contestant in a radio amateur hour show hoping to win the first prize... by dancing and juggling. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films At the Circus (Edward Buzzell, 1939) and Go West (Edward Buzzell, 1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television. In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for two years. The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's Three Stooges comedies. Keaton's personal favourite was the series' debut entry, Pest from the West (Del Lord, 1939), a shorter, tighter remake of The Invader (1936). Keaton's Columbia shorts rank as the worst comedies he made.

Buster Keaton's personal life stabilized with his 1940 marriage with Eleanor Norris, a 21-year-old dancer. She stopped his heavy drinking and helped to salvage his career. He abandoned Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in features. He made his last starring feature El Moderno Barba Azul/Boom In The Moon (Jaime Salvador, 1946) in Mexico. Critics rediscovered Keaton in 1949. He had cameos in such films as In the Good Old Summertime (Robert Z. Leonard, 1949), Sunset Boulevard (Billy Wilder, 1950), and Around the World in 80 Days (Michael Anderson, 1956), and did innumerable TV appearances. Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952). In 1954, Keaton and his wife met film programmer Raymond Rohauer, with whom the couple would develop a business partnership to re-release Keaton's films. Around the same time, after buying the comedian's house, the actor James Mason found numerous cans of Keaton's films. Keaton had prints of the features Three Ages, Sherlock, Jr., Steamboat Bill, Jr., College (missing one reel) and the shorts The Boat and My Wife's Relations, which Keaton and Rohauer transferred to safety stock from deteriorating nitrate film stock. Unknown to them at the time, MGM also had saved some of Keaton's work: all his 1920-1926 features and his first eight two-reel shorts. In 1962 came a retrospective at the Cinematheque Francaise in Paris, and in 1965 a tribute at the Venice Film Festival. "I can't feel sorry for myself," he said in Venice. "It all goes to show that if you stay on the merry-go-round long enough you'll get another chance at the brass ring. Luckily, I stayed on." In 1960, Keaton returned to MGM for the final time, playing a lion tamer in an adaptation of Mark Twain's The Adventures of Huckleberry Finn (Michael Curtiz, 1960). Later Keaton played a cameo in It's a Mad, Mad, Mad, Mad World (Stanley Kramer, 1963) and starred in four films for American International Pictures: Pajama Party (Don Weis, 1964), Beach Blanket Bingo (William Asher, 1965), How to Stuff a Wild Bikini (William Asher, 1964) and Sergeant Deadhead (Norman Taurog, 1964). As he had done in the past, Keaton also provided gags for the four AIP films. In 1965, Keaton starred in the short film The Railrodder (Gerald Potterton, Buster Keaton, 1965) for the National Film Board of Canada. Wearing his traditional pork pie hat, he travelled from one end of Canada to the other on a railway motorcar, performing a few stunts similar to those in films he did 50 years earlier. The film was Keaton's last silent screen performance. He also played the central role in Samuel Beckett's Film (Alan Schneider, 1965) and travelled to Italy to play a role in Due Marines e un Generale/War Italian Style (Luigi Scattini, 1965), with Italian comedy duo Franco Franchi and Ciccio Ingrassia. Keaton's final film was A Funny Thing Happened on the Way to the Forum (Richard Lester, 1966) which was filmed in Spain in September-November 1965. He amazed the cast and crew by doing many of his own stunts. Shortly after completing the film, Keaton died of lung cancer in 1966 at his home in Woodland Hills, California. He was 70. In 1987, the documentary, Buster Keaton: A Hard Act to Follow, directed by Kevin Brownlow and David Gill, won two Emmy Awards.

Sources: Roger Ebert, Nicolette Olivier (IMDb), New York Times, Wikipedia, and IMDb.

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

Ernst Tautenhayn by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Ernst Tautenhayn

Austrian postcard by Iris Verlag, Wien, no. 47. Photo: Residenz.

Austrian actor and operetta singer Ernst Tautenhayn (1874–1944) appeared in silent films of the late 1910s and early 1920s. The tenor often was engaged as an operetta singer. He was a popular artist and he performed at numerous stages.

Ernst Maximilian Tautenhayn was born in 1873 or 1874 (sources differ) in Vienna, Austria-Hungary. He was the son of the sculptor Josef Hermann Tautenhayn and Eleonore Eufrosina Tautenhayn. The boy was a natural who was able to gain a foothold at the theatre in 1893 although he did not get acting or singing lessons. He debuted at the Lindentheater in Berlin. From 1893 to 1895 he worked as a singer and actor in Graz and at the Carltheater in Vienna. Then he performed at the Landestheater in Linz and was a member of the Deutsches Theater in Prague. From 1910 to 1920 he was an operetta tenor at the Theater an der Wien and later at the Bürger-, Carl- and Johann Strauß-Theater in Vienna. He also performed at the Vienna Volksoper.

Ernst Tautenhayn also appeared in four silent Austrian films. including Mir kommt keiner aus/Nobody comes from (Jakob Fleck, Luise Kolm, 1917) with Liane Haid, Wo die Lerche singt/Where the Lark Sings (Hubert Marischka, 1918) with Louise Kartousch and Töte sie!/Kill Her (Ernst Marischka, 1920). He sang almost all the leading roles in Lehár operettas on Viennese stages and became an audience favourite. Occasionally he also appeared in Prater establishments (e.g. Bundestheater im Kaisergarten). On the occasion of the ‘referendum’ after the annexation of Austria in 1938, he wrote: ‘For me, this “yes” is the most beautiful “yes” of my life.’ In 1941, he became a professor at the newly opened Vienna Operetta School. Ernst Tautenhayn remained active as an artist till his death. For a long time, he had only appeared in guest roles, but finally, the Vienna Opera House engaged him again for his earlier starring roles and organised a festive performance of ‘Die Fledermaus’ on the occasion of his 70th birthday in 1943, in which he appeared as Frosch for the last time. Ernst Tautenhayn died in 1944 in Zlabings (Slavonice), Czechoslovakia, at 71. He was married to the singer Therese Schiner (Theresia Tautenhayn) and they had a daughter, Wilhelmine Tautenhayn. His grave, dedicated in his honour, is located in the Vienna Central Cemetery.

Sources: Wien Geschichte Wiki (German), Geni, Wikipedia (German) and IMDb,

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

Ernst Tautenhayn by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Ernst Tautenhayn

Austrian postcard by Iris Verlag, Wien, no. 46. Photo: Residenz.

Austrian actor and operetta singer Ernst Tautenhayn (1874–1944) appeared in silent films of the late 1910s and early 1920s. The tenor often was engaged as an operetta singer. He was a popular artist and he performed at numerous stages.

Ernst Maximilian Tautenhayn was born in 1873 or 1874 (sources differ) in Vienna, Austria-Hungary. He was the son of the sculptor Josef Hermann Tautenhayn and Eleonore Eufrosina Tautenhayn. The boy was a natural who was able to gain a foothold at the theatre in 1893 although he did not get acting or singing lessons. He debuted at the Lindentheater in Berlin. From 1893 to 1895 he worked as a singer and actor in Graz and at the Carltheater in Vienna. Then he performed at the Landestheater in Linz and was a member of the Deutsches Theater in Prague. From 1910 to 1920 he was an operetta tenor at the Theater an der Wien and later at the Bürger-, Carl- and Johann Strauß-Theater in Vienna. He also performed at the Vienna Volksoper.

Ernst Tautenhayn also appeared in four silent Austrian films. including Mir kommt keiner aus/Nobody comes from (Jakob Fleck, Luise Kolm, 1917) with Liane Haid, Wo die Lerche singt/Where the Lark Sings (Hubert Marischka, 1918) with Louise Kartousch and Töte sie!/Kill Her (Ernst Marischka, 1920). He sang almost all the leading roles in Lehár operettas on Viennese stages and became an audience favourite. Occasionally he also appeared in Prater establishments (e.g. Bundestheater im Kaisergarten). On the occasion of the ‘referendum’ after the annexation of Austria in 1938, he wrote: ‘For me, this “yes” is the most beautiful “yes” of my life.’ In 1941, he became a professor at the newly opened Vienna Operetta School. Ernst Tautenhayn remained active as an artist till his death. For a long time, he had only appeared in guest roles, but finally, the Vienna Opera House engaged him again for his earlier starring roles and organised a festive performance of ‘Die Fledermaus’ on the occasion of his 70th birthday in 1943, in which he appeared as Frosch for the last time. Ernst Tautenhayn died in 1944 in Zlabings (Slavonice), Czechoslovakia, at 71. He was married to the singer Therese Schiner (Theresia Tautenhayn) and they had a daughter, Wilhelmine Tautenhayn. His grave, dedicated in his honour, is located in the Vienna Central Cemetery.

Sources: Wien Geschichte Wiki (German), Geni, Wikipedia (German) and IMDb,

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

Buster Keaton by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Buster Keaton

Austrian postcard by Iris Verlag, no. 441/2. Photo: Metro-Goldwyn.

Stone-faced Buster Keaton (1895-1966) was one of the three greatest comedians of Silent Hollywood.

Buster Keaton was born Joseph Frank Keaton in 1895 into a vaudeville family. His father was Joseph Hallie ‘Joe’ Keaton, who owned a travelling show with Harry Houdini called the Mohawk Indian Medicine Company. Keaton was born in Piqua, Kansas, the small town where his mother, Myra Keaton (née Myra Edith Cutler), happened to go into labour. By the time he was 3, Keaton began performing with his parents in The Three Keatons. He was being thrown around the stage and into the orchestra pit, or even into the audience. His little suits even had a handle concealed at the waist, so Joe could sling him like luggage. "It was the roughest knockabout act that was ever in the history of the theatre," Keaton told the historian Kevin Brownlow. It led to accusations of child abuse, and occasionally, arrest. However, Buster Keaton was always able to show the authorities that he had no bruises or broken bones. Noticing that his laughing drew fewer laughs from the audience, Keaton adopted his famous deadpan expression whenever he was working. For the rest of his career, Keaton was "the great stone face," with an expression that ranged from impassive to slightly quizzical. By the time he was 21, his father's alcoholism threatened the reputation of the family act, so Keaton and his mother, Myra, left for New York, where Buster Keaton's career swiftly moved from vaudeville to film. In February 1917, Keaton met Roscoe ‘Fatty’ Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck. He was hired as a co-star and gagman, making his first appearance in the short The Butcher Boy (Roscoe 'Fatty' Arbuckle, 1917). He appeared in a total of 14 Arbuckle shorts, running into 1920. They were popular and, Keaton and Arbuckle became close friends. Keaton was one of few people to defend Arbuckle's character during accusations that he was responsible for the death of actress Virginia Rappe in 1921. In The Saphead (Herbert Blaché, Winchell Smith, 1920), Keaton had his first starring role in a full-length feature. It was a success and Schenck gave him his own production unit, Buster Keaton Comedies. He made a series of two-reel comedies, including One Week (Edward F. Cline, Buster Keaton, 1920), The Boat (Edward F. Cline, Buster Keaton, 1921), Cops (Edward F. Cline, Buster Keaton, 1922), and The Paleface (Edward F. Cline, Buster Keaton, 1922). Keaton then moved to full-length features. His first feature, Three Ages (Edward F. Cline, Buster Keaton, 1923), was produced similarly to his short films and was the dawning of a new era in comedic cinema, where it became apparent to Keaton that he had to put more focus on the storylines and characterization. His most enduring features include Our Hospitality (John G. Blystone, Buster Keaton, 1923), The Navigator (Donald Crisp, Buster Keaton, 1924), Sherlock Jr. (Buster Keaton, 1924), College (James W. Horne, Buster Keaton, 1927), and The General (Clyde Bruckman, Buster Keaton, 1927). The General, set during the American Civil War, combined physical comedy with Keaton's love of trains, including an epic locomotive chase. Employing picturesque locations, the film's storyline re-enacted an actual wartime incident. Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time. It was too dramatic for some filmgoers expecting a lightweight comedy. It was an expensive misfire, and Keaton was never entrusted with total control over his films again. His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements.

Buster Keaton endured this treatment for two more feature films, including Steamboat Bill Jr. (Charles Reisner, Buster Keaton, 1928), and then exchanged his independent setup for employment at Hollywood's biggest studio, Metro-Goldwyn-Mayer (MGM). Keaton's loss of independence as a filmmaker coincided with the coming of sound films (although he was interested in making the transition) and mounting personal problems, In 1921, Keaton had married Natalie Talmadge, sister-in-law of his boss, Joseph Schenck, and sister of actresses Norma Talmadge and Constance Talmadge. She co-starred with Keaton in Our Hospitality. The couple had two sons, James (1922-2007) and Robert (1924–2009), but after the birth of Robert, the relationship began to suffer. Influenced by her family, Talmadge decided not to have any more children and this led to the couple staying in separate bedrooms. Her financial extravagance (she would spend up to a third of his salary on clothes) was another factor in the breakdown of the marriage. Keaton signed with MGM in 1928, a business decision that he would later call the worst of his life. He realized too late that MGM’s studio system would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage (Edward Sedgwick, Buster Keaton, 1929), as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton some creative participation on his last originally developed/written silent film The Cameraman (Edward Sedgwick, Buster Keaton, 1928). which was his first project under contract with them. Keaton was forced to use a stunt double during some of the more dangerous scenes, something he had never done in his heyday, as MGM wanted badly to protect its investment. Some of his most financially successful films for the studio were during this period. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber (Edward Sedgwick, 1932), Speak Easily (Edward Sedgwick, 1932), and What! No Beer? (Edward Sedgwick, 1933). In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. In 1932, Nathalie Talmadge divorced Keaton, taking his entire fortune and refusing to allow any contact between Keaton and his sons, whose last name she had changed to Talmadge. Keaton was reunited with them about a decade later when his older son turned 18. With the failure of his marriage and the loss of his independence as a filmmaker, Keaton lapsed into a period of alcoholism.

Buster Keaton was so demoralized during the production of What! No Beer? (Edward Sedgwick, 1933) that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1933, he married his nurse, Mae Scriven, during an alcoholic binge about which he afterwards claimed to remember nothing. Scriven herself would later claim that she didn't know Keaton's real first name until after the marriage. When they divorced in 1936, it was again at great financial cost to Keaton. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Élysées/The King of the Champs Elysees (Max Nosseck, 1934) with Paulette Dubost. In England, he made another film, The Invader/An Old Spanish Custom (Adrian Brunel, 1936). Upon Keaton's return to Hollywood, he made a screen comeback in a series of 16 two-reel comedies for Educational Pictures. Most of these are simple visual comedies, with many of the gags supplied by Keaton himself, often recycling ideas from his family vaudeville act and his earlier films. The high point in the Educational series is Grand Slam Opera (Buster Keaton, Charles Lamont, 1936), featuring Buster in his own screenplay as a contestant in a radio amateur hour show hoping to win the first prize... by dancing and juggling. When the series lapsed in 1937, Keaton returned to MGM as a gag writer, including the Marx Brothers films At the Circus (Edward Buzzell, 1939) and Go West (Edward Buzzell, 1940), and providing material for Red Skelton. He also helped and advised Lucille Ball in her comedic work in films and television. In 1939, Columbia Pictures hired Keaton to star in ten two-reel comedies, running for two years. The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's Three Stooges comedies. Keaton's personal favourite was the series' debut entry, Pest from the West (Del Lord, 1939), a shorter, tighter remake of The Invader (1936). Keaton's Columbia shorts rank as the worst comedies he made.

Buster Keaton's personal life stabilized with his 1940 marriage with Eleanor Norris, a 21-year-old dancer. She stopped his heavy drinking and helped to salvage his career. He abandoned Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in features. He made his last starring feature El Moderno Barba Azul/Boom In The Moon (Jaime Salvador, 1946) in Mexico. Critics rediscovered Keaton in 1949. He had cameos in such films as In the Good Old Summertime (Robert Z. Leonard, 1949), Sunset Boulevard (Billy Wilder, 1950), and Around the World in 80 Days (Michael Anderson, 1956), and did innumerable TV appearances. Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952). In 1954, Keaton and his wife met film programmer Raymond Rohauer, with whom the couple would develop a business partnership to re-release Keaton's films. Around the same time, after buying the comedian's house, the actor James Mason found numerous cans of Keaton's films. Keaton had prints of the features Three Ages, Sherlock, Jr., Steamboat Bill, Jr., College (missing one reel) and the shorts The Boat and My Wife's Relations, which Keaton and Rohauer transferred to safety stock from deteriorating nitrate film stock. Unknown to them at the time, MGM also had saved some of Keaton's work: all his 1920-1926 features and his first eight two-reel shorts. In 1962 came a retrospective at the Cinematheque Francaise in Paris, and in 1965 a tribute at the Venice Film Festival. "I can't feel sorry for myself," he said in Venice. "It all goes to show that if you stay on the merry-go-round long enough you'll get another chance at the brass ring. Luckily, I stayed on." In 1960, Keaton returned to MGM for the final time, playing a lion tamer in an adaptation of Mark Twain's The Adventures of Huckleberry Finn (Michael Curtiz, 1960). Later Keaton played a cameo in It's a Mad, Mad, Mad, Mad World (Stanley Kramer, 1963) and starred in four films for American International Pictures: Pajama Party (Don Weis, 1964), Beach Blanket Bingo (William Asher, 1965), How to Stuff a Wild Bikini (William Asher, 1964) and Sergeant Deadhead (Norman Taurog, 1964). As he had done in the past, Keaton also provided gags for the four AIP films. In 1965, Keaton starred in the short film The Railrodder (Gerald Potterton, Buster Keaton, 1965) for the National Film Board of Canada. Wearing his traditional pork pie hat, he travelled from one end of Canada to the other on a railway motorcar, performing a few stunts similar to those in films he did 50 years earlier. The film was Keaton's last silent screen performance. He also played the central role in Samuel Beckett's Film (Alan Schneider, 1965) and travelled to Italy to play a role in Due Marines e un Generale/War Italian Style (Luigi Scattini, 1965), with Italian comedy duo Franco Franchi and Ciccio Ingrassia. Keaton's final film was A Funny Thing Happened on the Way to the Forum (Richard Lester, 1966) which was filmed in Spain in September-November 1965. He amazed the cast and crew by doing many of his own stunts. Shortly after completing the film, Keaton died of lung cancer in 1966 at his home in Woodland Hills, California. He was 70. In 1987, the documentary, Buster Keaton: A Hard Act to Follow, directed by Kevin Brownlow and David Gill, won two Emmy Awards.

Sources: Roger Ebert, Nicolette Olivier (IMDb), New York Times, Wikipedia, and IMDb.

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

Estelle Taylor by Truus, Bob & Jan too!

© Truus, Bob & Jan too!, all rights reserved.

Estelle Taylor

Austrian postcard by Iris Verlag, no. 590. Photo: Irving Chidnoff, N.Y.

Estelle Taylor (1894–1958) was an American actress, singer, model, and animal rights activist. With "dark-brown, almost black hair, and brown eyes", she was regarded as one of the most beautiful silent film stars of the 1920s.

Ida Estelle Taylor was born in 1894, in Wilmington, Delaware. Her father was Harry D. Taylor and her mother was Ida LaBertha "Bertha" Barrett. The Taylors had another daughter, Helen, who also became an actress. In 1911, Estelle married bank cashier Kenneth M. Peacock. The couple remained together for five years until Taylor decided to become an actress. In 1918, Taylor moved to New York City to study acting at the Sargent Dramatic School. She made her stage debut as a 'comedy vamp' in the play 'Come-On, Charlie', by George V. Hobart. Taylor began looking for work in films. With the help of J. Gordon Edwards, she got a small role in the film A Broadway Saint (Harry O. Hoyt, 1919) starring Montagu Love. She was hired by the Vitagraph Company for a role with Corinne Griffith in The Tower of Jewels (Tom Terriss, 1920), and also played William Farnum's leading lady in The Adventurer (J. Gordon Edwards, 1920) for the Fox Film Corporation. She achieved her first notable success with the crime drama While New York Sleeps (Charles Brabin, 1920) with Marc McDermott. She was a contract player of Fox and William Fox sent her to Fox Film's Hollywood studios. There she played Mercedes opposite John Gilbert as Edmond Dantès in Monte Cristo (Emmett J. Flynn, 1922), based on the novel by Alexandre Dumas.

Estelle Taylor played one of her most memorable roles as Miriam, the sister of Moses (Theodore Roberts), in the biblical prologue of The Ten Commandments (Cecil B. DeMille, 1923), one of the most successful films of the silent era. Her performance in the DeMille film was considered a great acting achievement. Taylor signed a contract with Paramount Pictures on the strength of her performance as Miriam. She was again praised for her portrayal of Mary, Queen of Scots in Dorothy Vernon of Haddon Hall (Marshall Neilan, 1924) starring Mary Pickford. She became even more famous in 1925 when she married heavyweight champion boxer Jack Dempsey. The following year, she played Lucrezia Borgia in Don Juan (Alan Crosland, 1926) starring John Barrymore. This was the first feature-length film to use the Vitaphone sound-on-disc sound system with a synchronised musical score and sound effects, though it has no spoken dialogue. Notable sound films in which she appeared include Street Scene (King Vidor, 1931), with Sylvia Sidney, the Academy Award for Best Picture-winning Cimarron (Wesley Ruggles, 1931), with Richard Dix and Irene Dunne, and Call Her Savage (John Francis Dillon, 1932), with Clara Bow. Although she had made a successful transition to sound films, Taylor retired from film acting in 1932 and decided to focus entirely on her singing career, receiving a salary of $1,000 a week. She performed in vaudeville, on the stage in musicals, and in nightclubs. At one point, she even gave a concert at New York's Carnegie Hall. Taylor returned to films with a small part in the Jean Renoir drama The Southerner (1945). It was her last film. Estelle Taylor was also active in animal welfare before her death from cancer in 1958. She was married three times. After her marriage to Jack Dempsey ended in divorce in 1931, she was married to theatrical producer Paul Small (1943-1945).

Sources: Wikipedia and IMDb.

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Harald Paulsen, by Truus, Bob & Jan too!

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Harald Paulsen,

Vintage Austrian postcard. Iris Verlag. Photo by Cicero Film. Distr. Deutscher Tonfilm, Leopold Barth & Co. Perhaps a card for Eine Stunde Glück (William Dieterle, 1931), in which Paulsen played one of two engineers working the night shift at a department store who pretends to give gifts from the store to a poor girl (Evelyn Holt). Another option is the Cicero production Die Braut im Mond (Charlie K. Roellinghoff, 1933).

Fast-talking German actor Harald Paulsen (1895-1954) appeared in 125 films between 1920 and 1954, including Robert Wiene's Genuine (1920) and Alraune (1930) with Brigitte Helm. He was on stage from 1913 and an ensemble member of Max Reinhardt's Deutsche Theater in the 1920s. Paulsen also played Mack the Knife in the original cast of The Threepenny Opera by Kurt Weill and Bertolt Brecht. The show's opening number, 'Mack the Knife', became the most popular song of its time.