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18 November 2017

Erika Remberg (1932-2017)

It's sad to read that Erika Remberg passed away last week, on 10 November 2017. Long ago we saw the beautiful Austrian film actress in the tearjerker Laila/Make Way for Lila (Rolf Husberg, 1958), as a foundling who is adopted and raised by a Lapland chieftain. Remberg appeared in 31 films between 1950 and 1970, but we want to remember her as lovely Laila.

Erika Remberg (1932-2017)
German postcard by Ufa, Berlin-Tempelhof, no. FK 4340. Photo: Sandrew / Rhombus / Ufa. Publicity still for Laila/Make Way for Lila (Rolf Husberg, 1958).

Erika Remberg (1932-2017)
German postcard by WS-Drück, Wanne-Eickel, no. F 100. Photo: Huster.

Erika Remberg (1932-2017)
German postcard by Bartoschek-Verlag, Stuttgart-Bad Canstatt, no. 1443. Photo: Huster.

Erika Remberg
German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 630. Photo: Deutsche Cosmopol. Publicity photo for the comedy Lockvogel der Nacht/Decoys of the Night (Wilm ten Haaf, 1959).

Turkish Production


Erika Remberg was born Erika Crobath in 1932 in Medan, on the island of Sumatra in the Dutch Indies (now Indonesia). She was the daughter of a tobacco planter. The family returned to Austria during the Second World War.

Erika visited a gymnasium in Innsbruck and there she had her first stage experiences as an amateur actress. After some acting classes and small engagements she worked for the Exl-Bühne in Innsbruck.

There she met Austrian actor Walter Reyer and they married in 1950. That same year their daughter Veronika was born.

In 1950 she also made her film debut in the drama Der Geigenmacher von Mittenwald/The violin maker from Mittenwald (Rudolf Schündler, 1950) with Paul Richter.

Small roles followed in films like the comedy Drei Kavaliere/Three Cavaliers (Joe Stöckel, 1951) and the circus film Salto Mortale (Viktor Tourjansky, 1953), starring Margot Hielscher and Philip Dorn.

As the leading lady, she first appeared in the title role of the Turkish production Nilgün (Münir Hayri Egeli, 1954).

Erika Remberg (1932-2017)
German postcard by Kunst und Bild, Berlin, no. A 778. Photo: Panorama / Komet / Ewald. Publicity still for Salto Mortale (Viktor Tourjansky, 1953).

Erika Remberg (1932-2017)
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 444, 1957. Photo: Komet-Film. Publicity still for Salto Mortale (Viktor Tourjansky, 1953).

Erika Remberg (1932-2017)
German postcard by Ufa, Berlin-Tempelhof, no. FK 3123. Photo: Haenchen / Donau Film. Publicity still for Rosmarie kommt aus Wildwest/Rosmarie comes from Wild West (Wolfgang Becker, 1956).

Erika Remberg (1932-2017)
German postcard by Ufa, Berlin-Tempelhof, no. FK 3342. Photo: Michaelis / Sascha/ Herzog Film. Publicity still for Kaiserjäger/Emperor hunters (Willi Forst, 1956).

Laila


After the Exl-Bühne stopped, Erika Remberg focused completely on the cinema. She became the life partner of the German film actor Klaus Kinski in 1955 and soon she became a star of the German cinema of the late 1950s.

She was the leading lady in such films as the Western comedy Rosmarie kommt aus Wildwest/Rosmarie Comes From the Wild West (Wolfgang Becker, 1956), and three Austrian romantic comedies with Adrian Hoven: Kaiserjäger (Willi Forst, 1956), Wien Du Stadt meiner Träume/Vienna, City of My Dreams (Willi Forst, 1957) and Die unentschuldigte Stunde/The Unexcused Hour (Willi Forst, 1957).

Most of these films were not very interesting artistically, but commercially they were successes. Her biggest hit was the Swedish-German co-production Laila/Make Way for Lila (Rolf Husberg, 1958).

It was the third film version of the tale of Laila, a foundling who is adopted and raised by a Lapland chieftain. Growing to maturity in the frozen Northlands, Laila enjoys an adventuresome existence. Obedient to her adoptive parents, Lila is prepared to settle down and marry the man of their choice - until she falls in love with handsome Joachim Hansen.

Hal Erickson at AllMovie: “Lively ‘mountain drama’ (…) evocatively photographed by Sven Nykvist”. Nykvist was the director of photography of many Ingmar Bergman films.

Erika Remberg (1932-2017)
German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 166.

Erika Remberg
German card by WS-Druck, Wanne-Eickel, no. 143. Photo: Matador-Film.

Erika Remberg (1932-2017)
German postcard by WS-Drück, Wanne-Eickel, no. 406. Photo: Bavaria / Filmpress Zürich.

Erika Remberg
German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 235. Photo: Kolibri / Enzwieser.

Circus of Horrors


In the 1960s, during the decline of the German cinema, Erika Remberg worked often internationally. In 1960 she starred in the Mexican thriller Verano violento/Violent Summer (Alfonso Corona Blake, 1960) opposite Pedro Armendariz. One of her other co-stars was Gustavo Rojo, whom she later married.

That same year she also starred in the French war drama Le bois des amants/Between Love and Duty (Claude Autant-Lara, 1960) with Laurent Terzieff, and in the British horror film Circus of Horrors (Sidney Hayers, 1960).

Circus of Horrors was the third of a series of creepy films from Amalgamated Studios focusing on sadism, cruelty and violence (with sexual undertones). The film details the twisted practises of a deranged German plastic surgeon (Anton Diffring) who hides out in France after mutilating a patient and begins his work anew under an assumed name, travelling with a circus troupe. The previous films in the trilogy were Horrors of the Black Museum and Peeping Tom, both in 1959.

During the 1960s, Erika Remberg mainly appeared on TV. In the cinema she played supporting parts in mediocre fare like the vampire film Der Fluch der grünen Augen/Cave of the Living Dead (Ákos Ráthonyi, 1964) with Adrian Hoven, and the drama À belles dents/Living it Up (Pierre Gaspard-Huit, 1966) starring Mireille Darc.

Her last film was the arty but interesting erotic film The Lickerish Quartet (Radley Metzger, 1970) with Frank Wolff. The reviewer at IMDb writes: “The narrative is interesting and full of tricks. It uses flashbacks, pseudo flashbacks and multiple perspectives. Yes, it's a bit pretentious, but the plot keeps you watching.”

In the USA, The Lickerish Quartet received critical praise upon its release by many critics, including Andy Warhol and Vincent Canby as being one of the first films with graphic sex to have Hollywood-like production values.

In later years, Erika Remberg mainly worked for TV in series like Wie würden Sie entscheiden?/How Would You Decide? (Clemens Keiffenheim, Renate Vacano, 1974) and Les grands détectives/The Great Detectives (Jean Herman, 1975).

Somewhere in the mid-1970s, she said the cinema and the stage farewell. In 1981 she wrote the novel Steckbriefe/Profiles, that was adapted into a TV series.

After this Erika Remberg retired completely and married film director Sidney Hayers, with whom she had made Circus of Horrors in 1960. They lived together in Altea, Spain, where Hayers died of cancer in 2000.

Erika Remberg
German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 901. Photo: Deutsche Cosmopol. Publicity photo for the comedy Lockvogel der Nacht/Decoys of the Night (Wilm ten Haaf, 1959).

Gunnar Möller and Erika Remberg
German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 2838. Photo: publicity still for Drei weiße Birken/Three white birches (Hans Albin, 1961).

Erika Remberg (1932-2017)
German postcard by Ufa, Berlin-Tempelhof, no. FK 3821. Photo: Brünjes / Rhombus / Ufa.


German Trailer of Laila/Make Way for Lila (1958). Source: Pidax (YouTube).


Trailer of Circus of Horrors (1960). Source: WickedVisionMagazin
(YouTube).


Trailer of The Lickerish Quartet (1970). Source: CultEpicsDVD (YouTube).

Sources: Hal Erickson (AllMovie), AllMovie, Wikipedia (German) and IMDb.

17 November 2017

Massilia

Massilia ia a little known French label, that published dozens of collectors cards during the 1930s, in colour (hand-coloured cards) and black and white, and in different formats. On 23 April 2012, EFSP did a post with Massilia cards from the collection of Canadian collector Amit Benyovits. Today, a post with Massilia cards from our own collection.

Jean Gabin
Jean Gabin. French collectors card by Massilia.

Annabella
Annabella. French collectors card by Massilia. Photo: Fox.

Fernandel
Fernandel. French collectors card by Massilia.

Jules Berry
Jules Berry. French collectors card by Massilia.

Louis Jouvet
Louis Jouvet. French postcard by Massilia. Photo: Eclair.

A Greek Colony


Wikipedia mentions that Massilia is the Latin name of the Greek colony of Μασσαλία. It was founded by the Ionians of Phocaea in 600 BC. The colony was located on the southern coast of Gaul, at the place of modern Marseilles.

Massilia was also an affiliated label with bonbons Loriot (etablissements UNGEMAC Strasbourg) in the 1930s. Massilia issued ‘Sammelbilder’ (collectors cards) about various subjects, in different formats, in colour and in black and white or sepia.

Many labels used the collectors cards as a gift and promo for their products, including Kivou in Belgium (chocolate), and an incredible amount of cigarettes labels in Germany: Altona, Orami, and so on.

These labels often used Ross Verlag for their film stars albums. Other subjects for the collectors cards were dancers, beautiful women, animals, flags and martial subjects when the NSDAP took over in Germany.

Some of the Massilia cards are large sized (10,5 cm x 15 cm) and printed on high quality card stock. Others are smaller (8 x 11 cm). Almost all of them have vibrantly colour-toned images on front and plain white backs. But there are also series in black and white or sepia. On each card you’ll find a small Massilia logo at the bottom.

Corinne Luchaire
Corinne Luchaire. French collectors card by Massilia. Photo: London Film Productions.

Roger Tréville
Roger Tréville. French collectors card by Massilia. Photo: Paramount.

Pierre Blanchar
Pierre Blanchar. French collectors card by Massilia. Photo: Filmsonor.

Michèle Morgan
Michèle Morgan. French collectors card by Massilia. Photo: Osso.

Elvire Popesco
Elvire Popesco. French collectors card by Massilia.

Different Poses


At the memorabilia site Immortal Ephemera, Cliff Aliperti dates Amit Benyovits' set to approximately 1937-1938 due to inclusion of child stars such as Shirley Temple and Deanna Durbin. At Immortal Ephemera, you 'll find scans of the album cover plus of all the cards of Benyovits, including some cards of pairs.

Cliff Aliperti: “Of these pairs Yvette Lebon and Tino Rossi only appeared in one film together, released 1936; Viviane Romance and Tino Rossi appeared in 2, released in 1937 and much later (1972). Also included are the pair of Jacqueline Delubac and Sacha Guitry who appeared in a whopping 11 films together: 1 in 1935, the other 10 all between 1936-1938.”

Some of the photos look a lot like pictures you can see on similar postcards of other publishers, but the poses are different. What could be the reason?

Collector Didier Hanson: “Keep in mind that 9 times out of 10 the photo atelier took many shots during the photo session, and many or all of them were used to issue postcards, even if the publishers were different. This explains why you can come across similar postcards from different publishing houses.”

Marie Glory
Marie Glory. French card by Massilia.

Armand Bernard
Armand Bernard. French card by Massilia. Photo: A.C.E.

Madeleine Robinson
Madeleine Robinson. French collectors card by Massilia. Photo: Studio Harcourt.

Conchita Montenegro
Conchita Montenegro. French collectors card by Massilia.

Dita Parlo
Dita Parlo. French collectors card by Massilia.

Dolly Mollinger
Dolly Mollinger. French collectors card by Massilia.

Henri Rollan
Henri Rollan. French card by Massilia. Handwritten text at the backside (not entirely readable): "Je suis heureux de pouvoir vous saluer de cette façon un peu inattendue.... aussi inconnue à qui sont dédiés mes efforts, mais qui en pensez... quoi??? Bien sympathiquement... quoi qu'il en soit. Henri Rollan".

Henri Alibert in Titin des Martigues (1938)
Henri Alibert. French card by Massilia. Photo: Film Malsherbes. Publicity still for Titin des Martigues (René Pujol, 1938).

Junie Astor in Les Bas-fonds (1936)
Junie Astor. French postcard by Massilia. Photo: Filma Albatros. Publicity still for Les Bas-fonds/The Lower Depths (Jean Renoir, 1936).

Tino Rossi
Tino Rossi. French card by Massilia.

Marie Glory
Marie Glory. French card by Massilia. Photo: R. Joffres.

René Dary
René Dary. French collectors card by Massilia. Photo: Léo Mirkine.

Maurice Chevalier
Maurice Chevalier. French collectors card by Massilia.

Sources: Didier Hanson, Amit Benyovits, Clifford Aliperti (Immortal Ephemera), and Wikipedia.

It is Postcard Friendship Friday, hosted by Beth at the The Best Hearts are Crunchy. You can visit her by clicking on the button below.

16 November 2017

Guglielmo Oberdan, il martire di Trieste (1915)

In 1882, Guglielmo Oberdan was executed after a failed attempt to assassinate Austrian Emperor Francis Joseph. He became a martyr of the Italian unification movement. Thirty years later, silent film star Alberto Collo played him in Guglielmo Oberdan, il martire di Trieste/Guglielmo Oberdan, the martyr of Trieste (Emilio Ghione, 1915), produced by Tiber Films during World War I. Viva L'Italia!

Alberto Collo and Vittorina Moneta in Guglielmo Oberdan, il martire di Trieste (1915)
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione, 1915) with Alberto Collo as Gugliemo Oberdan and Vittorina Moneta as his fiancee Maria. Caption: "The Fatherland above all other affections. From this wet nurse Rome, queen of the world, the spark will part that will free my Trieste."

Alberto Collo in Guglielmo Oberdan (1915)
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione, 1915) with Alberto Collo and Vittorina Moneta. Caption: And if you don't return? There is no nicer sacrifice than dying for the fatherland.

Alberto Collo and Ida Carloni Talli in Guglielmo Oberdan, il martire di Trieste
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione, 1915), with Alberto Collo as Oberdan and famous stage actress Ida Carloni Talli as his mother. Caption: "What shall I do, mamma? I will leave this oppressed land and will take care my sacrifice will be worthwhile to redeem my brothers and sisters."

Alberto Collo and Ida Carloni Talli in Guglielmo Oberdan, il martire di Trieste
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione, 1915), with Alberto Collo as Oberdan and Ida Carloni Talli as his mother. Caption: "And his mother said: 'Go! My most beloved one, remember every suffered insult, every cry of grief. Make sure that the Fatherland will be saved'."

Propaganda


During the First World War, more postcards were mailed than ever before - or ever after. Different European countries decided to use the postcard to advertise films and to create film stars. Governments used the cinema as part of their propaganda machines. Italian producers chose the martyrs of the Italian liberation, like Guglielmo Oberdan, for their patriotic films to justify Italy's participation in the Great War.

Wilhelm Oberdan was born in the city of Trieste, then part of the Austrian Empire. His mother was a Slovene woman from Šempas in the County of Gorizia and Gradisca, while his father, Valentino Falcier, was a Venetian soldier in the Austrian army. He did not recognize his son, so Wilhelm took his mother's surname. He was educated in an Italian cultural milieu and Italianised his name to Guglielmo Oberdan.

In 1877 he enrolled at the Vienna's College of Technology (now Vienna University of Technology) where he studied engineering. As he supported the idea of independence for all of the empire's national groups he resented the occupation of Bosnia-Herzegovina by Austria-Hungary and therefore deserted from the Austro-Hungarian Army because he did not want to take part in military activities there.

Instead, he fled to Rome to continue his studies there. In the Italian capital he adopted irredentist ideas, aiming at the annexation to Italy of the Italian-speaking lands still under Austro-Hungarian rule. In 1882 he met with irredentist leader and co-founder Matteo Renato Imbriani. It was then that he came to the conviction that only radical acts of martyrdom could bring the liberation of Trieste from Austrian rule. And at the same time, Emperor Franz Joseph was planning a visit to Trieste as part of the celebration of the 500th anniversary of Habsburg dominion over the city...

Oberdan and Istrian pharmacist Donato Ragosa plotted an assassination attempt on the Emperor. However, their attempt failed. Oberdan was arrested and sentenced to hang by an Austrian court. His mother, author Victor Hugo and poet Giosue Carducci appealed for clemency - but in vain. Just before the execution, Oberdan cried "Viva l'Italia!" (Long live Italy!), which helped establish his later reputation as a martyr of the Italian National cause. Statues of him were erected throughout unified Italy. The Emperor Franz Joseph, who reigned another thirty-five years, never visited Trieste again. The assassination of Archduke Franz Ferdinand in 1914, harked back to Oberdan's earlier attempt.

Tiber Films produced Guglielmo Oberdan, il martire di Trieste in 1915. Director of this film adaptation of Oberdan's life was Emilio Ghione, who also played the role of the governor of Trieste. Ghione met the irredentist Gabriele D'Annunzio at an invitational showing of the film in Rome and Ghione's inter-titles were praised by D'Annunzio. Guglielmo Oberdan, il martire di Trieste was just one of a number of irredentist films produced in Italy during World War One.  In our coming film special next week, EFSP will feature another example of these patriotic films.

Alberto Collo in Guglielmo Oberdan, il martire di Trieste
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione 1915), with Alberto Collo as Oberdan. Caption: "If it would happen... that I would not return ... here is my testament: Viva L'Italia!"

Alberto Collo in Guglielmo Oberdan (1915)
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione, 1915) with Alberto Collo as Guglielmo Obedan. Caption: Italy! May I see you again having grown bigger... or never see you again.

Alberto Collo in Guglielmo Oberdan, il martire di Trieste (1915)
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione, 1915) with Alberto Collo as Guglielmo Obedan. Caption: "I don't fear you, you cops. If only my act could cause Italy to start war with the enemy."

Alberto Collo and Emilio Ghione in Guglielmo Oberdan, il martire di Trieste (1915)
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione 1915), with Alberto Collo (right) as Guglielmo Oberdan (right) and Emilio Ghione (left) as the governor of Trieste. Caption: "I admit and I swear to have come to Trieste with the exact scope of killing the infamous head of an infamous state. And now I happily challenge your tortures."

Vittorina Moneta in Guglielmo Oberdan, il martire di Trieste
Italian postcard for Guglielmo Oberdan, il martire di Trieste (Emilio Ghione 1915), with Vittorina Moneta as Oberdan's fiancee Maria. Caption: "Let your sweet, delightful soul exult for the imminent liberation."

Sources: Wikipedia and IMDb