MOVIE of the MONTH

JOAN BLONDELL - Joan Blondell, nata il 30 agosto 1906 a New York, è stata una delle stelle più versatili e carismatiche dell’epoca d’oro di Hollywood, capace di passare con disinvoltura da ruoli drammatici a commedie frizzanti. Con il suo fascino sfrontato, occhi vivaci e un’energia che illuminava lo schermo, Blondell è stata un’icona degli anni ’30 e ’40, nota per film come La donna del miracolo (1931) e Chorus Girl (1933). In Topper Returns (1941), terzo e ultimo capitolo della trilogia di commedie soprannaturali ispirate a Thorne Smith, Blondell regala una performance memorabile come Gail Richards, un fantasma determinato e irresistibile, distinguendosi nettamente dai toni dei primi due film della serie. Figlia di attori di vaudeville, Blondell crebbe sul palcoscenico e approdò a Hollywood dopo successi a Broadway. Con oltre 100 film all’attivo, si guadagnò una reputazione per la sua autenticità e il suo umorismo, spesso interpretando donne indipendenti e argute. Nominata all’Oscar come Miglior Attrice Non Protagonista per The Blue Veil (1951), continuò a lavorare in cinema, teatro e televisione fino agli anni ’70. La sua vitalità e il suo calore umano la resero una delle attrici più amate del suo tempo. In Topper Returns, diretto da Roy Del Ruth, Joan Blondell interpreta Gail Richards, una giovane donna assassinata per errore in una villa gotica dopo uno scambio di stanze con l’amica Ann Carrington (Carole Landis). Trasformata in un fantasma, Gail è il motore della storia: non cerca solo giustizia, ma trascina il banchiere Cosmo Topper (Roland Young) in un’indagine piena di suspense e risate. Con la sua parlantina veloce e un’energia quasi palpabile, Blondell rende Gail un personaggio unico: un fantasma che è allo stesso tempo malizioso, determinato e adorabile. Le sue interazioni con Topper, la svampita Clara (Billie Burke) e l’autista Eddie (Eddie “Rochester” Anderson) sono il cuore comico del film, mentre le scene in cui appare e scompare, grazie a effetti speciali nominati agli Oscar, aggiungono un tocco di magia visiva. Blondell domina ogni inquadratura, portando una freschezza che eleva il mix di giallo, commedia e horror leggero. Rispetto a Topper (1937) e Topper Takes a Trip (1938), Topper Returns si distingue per tono, struttura e il ruolo del personaggio di Blondell. Nei primi due film, la coppia di fantasmi George e Marion Kerby (Cary Grant e Constance Bennett) è al centro della storia, con un focus su commedie sofisticate e dinamiche matrimoniali. In Topper, i Kerby, morti in un incidente d’auto, tornano come spiriti per “redimere” Topper, spingendolo a vivere con più audacia. La loro presenza è giocosa e romantica, con un’energia da screwball comedy. In Topper Takes a Trip, Marion (senza George) aiuta Topper a risolvere una crisi coniugale in Francia, mantenendo un’atmosfera leggera e mondana. In Topper Returns, invece, Gail Richards di Blondell introduce un’energia più terrena e diretta. A differenza dei Kerby, che sono spiriti spensierati con motivazioni altruistiche, Gail è mossa da un obiettivo personale: trovare il suo assassino. Questo sposta il film verso un registro da giallo-commedia, con una villa piena di passaggi segreti e un’atmosfera che ricorda i mystery-horror degli anni ’30. Mentre Marion Kerby è elegante e maliziosa, Gail è più sfacciata e pratica, con un umorismo che riflette lo stile di Blondell, fatto di battute rapide e un’attitudine da “ragazza della porta accanto”. Inoltre, Topper Returns abbandona la continuity romantica dei Kerby, concentrandosi su un’indagine standalone, il che rende il ruolo di Blondell più centrale e narrativamente cruciale rispetto a quello di Bennett nei film precedenti. Un’altra differenza è il tono: i primi due film sono commedie sofisticate con un tocco di glamour, mentre Topper Returns abbraccia elementi slapstick e suspense, grazie anche alla regia di Del Ruth e alla sceneggiatura di Jonathan Latimer. Blondell, con la sua versatilità, si adatta perfettamente a questo mix, portando una comicità più fisica e meno eterea rispetto a Constance Bennett. La sua Gail non è solo un fantasma, ma una detective improvvisata, dando al film un ritmo più incalzante e un appeal più moderno. La performance di Blondell in Topper Returns è uno dei motivi del suo successo, con un 89% su Rotten Tomatoes e un posto tra i classici del genere. Il film, nel pubblico dominio dal 1969, è stato restaurato per il UCLA Festival of Preservation nel 2022, e la chimica di Blondell con Young, Burke e Anderson rimane un punto di forza. Puoi guardarlo su Tubi, Pluto TV o Archive.org, o noleggiarlo su Amazon Prime Video. La sua Gail Richards è un’icona della commedia soprannaturale, un personaggio che anticipa figure come Elvira o le protagoniste di Ghostbusters. Joan Blondell morì il 25 dicembre 1979 a Santa Monica, ma la sua eredità vive in ruoli come quello di Topper Returns, dove ha dimostrato di poter trasformare un fantasma in una forza della natura. Con il suo sorriso malizioso e la sua verve, Blondell rimane una stella che illumina ogni fotogramma.
CONSTANCE BENNETT - Card no. 47 from the FAMOUS FILM STARS series, printed by ARDATH TOBACCO CO LTD in 1934 Constance Campbell Bennett was born on October 22, 1904, in New York City into a family already immersed in the entertainment world. Her father, Richard Bennett, was a successful stage actor, and her sisters, Joan and Barbara, followed similar career paths. Constance made her big-screen debut in the 1920s during the silent film era, but her career truly took off with the advent of sound cinema. Thanks to her refined voice, elegant charm, and natural comedic talent, she became one of the most famous and highly paid actresses of the 1930s. Among her most notable roles are What Price Hollywood? (1932), a precursor to A Star Is Born, and Merrily We Live (1938). Beyond acting, Bennett was a savvy businesswoman: she founded a production company and was active in fashion and cosmetics, even launching her own beauty line. During World War II, she performed for the troops, showcasing her social commitment. Married five times, including to actor Gilbert Roland and producer Henri de la Falaise, Bennett passed away on July 24, 1965, leaving a lasting legacy in cinema. In Topper Takes a Trip (1938), Constance Bennett reprises her role as Marion Kirby, the lively ghost she had previously portrayed in the first film of the series, Topper (1937). Marion is an ethereal and carefree figure, a socialite who died in a car accident and returns to Earth with one mission: to perform a good deed to earn her place in heaven. In this sequel, Marion focuses on saving the marriage of Cosmo Topper (Roland Young) and his wife Clara (Billie Burke), weaving chaos and laughter with her unpredictable approach. Accompanied by her ghostly dog Mr. Atlas (played by the famous Skippy), Marion brings mischief and magic to a luxurious hotel on the French Riviera, tackling absurd situations with her blend of wit and charm. Bennett imbues the character with irresistible lightness and sparkling energy, stealing the scene with her commanding presence and comedic talent. Her performance not only solidifies the saga's success but also elevates Marion Kirby to an iconic status among supernatural comedies of the era. Additionally, Bennett played an active role behind the scenes, influencing the film's tone and improvising some of its most memorable lines, as confirmed by anecdotes from the set. Constance Bennett, with her portrayal of Marion, is the beating heart of Topper Takes a Trip, turning a lighthearted comedy into an unforgettable experience.
TOPPER TAKES A TRIP - Prepare yourself for an exhilarating and otherworldly journey with Topper Takes a Trip, the second installment in the film saga inspired by Thorne Smith's novels, masterfully directed by Norman Z. McLeod in 1938. This fantasy comedy is an irresistible cocktail of laughter, absurdity, and a touch of magic that will captivate you from start to finish! Following the success of Topper, the spirited Marion Kirby—a ghost with irresistible charm played by Constance Bennett—returns to Earth, accompanied by her adorable dog Atlas, on a mission to save the marriage of Cosmo Topper (Roland Young) and his lovely but exasperated wife Clara (Billie Burke), which is on the verge of collapse. Through spectral interventions and hilarious mishaps, Marion not only tries to rekindle the spark between the two but also aims to earn herself a ticket to heaven. Things take a complicated turn when a slick French baron enters the picture, dragging the entire affair to a luxurious hotel on the French Riviera, where chaos reaches hilarious new heights. The film shines thanks to a stellar cast: Roland Young is simply perfect as Cosmo, an ordinary man caught up in extraordinary situations, with a physical comedy that elicits laughter at every turn. Constance Bennett is a whirlwind of charm and wit, an ethereal presence dominating the screen, while Billie Burke adds a touch of delightful eccentricity as Clara. With slapstick gags and brilliant dialogue, Topper Takes a Trip masterfully blends refined humor and supernatural madness, delivering an experience that never loses its rhythm. Compared to the first chapter, this sequel raises the stakes with new adventures and a glamorous setting, without ever betraying its lighthearted and carefree spirit. It’s a joyous escape into a world where ghosts play Cupid and every scene is an explosion of timeless fun. If you have a soft spot for classic comedies with a magical twist, this little gem from the 1930s is an absolute must-see: it will win you over with its mix of laughter, heart, and old-world elegance!
LAURENCE OLIVIER - Card n.22 MY FAVOURITE PART GALLAHER Ltd. - Laurence Olivier, un nome che vibra come una corda di violino tesa al massimo, è stato il cuore pulsante del teatro e del cinema del Novecento. Nato il 22 maggio 1907 a Dorking, una cittadina inglese avvolta dal verde, Olivier sembrava portare con sé, fin dall’infanzia, un’aura di grandezza. Figlio di un reverendo severo, trovò presto rifugio nei drammi shakespeariani, recitando sonetti con una passione che lasciava già intravedere il genio. La Royal Academy of Dramatic Art lo accolse come un diamante grezzo, e lui ne uscì affilato, pronto a conquistare i palcoscenici di Londra con una voce che ruggiva come il mare in tempesta e un’eleganza che ammutoliva le platee. Ma non si fermò al teatro: il cinema lo chiamava, e Olivier rispose con una carriera che ha scolpito il suo nome nella storia. Immagina un uomo capace di tutto: un Heathcliff selvaggio e disperato in Wuthering Heights (1939), che si aggira tra le brughiere con occhi pieni di fuoco; un Maxim de Winter in Rebecca (1940), così tormentedamente affascinante da far tremare i muri della villa di Manderley; e poi l’Amleto del 1948, un principe danese fragile e feroce, che gli valse un Oscar e la corona di re indiscusso della recitazione. Olivier non era solo un attore: era un tornado di emozioni, un alchimista che trasformava ogni battuta in oro puro. Con il suo portamento regale, i lineamenti cesellati e quel modo di scandire le parole – come se ogni sillaba fosse un dono – incantava chiunque lo guardasse. E poi c’è The Divorce of Lady X (1938), un gioiellino dove Olivier svela un lato diverso, più leggero, ma non meno magnetico. Qui è Everard Logan, un avvocato divorzista dal cipiglio severo, un uomo che in tribunale sbroglia matrimoni con la precisione di un chirurgo e la freddezza di un generale. Ma quando Leslie Steele, interpretata dalla radiosa Merle Oberon, piomba nella sua vita come un fulmine in una notte nebbiosa, tutto cambia. Pensa alla scena: Londra avvolta da una coltre di fumo, Logan costretto a cedere la sua suite d’albergo a questa sconosciuta sfacciata, e una tensione che cresce tra battute taglienti e sguardi rubati. Lui, con quel sopracciglio inarcato e un’aria di sfida, cerca di resistere; lei, con un sorriso che scioglierebbe il ghiaccio, lo trascina in un gioco di seduzione e malintesi. Olivier dà a Logan una vita che pulsa: è rigido ma vulnerabile, sarcastico ma adorabile. La sua chimica con Merle Oberon è un fuoco d’artificio – ogni dialogo è un botta e risposta che scoppietta di umorismo e desiderio represso. Guarda come il suo Logan, da austero professionista, si ritrova a inseguire Leslie con un misto di irritazione e fascinazione, inciampando quasi nella propria dignità. È un Olivier che gioca, che si diverte, e che ci ricorda quanto fosse versatile: capace di passare dal dramma shakespeariano alla commedia romantica senza perdere un grammo della sua potenza. The Divorce of Lady X brilla anche grazie a lui. Everard Logan, sotto la guida di Olivier, diventa il perfetto eroe comico: un uomo che scopre l’amore quando meno se lo aspetta, e che ci fa ridere e sospirare allo stesso tempo. Se questo film resta un classico, è perché Laurence Olivier, con il suo talento sconfinato, ha saputo trasformare ogni gesto, ogni sguardo, in un momento indimenticabile. Un gigante, un poeta, un eterno incantatore: questo era Olivier, e questo rimarrà per sempre.
CAROLE LOMBARD - Card n.26 della serie BEAUTIES of TO-DAY settima serie della GODFREY PHILLIPS Ltd.- Carole Lombard, nata Jane Alice Peters il 6 ottobre 1908 a Fort Wayne, Indiana, è stata una delle attrici più amate e influenti di Hollywood durante gli anni '30 e '40. Conosciuta per il suo spirito vivace, la sua bellezza radiosa e il suo talento comico, Lombard ha iniziato la sua carriera come attrice bambina, ma è stata con i suoi ruoli da adulta che ha raggiunto la vera celebrità. Nel film "Swing High, Swing Low" del 1937, Carole Lombard interpreta Maggie King, il cuore e l'anima della storia. Maggie è una giovane donna ingenua ma piena di speranza, che si innamora di "Skid" Johnson (interpretato da Fred MacMurray). La sua performance cattura l'essenza di un personaggio che è sia vulnerabile che determinato, navigando attraverso l'amore e le sfide con grazia e forza. Lombard trasmette una genuinità e una profondità che rendono Maggie un personaggio memorabile e amabile, dimostrandosi capace di portare sullo schermo non solo la leggerezza della commedia ma anche la complessità del dramma. La sua interpretazione di Maggie è centrale per il successo del film, offrendo un contrasto perfetto alla tormentata figura di Skid, e contribuendo a creare una delle storie d'amore più toccanti del periodo. Lombard, con la sua presenza magnetica e la sua abilità nel bilanciare emozione e umorismo, ha lasciato un'impronta duratura in questo ruolo, dimostrando perché è stata considerata una delle grandi stelle del cinema classico.
CHARLES (BUDDY) ROGERS - Card n.13 della serie CINEMA STARS - ABDULLA & Co. Ltd. (1934) - Charles "Buddy" Rogers, conosciuto come "America's Boyfriend", è stato un attore e musicista americano nato il 13 agosto 1904 a Olathe, Kansas. Durante il picco della sua popolarità negli anni '20 e '30, Rogers era noto per il suo fascino e il suo talento sia come attore che come musicista. Ha iniziato la sua carriera a Hollywood a metà degli anni '20 e ha rapidamente guadagnato fama grazie al suo carisma e alla sua versatilità. In "Wings" del 1927, Rogers interpreta Jack Powell, un giovane appassionato di automobili che si arruola nell'Air Force durante la Prima Guerra Mondiale. Il suo personaggio è inizialmente rivale in amore con David Armstrong, ma la loro rivalità si trasforma in un'amicizia fraterna mentre combattono insieme in Francia. La performance di Rogers in "Wings" è stata fondamentale per il successo del film, grazie alla sua capacità di trasmettere emozioni intense e di coinvolgere il pubblico. Rogers era già una stella emergente quando fu scelto per "Wings", e la sua presenza nel film ha contribuito a renderlo un successo. La sua interpretazione di Jack Powell è stata elogiata per la sua autenticità e il suo spirito. Rogers ha portato una dimensione emotiva al film, rendendo il personaggio di Jack non solo un eroe di guerra, ma anche un giovane uomo alle prese con l'amore e la perdita. Oltre alla sua carriera cinematografica, Rogers era anche un talentuoso musicista. Ha suonato in diverse band e ha registrato numerosi dischi durante la sua carriera. Durante la Seconda Guerra Mondiale, ha servito nella Marina degli Stati Uniti come istruttore di volo. Charles "Buddy" Rogers ha lasciato un'impronta duratura nel cinema con il suo ruolo in "Wings". La sua interpretazione di Jack Powell ha dimostrato il suo talento e il suo carisma, contribuendo a fare di "Wings" un capolavoro del cinema di guerra. La sua carriera è stata segnata da numerosi successi, ma il suo ruolo in "Wings" rimane uno dei più significativi e memorabili.
MARY CARR - Mary Carr, born Mary Kenevan on March 14, 1874, in Germantown, Pennsylvania, was an American actress known for her maternal roles in films. She began her career as a teacher but soon left teaching to work as an actress in traveling theater companies. She married actor William Carr and toured extensively with his company. After the turn of the century, William Carr transitioned to film production as an actor and director, involving Mary and their six children in the film industry. Mary Carr made her film debut in 1916, but it was her performance in "Over the Hill to the Poorhouse" (1920) that made her famous. This film was a great success due to her touching portrayal of a poor mother. She continued to act in similar roles in numerous films during the silent film era. With the advent of sound films, she faced a difficult period, but thanks to publicity about her situation, she received help and occasionally found work. She spent her later years appearing sporadically in films, often directed by her son Thomas Carr. One of the most significant sound films in which Mary Carr acted was "Lights of New York" (1928), the first fully talking feature film. In this film, Mary Carr played the role of Mrs. Morgan, the mother of the protagonist Eddie Morgan, played by Cullen Landis. The plot follows Eddie and his friend Gene, played by Eugene Pallette, who find themselves entangled in a world of crime and corruption in New York. This film marked a turning point in Mary Carr's career, demonstrating her ability to adapt to the new sound format of cinema. Mary Carr passed away on June 24, 1973, in Woodland Hills, Los Angeles, at the age of 99.
F.W. MURNAU - Card n.507 - MERCEDES FILMBILDER ALBUM 4 - F.W. Murnau è uno dei registi più influenti del cinema espressionista tedesco e del cinema muto in generale. Nato come Friedrich Wilhelm Plumpe, Murnau ha lasciato un'impronta indelebile nella storia del cinema con il suo stile visivo unico e la sua capacità di creare atmosfere inquietanti e suggestive. Murnau è forse meglio conosciuto per il suo capolavoro del 1922, "Nosferatu: Una Sinfonia dell'Orrore". Questo film, basato liberamente sul romanzo "Dracula" di Bram Stoker, è considerato uno dei primi e più influenti film horror della storia del cinema. La sua capacità di utilizzare le ombre e le luci per creare un senso di angoscia e mistero è diventata una firma del suo stile. Oltre a "Nosferatu", Murnau ha diretto altri film importanti come "Der letzte Mann" (L'ultima risata) del 1924, che è noto per l'uso innovativo della cinepresa mobile e per la sua narrazione visiva senza didascalie. Questo film ha dimostrato la sua abilità nel raccontare storie complesse attraverso immagini potenti e ha influenzato molti registi successivi. Un altro capolavoro di Murnau è "Sunrise: A Song of Two Humans" (Aurora) del 1927, che ha vinto il primo Oscar per la Miglior Produzione Artistica. Questo film è celebrato per la sua fotografia espressionista e per la sua capacità di combinare elementi di realismo e fantasia in una narrazione emotivamente coinvolgente. Murnau ha avuto un impatto duraturo sul cinema, influenzando innumerevoli registi e contribuendo a definire l'estetica del cinema espressionista e dell'horror. La sua capacità di evocare emozioni profonde attraverso immagini visive potenti lo rende uno dei registi più rispettati e ammirati della storia del cinema.
INA CLAIRE - Card n.5 della serie STARS OF SCREEN & STAGE GALLAHER Ltd. Ina Claire, nata Ina Fagan il 15 ottobre 1893, è stata una luminosa stella del palcoscenico di Broadway e un'affermata attrice cinematografica. La sua vita è stata un affascinante viaggio attraverso l'epoca d'oro del teatro e del cinema americano. Orfana di padre prima della nascita, Ina e sua madre hanno affrontato sfide significative, ma la sua determinazione e il suo talento l'hanno portata a diventare una delle attrici più amate e rispettate del suo tempo. Conosciuta per il suo spirito effervescente e la sua presenza scenica magnetica, Ina Claire ha incantato il pubblico con la sua eleganza e il suo ingegno, diventando un'icona di stile e di grazia sul palcoscenico e sullo schermo. La sua eredità continua a vivere attraverso le sue memorabili performance e il suo impatto duraturo sull'industria dell'intrattenimento. Ina Claire ha brillato nel suo ruolo nel film "The Greeks Had a Word for Them", un'opera del 1932 che ha catturato l'essenza della commedia sofisticata dell'epoca pre-Code. La sua interpretazione, insieme a quella delle co-protagoniste Joan Blondell e Madge Evans, ha portato sullo schermo una vivacità e uno spirito che hanno definito il film come un classico senza tempo. Il film, diretto da Lowell Sherman e prodotto da Samuel Goldwyn, è basato sulla commedia di Zoe Akins e presenta Ina Claire nel ruolo di una donna mondana e astuta, che naviga con intelligenza e fascino le complessità delle relazioni sociali e romantiche. La sua performance è stata acclamata per la sua capacità di bilanciare umorismo e pathos, dimostrando la sua versatilità come attrice.
ADOLPHE MENJOU - Card n.75 della serie CINEMA STARS stampata dalla GALLAHER LTD nel 1926 - Adolphe Menjou, nato il 18 febbraio 1890 a Pittsburgh, Pennsylvania, è stato un attore statunitense che ha lasciato un'impronta indelebile nel mondo del cinema. Dopo aver completato la sua formazione presso la Culver Military Academy e laureatosi in ingegneria alla Cornell University, Menjou fu attratto dal teatro e dal vaudeville, facendo il suo debutto cinematografico nel 1914 con "The Acid Test". Emerse come una stella del cinema muto, brillando in film come "Lo sceicco" e "I tre moschettieri" nel 1921. Con l'avvento del cinema sonoro, la sua carriera non solo continuò, ma prosperò, culminando in una nomination all'Oscar nel 1931 per il suo ruolo in "The Front Page". In "The Front Page", Menjou diede vita al personaggio di Walter Burns, un editore astuto e senza scrupoli, una performance che rafforzò la sua reputazione di uomo elegante e sofisticato. Oltre alla sua carriera cinematografica, Menjou era noto per le sue convinzioni politiche conservatrici e per il suo coinvolgimento con la Commissione per le attività antiamericane durante il periodo della paura rossa negli Stati Uniti. La sua vita fu segnata da successi professionali e da una presenza attiva nel dibattito politico del suo tempo. Menjou si distinse anche per il suo stile impeccabile, tanto da essere nominato più volte come l'uomo più elegante d'America. La sua abilità nel vestire e nel portare se stesso con una grazia senza tempo lo ha reso un'icona di stile. La sua carriera attraversò diverse fasi del cinema, dai film muti ai talkies, e lavorò con alcuni dei più grandi nomi dell'epoca, come Charlie Chaplin in "A Woman of Paris", e Marlene Dietrich e Gary Cooper in "Morocco". Menjou fu anche un volto familiare in "A Star Is Born" con Janet Gaynor e Fredric March. La sua vita privata fu altrettanto colorata quanto la sua carriera, con tre matrimoni, l'ultimo dei quali con l'attrice Verree Teasdale, durato fino alla sua morte nel 1963. Menjou lasciò un'eredità duratura come uno degli attori più raffinati e carismatici del suo tempo, un vero gentiluomo dello schermo che continua a ispirare gli attori di oggi.
VIVIEN LEIGH - Card n.36 della serie SCREEN STARS stampata dalla ABDULLA & Co. Ltd. nel 1939Vivien Leigh, nata Vivian Mary Hartley il 5 novembre 1913 a Darjeeling, in India, è stata una delle attrici più affascinanti e talentuose del suo tempo. Con una carriera che ha attraversato tre decenni, Vivien Leigh ha lasciato un'impronta indelebile nel mondo del teatro e del cinema, diventando un'icona per le sue interpretazioni memorabili e la sua bellezza senza tempo. La sua educazione artistica iniziò in giovane età, quando fu mandata a studiare in Europa, per poi fare ritorno a Londra nel 1931. Fu proprio in questo periodo che Vivien scoprì la sua passione per la recitazione, ispirata dall'amica e futura attrice Maureen O'Sullivan. Dopo aver completato la sua formazione alla Royal Academy of Dramatic Art, Vivien iniziò a farsi notare per le sue doti recitative, ottenendo piccoli ruoli in film nel 1935 e progredendo fino al ruolo di eroina in "Fire Over England" nel 1937. Il suo talento non passò inosservato, e ben presto arrivò il ruolo che l'avrebbe resa immortale: Scarlett O'Hara in "Gone with the Wind" (1939). La sua interpretazione le valse il primo dei suoi due premi Oscar come Miglior Attrice. Il secondo Oscar arrivò nel 1952 per la sua performance come Blanche DuBois in "A Streetcar Named Desire", un ruolo che aveva già interpretato con successo sul palcoscenico del West End londinese nel 1949. Nonostante la sua fama come attrice cinematografica, Vivien Leigh era principalmente una performer teatrale. Ha interpretato una vasta gamma di personaggi, dalle eroine delle commedie di Noël Coward e George Bernard Shaw alle classiche figure shakespeariane come Ofelia, Cleopatra, Giulietta e Lady Macbeth. La sua carriera teatrale fu coronata da un Tony Award per il suo lavoro nella versione musicale di Broadway di "Tovarich" nel 1963. La vita personale di Vivien Leigh fu altrettanto affascinante quanto la sua carriera. Fu sposata due volte, prima con Herbert Leigh Holman e poi con l'attore Laurence Olivier, con cui formò una delle coppie più celebri del teatro e del cinema. Insieme, hanno recitato in numerose produzioni teatrali, spesso con Olivier alla regia, e in tre film. Nonostante il successo, la vita di Vivien Leigh fu segnata da sfide personali, tra cui la lotta contro il disturbo bipolare e la tubercolosi cronica, che fu diagnosticata a metà degli anni '40 e che alla fine portò alla sua prematura scomparsa all'età di 53 anni nel 1967. Vivien Leigh rimane una figura leggendaria, una donna che ha incarnato la grazia, la determinazione e il talento. La sua eredità continua a vivere attraverso le sue memorabili interpretazioni e la sua capacità di ispirare le generazioni future di attori e appassionati di cinema e teatro. Vivien Leigh non è stata solo un'attrice; è stata una forza della natura che ha brillato intensamente sia sul palcoscenico che sullo schermo, lasciando un segno indelebile nella storia dell'arte performativa.
GARY COOPER - Card n.47 of the STARS of the SCREEN series printed by GODFREY PHILLIPS LTD in 1934 - Gary Cooper, pseudonym of Frank James Cooper, was an icon of American cinema, known for his understated acting style and his strong stage presence. Born on May 7, 1901 in Helena, Montana, Cooper enjoyed a successful film career that saw him star in over 100 films. His role in "Meet John Doe" of 1941, directed by the famous Frank Capra, is one of the most significant. In this film, Cooper plays 'Long John' Willoughby, a former baseball player who has fallen on hard times who finds himself impersonating John Doe, a man invented by a journalist, played by Barbara Stanwyck, to stimulate public interest and raise social issues. Cooper's performance in "Meet John Doe" was acclaimed for his ability to capture the complexity of the character, a reluctant American hero who embodies the hopes and fears of the average citizen during a time of great uncertainty. His performance helped make the film an enduring classic, which continues to be appreciated for its thematic relevance and emotional depth.
WILLIAM POWELL - William Powell was an American actor, best known for his film career. Under contract with Metro-Goldwyn-Mayer, he starred in 14 films alongside Myrna Loy, including the Thin Man series, based on the characters of Nick and Nora Charles created by Dashiell Hammett. Powell was nominated three times for the Oscar for Best Actor: for The Thin Man (1934), My Man Godfrey (1936) and Life with Father (1947). Life with Father is a Technicolor comedy film, directed by Michael Curtiz and based on the autobiography and the homonymous theatrical success of Clarence Day. Powell plays Clarence Day Sr., the grumpy and authoritarian head of a large and lively family in New York at the end of the nineteenth century. The film is full of funny and touching situations, and shows Powell’s comic and dramatic talent. The film was a great success with the public and critics, and received four Oscar nominations, including one for Powell. Powell was born in Pittsburgh in 1892, from a wealthy family. He studied law at the University of Kansas, but after a week he moved to New York, where he attended the American Academy of Dramatic Arts. He began his career in Hollywood in 1922, playing Professor Moriarty in a production of Sherlock Holmes with John Barrymore. He starred in romantic and adventure films, and had a powerful and pleasant voice that allowed him to adapt to the sound cinema. Powell had three marriages: with the actress Eileen Wilson, from whom he had his only son, with the actress Carole Lombard, and with the actress Diana Lewis, with whom he remained until his death. He also had a relationship with the actress Jean Harlow, who died suddenly in 1937. Powell died in Palm Springs in 1984, at the age of 91. (CARD position 6 page 19 of ALBUM 1 “SALEM GOLD-FILM-BILDER”).
STAN LAUREL & OLIVER HARDY - Laurel and Hardy were a British-American comedy duo, considered one of the greatest in the history of cinema. Stan Laurel (1890-1965) was English and Oliver Hardy (1892-1957) was American. They started their career as a duo in the silent film era, and then successfully transitioned to sound films. From the late 1920s to the mid-1950s, they were famous worldwide for their slapstick comedy, with Laurel playing the clumsy and innocent friend of Hardy, the pompous bully. Before becoming a team, they both had a well-established film career. Laurel had acted in over 50 films, and worked as a writer and director, while Hardy was in more than 250 productions. They both appeared in The Lucky Dog (1921), but they were not yet a pair. They appeared together for the first time in a short film in 1926, when they signed separate contracts with Hal Roach’s film studio. They officially became a team in 1927, when they appeared in the silent short Putting Pants on Philip. They stayed with Roach until 1940, and then appeared in eight B comedies for 20th Century Fox and Metro-Goldwyn-Mayer from 1941 to 1945. After finishing their film commitments at the end of 1944, they focused on stage performances, and embarked on a music hall tour in England, Ireland, Wales and Scotland. They made their last film in 1950, a French-Italian co-production called Atoll K. They appeared as a team in 107 films, including 32 silent shorts, 40 sound shorts and 23 feature films. They also made 12 guest or cameo appearances, including in the promotional film Galaxy of Stars in 1936. On December 1, 1954, they made their only American television appearance, when they were surprised and interviewed by Ralph Edwards on his live NBC-TV show This Is Your Life. From the 1930s, their works have been distributed in numerous theatrical re-releases, television revivals, home movies in 8-mm and 16-mm, feature-length compilations and home videos. In 2005, they were voted as the seventh best comedy duo of all time by a British poll of professional comedians. The official appreciation society of Laurel and Hardy is The Sons of the Desert, named after a fictional fraternal society in the film of the same name. (Last card page n.8 of the ALBUM “BUNTE FILM BILDER” of 1936 printed by CIGARETTEN-BILDERDIENST, DRESDA.)
BUSTER KEATON - Buster Keaton was one of the masters of classic silent cinema. His real name was Joseph Frank Keaton and he was born in 1895 in a family of vaudeville actors. As a child, he performed on stage with his parents, showing his acrobatic and comic talent. In 1917, he began his film career, working with the comedian Roscoe Arbuckle in a series of short films. In 1920, he founded his own production company and made some of his masterpieces, such as Sherlock Jr., The Navigator, The General and Steamboat Bill, Jr. He distinguished himself for his unique and inimitable style, characterized by an impassive and melancholic expression, which earned him the nickname of “The Great Stone Face”. He was also an innovator of the film language, using techniques such as editing, parody, slow motion and double exposure. In 1928, he moved to MGM, a large production company that limited his creative freedom and forced him to act in sound films, which were not suitable for his genre of comedy. He entered a phase of decline, worsened by personal problems, such as the divorce from his first wife Natalie Talmadge and alcoholism. In the Thirties and Forties, he continued to work as an actor, director and screenwriter, but without achieving the success of the past. Only in the Fifties, thanks to television and the rediscovery of his silent films, he returned to the spotlight and received numerous awards, including an honorary Oscar in 1960. He died in 1966, at the age of 70, leaving behind a huge and influential artistic legacy. Many directors and actors have cited him as a source of inspiration, among them Charlie Chaplin, Woody Allen, Jackie Chan and Johnny Depp. (Card Album BULGARIA-GOLD-FILM-BILDER 1933)
ERROL FLYNN - Errol Flynn was an American actor of Australian origin, famous for his roles as hero, seducer and scoundrel in Hollywood in the 1930s and 1940s. Born in 1909 in Tasmania, from a family of Irish and Scottish descent, he showed a passion for theater and acting from a young age. He debuted on stage in 1933, and in the same year he began his film career, which led him to work with the greatest German directors, such as Robert Wiene, Fritz Lang and F.W. Murnau. His most famous role was that of Robin Hood in The Adventures of Robin Hood (1938), considered one of the best films of all time. He died in 1959, of a heart attack, while playing golf. Errol Flynn was known for his reckless life and his reputation as a great seducer. He married three times, with Lili Damita, Nora Eddington and Patrice Wymore, and had four children, including Sean Flynn, who followed in his footsteps as an actor and adventurer. He had numerous love affairs, including those with Olivia de Havilland, Marlene Dietrich, Bette Davis and Marilyn Monroe. In 1942 he was accused by two minors of rape, but he was acquitted after two trials full of scandalous details and eagerly followed by the tabloid press. Errol Flynn starred in over 50 films, including many masterpieces of adventure cinema, such as Captain Blood (1935), The Charge of the Light Brigade (1936), The Prince and the Pauper (1937), Dodge City (1939), They Died with Their Boots On (1941), Objective, Burma! (1942), Northern Pursuit (1943), That Forsyte Woman (1949), Kim (1950), The Sun Also Rises (1957). He also worked in France, Britain and the United States, where he played villain roles, such as Major Strasser in Casablanca (1942), one of the most famous films in cinema history. His last film was Too Much, Too Soon (1958), in which he impersonated John Barrymore, a silent film actor whom Flynn resembled for his reckless life and his reputation as a great seducer. Errol Flynn was the subject of many controversies, both for his private life and for his alleged Nazi sympathies. Some came to suspect that the rape charges were staged to damage his producer Jack Warner, who refused to pay an adequate bribe to the new tenants of the Los Angeles City Hall. Others claimed that Flynn was a secret agent serving the Allies, and that he used his fame and his friendships to gather information on the Nazi regime. The truth is probably more complex and nuanced, and depends on the source you consult.
SANTA FE TRAIL - Santa Fe Trail is a western film from 1940 directed by Michael Curtiz and starring Errol Flynn, Olivia de Havilland and Ronald Reagan. The film tells the story of two young cavalry officers, Jeb Stuart (Flynn) and George Armstrong Custer (Reagan), who fall in love with the same woman, Kit Carson Holliday (de Havilland), and who get involved in the fight against the abolitionist John Brown (Raymond Massey), who with his band of fanatics spreads terror in Kansas and Virginia. The film is based on a screenplay by Robert Buckner and was premiered in Santa Fe, New Mexico. Santa Fe Trail is the third western film of Errol Flynn, after The Charge of the Light Brigade (1936) and The Adventures of Robin Hood (1938), and marks the seventh collaboration between the Flynn-de Havilland couple, one of the most popular and close-knit in Hollywood cinema. The film is also one of the first important roles of Ronald Reagan, who later became president of the United States. The film is rich in action, adventure, romance and humor, and features some memorable scenes, such as the escape of Stuart and Custer from an ambush by Brown, the horse race on the train tracks, and the finale with the assault on the fort of Harper’s Ferry. Santa Fe Trail, however, is not an accurate historical film, but rather a free interpretation of the facts, with many inaccuracies and anachronisms. The film has nothing to do with the famous commercial route Santa Fe Trail, which connected Missouri to New Mexico, but takes place mainly in Kansas and Virginia. The film presents a critical and negative view of John Brown, portrayed as a bloodthirsty fanatic and a traitor to the country, while exalting the values of the army and the cavalry. The film also ignores the issues related to slavery and the civil war, and focuses on the adventures and rivalries of the protagonists. Santa Fe Trail was one of the most successful films of 1940, and was appreciated by the public and the critics. The film was nominated for an Oscar for best original score, composed by Max Steiner. The film was also presented in theaters with the Vitasound sound, an experimental sound system developed by Warner Brothers in 1939, which provided a wider sound source and a greater dynamic range for music and effects than the standard soundtracks of the time. Vitasound used additional speakers on the left and right, which could be activated in parallel with the center speaker, and a variable gain amplifier, which could increase the playback volume up to 10 dB. Both the switching of the speakers and the gain of the amplifier were controlled by a control track recorded on the Vitasound film. The film Santa Fe Trail was one of the only two films presented with this system, along with The Fighting 69th, both from 1940. Santa Fe Trail is considered today a classic of the western genre, and an example of Hollywood entertainment cinema.
FAY WRAY - Fay Wray was a Canadian-born American actress, famous for her role as Ann Darrow in the 1933 film King Kong. She is considered one of the first “scream queens” of horror cinema, for her expressions of terror and her shrill screams. Fay Wray was born on a ranch near Cardston, Alberta, to a Mormon family. She moved to the United States as a child and began her film career at 16, appearing in several silent films. In 1926 she was chosen as one of the “WAMPAS Baby Stars”, a group of promising young actresses. She signed a contract with Paramount Pictures and starred in numerous films of various genres. In 1932 she left Paramount and signed with RKO Radio Pictures, for which she played her most famous role, that of Ann Darrow, the blonde actress who is kidnapped by the giant gorilla King Kong. The film was a huge success and established Fay Wray as one of the stars of cinema at the time. She continued to work in films of adventure, drama, comedy and horror, including The Most Dangerous Game (1932), Viva Villa! (1934) and The Maltese Falcon (1941). In 1942 she married screenwriter Robert Riskin and reduced her appearances on the big screen to devote herself to her family. She had three children, including Victoria Riskin, who became a television screenwriter and producer. After her husband’s death in 1955, Fay Wray resumed acting on television and in some films until the 1980s. In 1997 she turned down the role of Rose as an old woman in James Cameron’s Titanic. In 2004 she died of natural causes in New York, at the age of 96. She was buried at Hollywood Cemetery. Fay Wray was one of the first actresses to embody the charm and terror of fantasy cinema. Her image linked to King Kong entered the collective imagination and inspired many other performers of the horror genre. She was honored by directors such as Peter Jackson, who wanted to give her a small part in his remake of King Kong in 2005, and by singers such as Bob Dylan, who dedicated a song to her in his album Modern Times in 2006.
LESLIE HOWARD - Leslie Howard was one of the greatest idols of cinema in the 1930s, known for his roles as an English gentleman in films such as Gone with the Wind, Pygmalion and The Petrified Forest. Howard was born in London in 1893 with the name of Leslie Howard Steiner, from a family of Hungarian Jewish origin. He became interested in theater from a young age, encouraged by his mother, and participated in several theatrical productions both in England and in the United States. In 1916 he married Ruth Evelyn Martin, from whom he had two children, Ronald and Leslie Ruth. Howard began his film career in 1914, participating in a film directed by his uncle Wilfred Noy. In 1919 he founded with his friend Adrian Brunel a film production company in London, the Minerva Films, which however had a short life. Howard devoted himself mainly to theater, achieving success both in London and on Broadway. In 1930 he returned to cinema with the film Outward Bound, which earned him an Oscar nomination for best actor. Since then, Howard alternated theater and cinema, starring in films of great success such as Berkeley Square (1933), Of Human Bondage (1934), The Prisoner of Zenda (1937), Intermezzo (1939) and Jamaica Inn (1939). Howard is best remembered for his role as Ashley Wilkes in Gone with the Wind (1939), the most famous film in the history of cinema. Howard accepted the role only to be able to produce and direct the film Pimpernel Smith (1941), a parody of the novel The Scarlet Pimpernel set in World War II. Howard was indeed a fervent patriot and supporter of the anti-Nazi cause, and used his talent and fame to contribute to British propaganda. Among his last films are The First of the Few (1942), in which he played the designer of the Spitfire fighter, and The Count of Monte Cristo (1942), in which he was the narrator. Howard died tragically on June 1, 1943, when the civilian plane on which he was traveling from Lisbon to London was shot down by German fighters in the Bay of Biscay. The circumstances of his death are still shrouded in mystery, and there are different theories about the reason for the attack. Some argue that the Germans mistook the plane for that of Winston Churchill, others that Howard was a spy or a British secret agent. Leslie Howard was one of the greatest actors of his time, capable of playing different characters with elegance and intelligence. His refined style and his distinctive voice made him an icon of classic cinema. Howard also proved to be an innovative and courageous director and producer, who used his cinema to express his ideas and values.
ADOLPHE MENJOU - Adolphe Menjou is an American actor of French origin, known for his elegant style and his mustache. Menjou was born in Pittsburgh in 1890 and began his career as a film actor in 1914. He became a star of silent cinema with films such as The Sheik (1921) and A Woman of Paris (1923), in which he played sophisticated and worldly characters. With the advent of sound, he continued to work successfully in various genres, from drama to comedy, from war to musical. He was nominated for an Oscar as best actor for The Front Page (1931), a satire on the world of journalism. Among his most famous films are Morocco (1930), with Marlene Dietrich, A Farewell to Arms (1932), with Gary Cooper and Helen Hayes, Forbidden (1932) and Stella Dallas (1935), with Barbara Stanwyck, Meet John Doe (1941) and Pride of the Yankees (1942), with Gary Cooper and James Stewart, For Whom the Bell Tolls (1943), with Gary Cooper and Ingrid Bergman, High Noon (1952), with Gary Cooper and Grace Kelly, and Paths of Glory (1957), with Kirk Douglas. Menjou died in 1963 from prostate cancer. Menjou distinguished himself for his natural and sober style of acting, which best expressed his characters of lonely, honest and brave heroes, but also vulnerable and romantic. Menjou embodied the ideal of the American man, capable of facing the challenges of life with determination and sense of duty. At the same time, he also gave life to cynical, ironic and malicious characters, exploiting his charm and intelligence. Menjou was influenced by Charlie Chaplin, who hired him for the film A Woman of Paris and taught him the difference between theatrical and cinematic acting. Menjou was also a master of sophisticated comedy, thanks to his collaboration with directors such as Ernst Lubitsch and Frank Capra. Menjou was appreciated by both the public and the critics, and is considered one of the greatest actors in the history of cinema.
WALTER HUSTON - Walter Huston was a Canadian actor and singer, born in 1883 and died in 1950. He won the Oscar for best supporting actor for his role in the film The Treasure of the Sierra Madre, directed by his son John Huston. He was the founder of four generations of the Huston family, which gave birth to three Oscar winners: him, his son John and his granddaughter Anjelica. Walter Huston began his theatrical career in 1902, and debuted on Broadway in 1924. With the advent of sound cinema, he became one of the best character actors in Hollywood, playing both leading and supporting roles. Some of his most famous films are The Virginian (1929), Abraham Lincoln (1930), Rain (1932), American Madness (1932), Dodsworth (1936), Of Human Hearts (1938), The Light That Failed (1939), The Shanghai Gesture (1941), The Devil and Daniel Webster (1942) and Dragon Seed (1944). Walter Huston was a versatile and charismatic actor, who could switch from comedy to drama, from romantic to evil, from realistic to fantastic. He was also a good singer, who showed his vocal skills in some musical films, such as The Great Ziegfeld (1936) and Swing Time (1936). He was very loved by the public and the critics, and received four Oscar nominations in his career. Walter Huston was also a family man, who passed on his passion for cinema to his descendants. His son John Huston was one of the greatest American directors, who directed Walter in two films: The Treasure of the Sierra Madre (1948) and The Great Sinner (1949). His granddaughter Anjelica Huston was one of the most beautiful and talented actresses of the '80s and '90s, who won the Oscar for Prizzi’s Honor (1985). His grandson Danny Huston is an actor and director who has worked in films such as The Aviator (2004) and Wonder Woman (2017). His great-grandson Jack Huston is an actor who has starred in TV series such as Boardwalk Empire (2010-2014) and films such as Ben-Hur (2016). Walter Huston was one of the great actors of American cinema, who left an artistic and family legacy of great value.
MAY McAVOY - May McAvoy was an American actress who worked primarily during the silent film era. Born in New York on September 8, 1899, she made her debut in 1917 in the film Hate and starred in over forty films, including Ben-Hur, Lady Windermere's Fan and The Jazz Singer, the first film with synchronized sound, in which she played Mary Dale Al Jolson's girlfriend. She retired from the stage in 1929 after marrying banker Maurice Cleary, with whom she had a son. He returned to acting only occasionally in small uncredited roles in the 1940s and 1950s. His last film was the 1959 remake of Ben-Hur, in which he appeared in crowds in Jerusalem. He died in Los Angeles on April 26, 1984, aged 84
SHIRLEY TEMPLE - Shirley Temple was an American actress, singer, dancer and diplomat. She was a famous enfant prodige of cinema in the thirties, nicknamed "Goldilocks", and played characters of sweet and cute little girls, but also wise and intelligent. As an adult she pursued a career as an ambassador, using the married name Shirley Temple Black. She died in 2014 at the age of 85
CHARLES BOYER - Boyer began his stage and film career in France in the 1920s after studying philosophy at the Sorbonne and acting at the Paris Conservatoire. He made his Hollywood debut at the beginning of the sound era and worked with some of the biggest stars of the time, such as Marlene Dietrich, Greta Garbo, Ingrid Bergman and Lauren Bacall. He obtained US citizenship in 1942 and narrated a film about the French resistance during World War II. He has also acted on Broadway and on television, appearing as himself on the sitcom I Love Lucy. He had a quiet and reserved private life, far from Hollywood scandals. He married only once, to actress Pat Paterson, and suffered greatly from the death of their son Michael, who committed suicide in 1965. Two days after his wife's death from cancer in 1978, Boyer also took his life with an overdose of barbiturates. He is buried at Holy Cross Cemetery in Culver City, California
ALGIERS (1938) - Algiers is an American drama film directed by John Cromwell and starring Charles Boyer, Sigrid Gurie and Hedy Lamarr. The film tells the story of a famous French jewel thief who hides in the labyrinthine native quarter of Algiers known as the Casbah. Feeling trapped by his self-imposed exile, he is drawn out of hiding by a beautiful French tourist who reminds him of the happy times in Paris. Algiers was a sensation because it was the first Hollywood film with Hedy Lamarr, whose beauty became the main attraction for the movie audience. The film is also known as one of the sources of inspiration for the screenwriters of the 1942 film Casablanca, who wrote it thinking of Hedy Lamarr as the original female lead. Charles Boyer’s portrayal of Pepe le Moko inspired the Warner Bros. animated character Pepé Le Pew. The film entered the public domain in the United States in 1966 because the claimants did not renew its copyright registration in the 28th year after publication.
HEDY LAMARR - Lamarr was an Austrian naturalized American actress and inventor, who starred in many successful films in the thirties and forties, such as The Oil Rush, This Woman Is Mine and Samson and Delilah. She was considered one of the most beautiful women in the world and in cinema. Before going to Hollywood, she had caused a scandal with the film Ecstasy, in which she appeared totally naked. In addition to her film career, Lamarr was also a brilliant inventor, developing with composer George Antheil a spread spectrum transmission system for guiding torpedoes during World War II. This technology is the basis of wifi, bluetooth and gps. Lamarr received posthumous recognition for her contributions to science in 2014 when she was inducted into the US National Inventors Hall of Fame.
THE LITTLE PRINCESS (1939) - The film is a musical comedy-drama directed by Walter Lang and William A. Seiter and based on the children’s novel by Frances Hodgson Burnett. The film is the first of Shirley Temple’s to be shot entirely in Technicolor and her last major success as a child actress. The film is set in Victorian London during the Second Boer War and tells the story of Sara Crewe (Shirley Temple), a wealthy and kind little girl who is left at a girls’ boarding school by her father, Captain Reginald Crewe (Ian Hunter), who goes to fight in Africa. Sara soon befriends Becky (Sybil Jason), the school’s maid, and clashes with the strict headmistress Miss Minchin (Mary Nash) and her snobbish pupil Lavinia (Marcia Mae Jones). When Sara’s father dies in battle and his assets are seized by the enemy, Sara loses all her privileges and is forced to work as a servant. However, Sara never loses hope and imagination and continues to believe that her father is alive. Meanwhile, the school’s neighbor, Ram Dass (Cesar Romero), an Indian servant of the wealthy Geoffrey Hamilton (Richard Greene), notices Sara’s plight and begins to make her secret gifts to ease her suffering. Hamilton is a friend of Sara’s father and is trying to find out his fate. One day, Hamilton finds Captain Crewe, wounded and amnesiac, in a military hospital and brings him to his home. Sara recognizes him from the school window and runs to him, restoring his memory. Sara is thus reunited with her father and adopted by Hamilton, who falls in love with her teacher Rose (Anita Louise). The story ends with Sara saying goodbye to her school friends and leaving with her father and her new guardians. The film is a very loose adaptation of the novel, which introduces several new characters and situations and changes the ending drastically. The film also has a lighter and more optimistic tone than the book, with several musical and comic moments. The film is enjoyable for the performances of Shirley Temple, who shows her talent as both an actress and a dancer, and the other actors, especially Cesar Romero, Arthur Treacher (who plays Miss Minchin’s good-natured brother) and Mary Nash (who conveys well the headmistress’s wickedness). The film is also remarkable for the Technicolor cinematography, which captures well the atmosphere of Victorian London and the period costumes. The film is considered one of Shirley Temple’s best and one of the classics of children’s cinema.
THE JAZZ SINGER 1927 - The Jazz Singer is a historical and revolutionary film, the first to use synchronized sound for songs and dialogues. It tells the story of a young Jew who defies the traditions of his family and his religion to follow his passion for jazz, becoming a star of the stage. The film is a hymn to freedom of expression and to music as a universal language, but also a family drama and a reflection on cultural roots. The protagonist is Al Jolson, a famous singer of the time, who performs such memorable songs as My Mammy, Toot Toot Tootsie and Blue Skies. The film is considered one of the best American films of all time and a masterpiece of musical cinema. The film used the Vitaphone system, a sound-on-disc technology developed by Warner Bros. that allowed recorded music and voice to be synchronized with moving images. The system was still imperfect and required numerous wax records and precise synchronization between the projector and the phonograph. For this reason, only some scenes in the film contained audible dialogues, while the rest were accompanied by captions as in silent films. The film was a success with audiences and critics and saved Warner Bros. from the financial crisis it was in.
AL JOLSON (FILM Album n°1 ) JOSETTI Germany - Al Jolson was a Russian-born American singer, actor and composer, known as “The World’s Greatest Entertainer”. He was born on May 26, 1886 in Seredžius, Lithuania, then part of the Russian Empire, and immigrated to the United States with his Jewish family in 1894. He began his theatrical career in New York, forming a vocal trio with his brothers Harry and Palmer. He distinguished himself for his jazz and blues singing style and for his habit of performing in blackface, a controversial practice that consisted of painting his face black to imitate African Americans. He became a Broadway star in the 1910s and 1920s, starring in musicals such as La Belle Paree, Sinbad and Big Boy. In 1927 he starred in The Jazz Singer, the first film with synchronized sound, in which he sang famous songs such as My Mammy, Toot Toot Tootsie and Blue Skies. He continued to act in other musical films in the 1930s, such as The Singing Fool, Hallelujah I’m a Bum and Wonder Bar. During World War II and the Korean War he dedicated himself to entertaining American troops abroad. His life was told in the biographical films The Jolson Story (1946) and Jolson Sings Again (1949), in which he was dubbed by Larry Parks. He died on October 23, 1950 in San Francisco, at the age of 64.
WARNER HOLLAND - Warner Oland (born Johan Verner Ölund on October 3, 1879 and died on August 6, 1938) was a Swedish-American actor. His career included theater on Broadway and numerous films. He is best remembered for playing several Chinese and Chinese-American characters: Dr. Fu Manchu, Henry Chang in Shanghai Express and, most notably, Lieutenant Charlie Chan of the Honolulu Police in 16 films. Oland emigrated to the United States with his family at the age of 13. After studying Shakespearean acting, he debuted in silent cinema in 1912. Thanks to his vaguely Asian appearance, he was much in demand for roles of villain and ethnicity. His success came in 1929, when he was chosen for the main role in the film The Mysterious Dr. Fu Manchu. In 1931, Oland played Charlie Chan for the first time, a Chinese-American detective based on the popular series of mystery novels by Earl Derr Biggers. His performance as the shrewd but seemingly mild investigator earned him critical acclaim and made him a star. Oland appeared in a total of 16 Charlie Chan films from 1931 to 1937. Oland died of pneumonia in Stockholm in 1938, while on tour in Europe. He is buried in the Southborough Rural Cemetery, in Massachusetts. Warner Oland had the role of Cantor Rabinowitz, the father of Jakie, the protagonist of the film The Jazz Singer. The film tells the story of a young Jew who wants to become a jazz singer, but comes into conflict with the traditions of his family and his religion. Oland plays a strict and proud father, who does not accept the artistic choices of his son and punishes him for singing in a club. (CARD position 5 page 19 of the ALBUM 1 “SALEM GOLD-FILM-BILDER”)
ABRAHAM LINCOLN 1930 - Abraham Lincoln is a biographical film from 1930 directed by D. W. Griffith, one of the pioneers of American cinema. The film tells the life of the sixteenth president of the United States, from his birth to his presidency and his assassination. The film stars Walter Huston as Lincoln and Una Merkel as Ann Rutledge, his first love. The film is divided into two parts: the first part covers the years of Lincoln’s youth and education, as a merchant, woodcutter, lawyer and politician. We see his relationship with Ann Rutledge, her premature death and his marriage to Mary Todd. We also see his oratorical duel with Stephen A. Douglas and his election as president in 1860. The second part focuses on Lincoln’s presidency during the American Civil War, his commitment to preserve the unity of the nation and to abolish slavery. We see his difficulties in managing the war, his political and military decisions, his relationship with his collaborators and his family. We also see his Gettysburg address, his signing of the emancipation proclamation and his assassination at Ford’s Theatre by John Wilkes Booth. The film received positive reviews from critics at the time, who praised Huston’s performance and Griffith’s direction. Mordaunt Hall of The New York Times called it “a worthy and inspiring work” and included it in his list of the ten best films of 1930 . Some modern sources also consider it a masterpiece of pre-code cinema, which challenged the moral and social conventions of the time. The film also features some interesting curiosities: Walter Huston was much shorter than the real Abraham Lincoln, so he wore six-inch high shoes for most of the film. This is especially evident in long shots. Henry B. Walthall, who plays the minor role of an aide to Robert E. Lee, was the star of Griffith’s first masterpiece on the civil war, Birth of a Nation (1915). Griffith had already shot Lincoln’s assassination at Ford’s Theatre in Birth of a Nation (1915). James Bradbury Sr. (General Winfield Scott), Frank Campeau (General Philip Sheridan) and Robert Brower, who plays an uncredited role, are the only actors in the film who were alive during the American Civil War (1861-1865). They were born respectively on October 12, 1857, December 14, 1864 and July 14, 1850.
UNA MERKEL - Una Merkel was an American actress, born in 1903 and died in 1986. She was famous for her doll-like looks, her southern accent and her comedy. She starred in many films of the 1930s and 1940s, often playing the protagonist's best friend. Some of her best-known films are 42nd Street, Destry Rides Again and Summer and Smoke, for which she was nominated for an Academy Award for Best Supporting Actress. She began her career as Lillian Gish's stunt double in silent films, including Victor Sjöström's The Wind. He also worked on Broadway, winning a Tony Award in 1956 for the musical The Pajama Game. A Merkel also starred in the 1930 film Abraham Lincoln, directed by DW Griffith, one of the pioneers of American cinema. The film chronicles the life of the sixteenth president of the United States, from his birth to his presidency and his assassination. A Merkel plays Ann Rutledge, Lincoln's first love, who dies of typhoid fever before they can marry. Her death deeply marks Lincoln, who promises her to become a better man and to devote his life to the service of his country. Una Merkel's performance is delicate and moving, showing her ability to move from the comic to the dramatic. Una Merkel was a woman of talent and wit, who left her mark on American cinema.
A FAREWELL TO ARMS (1932) - Dear friends, today I propose you a film that is a masterpiece of classic American cinema, based on a famous novel by Ernest Hemingway. It is A Farewell to Arms, or Addio alle armi, directed in 1932 by Frank Borzage. The film tells the love story between an American lieutenant and an English nurse during the First World War, against the backdrop of the dramas and sufferings caused by the conflict. The protagonists are played by two great actors: Helen Hayes and Gary Cooper, who with his beauty and charisma has conquered the audience of the whole world. The film was awarded with two Oscars for cinematography and sound, and is considered a work of art for its emotional intensity and technical mastery. I invite you to watch this film, which will make you live one of the most beautiful and moving love stories in the history of cinema. The film is based on the novel of the same name by Ernest Hemingway, published in 1929 and inspired by his experiences as a volunteer in the Red Cross during the First World War. The novel was adapted for the theater by Laurence Stallings in 1930 and then for the cinema by Benjamin Glazer and Oliver H.P. Garrett in 1932. The film had two remakes: one in 1957 with Rock Hudson and Jennifer Jones, and one in 1966 with Chris Jones and Suzanne Pleshette. The film of 1932 is considered the best among the three film versions, thanks to the direction of Frank Borzage, one of the masters of romantic melodrama. Borzage was able to create a suggestive and engaging atmosphere, using light, color and camera movement to express the feelings of the characters. The film was shot partly in Italy, in places such as Lake Maggiore, Lake Como and the Alps. The film had a great success of public and critics, receiving four nominations at the Oscars in 1933: best film, best cinematography, best art direction and best sound. It won the awards for cinematography and sound, beating films such as Grand Hotel and Shanghai Express. The film was included in the National Film Registry of the Library of Congress of the United States in 1960 as a film “culturally, historically or aesthetically significant”. The two protagonists of the film are Helen Hayes and Gary Cooper, two Hollywood stars who gave life to a memorable couple. Helen Hayes was a famous theater actress, nicknamed the “First Lady of American Theater”. In the film she plays Catherine Barkley, an English nurse who falls in love with Lieutenant Frederic Henry, an American enlisted in the Italian army. Hayes demonstrated her acting skills in this dramatic and sensitive role, which earned her the nickname of “First Lady of American Cinema”. Gary Cooper was one of the most popular and admired actors of American cinema, known for his natural charm and his frank personality. In the film he plays Frederic Henry, a romantic hero who lives a passionate love with Catherine Barkley. Cooper proved his versatility in this emotional and intense role, which consecrated him as one of the greatest stars of cinema. Another actor worthy of note in the film is Adolphe Menjou, who plays Major Alessandro Rinaldi, an Italian military doctor and friend of Frederic Henry. Menjou was an American actor of French origin, known for his elegant style and his big mustaches. The character of Rinaldi is a womanizer and a cynic, who tries to console Henry after his wound and encourages him to court Catherine Barkley. However, Rinaldi becomes ill with syphilis and is transferred to a hospital away from the front. His fate remains uncertain at the end of the novel and the film. Menjou was nominated for an Oscar for his role in The Front Page in 1931, but did not win any award for his participation in A Farewell to Arms.
GARY COOPER - today we talk about one of the greatest actors in the history of cinema: Gary Cooper. Born in Montana in 1901, Cooper began his career as an extra and a stuntman in western films, thanks to his skill in riding. His first important role was in The Winning of Barbara Worth (1926), a film that made him noticed by the public and the critics. From then on, Cooper became one of the most popular and admired stars of Hollywood, starring in over a hundred films in various genres, from western to melodrama, from comedy to war. Cooper distinguished himself for his natural and sober style of acting, which best expressed his characters of lonely, honest and brave heroes, but also vulnerable and romantic. Cooper embodied the ideal of the American man, capable of facing the challenges of life with determination and sense of duty. Some of his most famous roles are the cowboy of The Virginian (1929), the soldier of Sergeant York (1942), the journalist of Meet John Doe (1941), the professor of Pride of the Yankees (1942), the guerrilla fighter of For Whom the Bell Tolls (1943) and the sheriff of High Noon (1952). Cooper worked with some of the greatest directors of his time, such as Frank Capra, Ernst Lubitsch, Howard Hawks, William Wyler, Alfred Hitchcock and Billy Wilder. Cooper also had the opportunity to act alongside beautiful actresses, such as Marlene Dietrich, Claudette Colbert, Ingrid Bergman, Audrey Hepburn and Grace Kelly. His private life was marked by numerous affairs and a troubled marriage with heiress Veronica Balfe. Cooper won two Oscars as best actor for Sergeant York and High Noon, and received an honorary Oscar shortly before his death, which occurred in 1961 from prostate cancer. His last film was The Naked Edge (1961), released posthumously. Cooper is considered one of the greatest actors of all time, and the American Film Institute ranked him 11th among the greatest stars in the history of cinema. I invite you to discover or rediscover his films, which are masterpieces of American cinema.
HELEN HAYES - Helen Hayes was one of the greatest actresses in the history of American theater, able to express with her voice and body the deepest and most varied emotions. She acted in over 80 plays, 40 movies and 50 TV shows, demonstrating her versatility and talent in every genre. She received numerous awards and honors, including four of the most prestigious in the entertainment world: the Emmy, the Grammy, the Oscar and the Tony. She also devoted part of her life to charity and to supporting the social causes that were close to her heart. Helen Hayes was an extraordinary woman, a source of inspiration for many artists and a true icon of American culture.
OF HUMAN BONDAGE - If you love dramatic and classic movies, you can’t miss Of Human Bondage, the 1934 film that made Bette Davis a star. The film is based on the 1915 novel of the same name by W. Somerset Maugham, one of the most famous English writers of the 20th century. The film tells the story of Philip Carey, a young crippled artist who falls in love with Mildred Rogers, a waitress who treats him with indifference and contempt. Philip becomes obsessed with Mildred and ruins his life for her, rejecting other opportunities of love and work. Mildred ends up becoming a prostitute and a drug addict, and dies in a hospital in misery. Philip manages to free himself from his emotional bondage and find happiness with his friend, Sally Athelny. Of Human Bondage is a film that will make you feel strong emotions and make you reflect on the choices we make in life. The film was nominated for an Oscar for best actress for Bette Davis, who gave a powerful and memorable performance as the cruel and manipulative Mildred. The film was praised by critics for its fidelity and sensitivity in adapting Maugham’s novel, which was able to convey the emotions and sufferings of the protagonists. The film also had a good success at the box office, despite its dark and dramatic theme. Of Human Bondage is a film that deserves a viewing for its historical and artistic value. The film entered the public domain in the United States in 1962, because the rights holders did not renew the registration of the copyright in the 28th year after publication.
BETTE DAVIS - Bette Davis was one of the greatest stars in the history of Hollywood cinema, known for her roles as strong, ambitious and unscrupulous women. Bette Davis was born in Lowell, Massachusetts, on April 5, 1908, with the name of Ruth Elizabeth Davis. From a young age she became passionate about theater and debuted on Broadway in 1929. In 1930 she moved to Hollywood, where she began her film career with Universal. Her first big success was Of Human Bondage (1934), in which she played a cruel and manipulative waitress. Since then, Bette Davis established herself as one of the most sought-after and appreciated actresses in American cinema, winning two Oscars for best actress: in 1936 for Dangerous (1935) and in 1939 for Jezebel (1938). Other famous films she starred in are: The Private Lives of Elizabeth and Essex (1939), Old Acquaintance (1943), Beyond the Forest (1949), All About Eve (1950), The Star (1952) and What Ever Happened to Baby Jane? (1962). Bette Davis was also a woman of strong personality and character, who did not hesitate to challenge the producers and refuse the roles that she did not like. She was the first woman to be elected president of the Academy of Motion Picture Arts and Sciences, but resigned after a few months due to conflicts with the Studio. She was also a fervent patriot and supporter of the anti-Nazi cause, and used her talent and fame to contribute to British propaganda during World War II. Bette Davis died on October 6, 1989 in Neuilly-sur-Seine, France, from breast cancer. In 1999 the American Film Institute ranked her second in the list of the greatest stars in the history of cinema.
FRANCES DEE - Frances Dee was an American actress, known for her roles as sweet and sensitive women in dramatic and romantic films. Frances Dee was born in Los Angeles in 1909, from a family of English origin. She became interested in theater from a young age and debuted on Broadway in 1929. In 1930 she began her film career with the film Monte Carlo, alongside Jack Buchanan. Her big break came from Maurice Chevalier, who chose her as his partner in Playboy of Paris, in 1930. Since then, Frances Dee starred in numerous successful films, including Little Women (1933), in which she played the part of Meg, alongside Katharine Hepburn, Of Human Bondage (1934), in which she played the part of Sally Athelny, alongside Leslie Howard and Bette Davis, and The Petrified Forest (1936), in which she played the part of Gabrielle Maple, alongside Leslie Howard and Humphrey Bogart. Frances Dee married in 1933 with actor Joel McCrea, with whom she starred in some films, including Four Faces West (1948). The marriage lasted until McCrea’s death, in 1990. The couple had three children, including Jody McCrea, who also became an actor. Frances Dee retired from cinema in 1954, after starring in the film Gypsy Colt. She died in 2004, at the age of 94. In the film Of Human Bondage, Frances Dee played the role of Sally Athelny, a young woman who helps the protagonist Philip Carey (Leslie Howard) to free himself from his obsession for Mildred Rogers (Bette Davis), a cruel and manipulative waitress who treats him with contempt. Sally is the daughter of Thorpe Athelny (Reginald Owen), a patient at the hospital where Philip works as a doctor. Sally falls in love with Philip and encourages him to resume his studies and forget Mildred. Sally represents the positive and salvific character of the film, in contrast with Mildred, who is the negative and destructive character. Frances Dee gave a delicate and convincing performance in the role of Sally, showing her ability to play sweet and sensitive characters.
THE MOST DANGEROUS GAME - The Most Dangerous Game is a 1932 American horror film, directed by Ernest B. Schoedsack and Irving Pichel, starring Joel McCrea, Fay Wray and Leslie Banks. The film is an adaptation of the 1924 short story of the same name by Richard Connell. It is the first film version of the story. In Italy, the film was released with the title Pericolosa partita. The plot revolves around a big game hunter who finds himself shipwrecked on a remote island where a Russian count, also a hunting enthusiast, lives. The count Zaroff has developed a taste for a new prey… human beings. Zaroff offers hospitality to the hunter Robert Rainsford and two other survivors of a previous shipwreck, Eve and Martin Trowbridge, but hides his intentions of hunting them for sport. Rainsford discovers the truth when he sees the human heads displayed as trophies in the count’s room and refuses his offer to join him in hunting men. Zaroff gives him a hunting knife and some supplies and lets him roam free on the island until midnight, when he will start his hunt. Rainsford will have to use all his skill and cunning to survive and save Eve. The film is considered a classic of the horror genre and has had various remakes. The film was shot simultaneously with King Kong, using the same sets, actors and producers. The film had a budget of $219,869 and grossed $443,000. The film entered the public domain in the United States in 1960. The film received positive reviews from critics and audiences, who praised the tension, atmosphere, performances and soundtrack by Max Steiner.
JOEL McCREA - Joel McCrea was an American actor, famous for his roles in various film genres, including comedy, drama, romance, thriller, adventure and western, for which he became best known. He starred in over a hundred films, of which eighty as a lead, including Alfred Hitchcock’s spy film Foreign Correspondent (1940), Preston Sturges’ comedy classics Sullivan’s Travels (1941) and The Palm Beach Story (1942), the romantic film Bird of Paradise (1932), the adventure classic The Most Dangerous Game (1932), Gregory La Cava’s cheeky comedy Bed of Roses (1933), George Stevens’ romantic comedy The More the Merrier (1943), William Wyler’s films These Three, Come and Get It (both 1936) and Dead End (1937), Howard Hawks’ film Barbary Coast (1935) and numerous western films, including Wichita (1955) in the role of Wyatt Earp and Sam Peckinpah’s Ride the High Country (1962), alongside Randolph Scott. He starred in three films nominated for the Oscar for best picture: Dead End (1937), Foreign Correspondent (1940) and The More the Merrier (1943). Joel McCrea was born in South Pasadena, California, the son of Thomas McCrea, an executive of the L.A. Gas & Electric Company, and Louise Whipple. As a child he was interested in the films that were shot around him and had the opportunity to watch the filming of D. W. Griffith’s Intolerance and to be an extra in a serial with Ruth Roland. He graduated from Hollywood High School and then from Pomona College, where he studied acting and speech and performed regularly at the Pasadena Playhouse, where other future stars such as Randolph Scott, Robert Young and Victor Mature had their first experiences. He worked as a stuntman and an extra from 1927 to 1928, when he signed a contract with MGM. He was picked out of the crowd to play a major role in The Jazz Age (1929) and got his first lead role in the same year in The Silver Horde. He left MGM in 1930 and signed with RKO Radio Pictures, for which he played his most famous role, that of Ann Darrow, the blonde actress who is kidnapped by the giant gorilla King Kong. The film was a huge success and established Joel McCrea as one of the stars of cinema at the time. He continued to work in films of adventure, drama, comedy and horror, including The Most Dangerous Game (1932), Viva Villa! (1934) and The Maltese Falcon (1941). In 1942 he married actress Frances Dee, with whom he remained until his death and had three children, including Jody McCrea, who also became an actor. From 1946 to 1976 he devoted himself exclusively to western films, a genre that he loved particularly. He retired from the scene after shooting the western classic Ride the High Country (1962), in which he acted together with his friend Randolph Scott. He died in 1990 of natural causes in Woodland Hills, Los Angeles, at the age of 84. His ashes were scattered in the Pacific Ocean. Joel McCrea was one of the most versatile and popular actors of American cinema, able to switch effortlessly from one genre to another and to embody believable and likable characters. His screen presence and his skill in riding made him one of the great protagonists of western films. He was appreciated by directors such as Alfred Hitchcock, Preston Sturges and Sam Peckinpah, who considered him one of their favorite actors. He was also a simple and modest man, who loved ranch life and his family. He was awarded numerous prizes and honors for his career and his contribution to cinema.
OLIVIA DE HAVILLAND - Olivia de Havilland was a British actress who became a naturalized American citizen, who starred in many films of the classic Hollywood cinema, winning two Oscars and two Golden Globes. She was also one of the last survivors of the so-called golden age of Hollywood, dying in 2020 at the age of 104. Olivia de Havilland was born in Tokyo in 1916, from English parents. She moved to California with her mother and younger sister, Joan Fontaine, who also became an actress. She began her theatrical and film career in the 1930s, becoming famous for her roles as a romantic and adventurous heroine, often alongside Errol Flynn, with whom she formed one of the most popular screen couples. Among her most famous films of this period, we remember Captain Blood (1935), The Charge of the Light Brigade (1936), The Adventures of Robin Hood (1938) and Gone with the Wind (1939), for which she received her first Oscar nomination as best supporting actress. In the 1940s, Olivia de Havilland emancipated herself from the roles of naive and established herself as one of the most appreciated dramatic actresses of American cinema. She won two Oscars as best actress for To Each His Own (1946) and The Heiress (1949), and was nominated two more times for The Story of Dr. Wassell (1944) and The Snake Pit (1948), in which she played a woman suffering from mental disorders. She also worked in Europe, where she made films such as My Cousin Rachel (1952) and That Lady (1955). In the 1950s and 1960s, Olivia de Havilland also devoted herself to theater and television, achieving success and recognition. Among her most notable works, there are Romeo and Juliet (1951), Candida (1952), Anastasia: The Mystery of Anna (1986), for which she won the Golden Globe as best supporting actress in a television series, and Roots: The Next Generations (1979), for which she was nominated for an Emmy Award. Her last film was The Last of Sheila (1973), a parody of silent cinema. Olivia de Havilland was also a pioneer in the defense of the rights of actors, winning a historic legal battle against Warner Bros, which allowed her to free herself from the contract that bound her to the production company and to choose her roles with more freedom. She was also one of the first women to chair the jury of the Cannes Film Festival, in 1965. She was awarded numerous honors, including the French Legion of Honor, the American National Medal of Arts and the title of Dame of the Order of the British Empire. Olivia de Havilland lived in Paris from 1953, where she died in 2020, at the age of 104. She was one of the last survivors of the so-called golden age of Hollywood, along with Kirk Douglas, who died in the same year at 103. She was also the older sister of Joan Fontaine, with whom she had a famous professional and personal rivalry, which lasted for a lifetime. Olivia de Havilland and Joan Fontaine are the only two sisters in cinema history to have both won an Oscar as best actress.
STEAMBOAT BILL, Jr. - Today we present you Steamboat Bill Jr., a silent film from 1928 directed by Charles Reisner and Buster Keaton, with the participation of Keaton himself in the main role. The film is an action comedy, full of gags and spectacular scenes, including the famous cyclone sequence, in which Keaton performs numerous acrobatics while the city is destroyed around him. The film is considered one of Keaton’s masterpieces and of silent cinema, and has been selected for preservation in the National Film Registry of the Library of Congress in the United States. The film tells the story of William Jr., a young student who returns home from college to meet his father, William Sr., nicknamed Steamboat Bill, the owner of an old riverboat. The father is disappointed by his son, whom he finds too weak and clumsy, and tries to make him more manly and skilled. William Jr. falls in love with Kitty, the daughter of his father’s rival, the rich John King, who owns a modern boat. The two fathers oppose their relationship and clash with each other. When a violent cyclone hits the city, William shows his courage and intelligence, saving his father, his girlfriend and the boat from various dangers. The film was shot partly on the Sacramento River, in California, and partly in Keaton’s studios. The film had a troubled production, due to legal, personal and creative problems of Keaton, who had to change the script, the cast and the original title. The film also had a difficult distribution, due to censorship and competition from sound cinema. Despite this, the film had a good success with the public and critics, and was re-evaluated over time as a work of great artistic and technical value. The film contains some of the most famous and funny scenes of Keaton’s filmography, such as the one in which William Jr. tries various hats to please his father, the one in which he tries to break his father out of prison, and the one in which William Jr. escapes the fall of the facade of a house, passing through a window. The film is also rich in curiosities and anecdotes, such as the fact that the film is inspired by a popular song from 1910, that the film was shot simultaneously with another film by Keaton, The Cameraman, and that this film has influenced other directors and actors, such as Jackie Chan and Woody Allen.
THE FLYING TWO (1939) - The Flying Deuces is a comedy film about two American fishmongers who join the French Foreign Legion in Paris to forget a failed love. They end up in Morocco, where they face many troubles and adventures, involving a burning laundry, a prison escape, a camel, and a plane. The film ends with a twist: they are reincarnated as a horse and a donkey. The film is a remake of a 1931 short called Beau Hunks, in which Laurel and Hardy enlist for the same reason. The film was the duo's first to be produced by Boris Morros and RKO Radio Pictures, rather than Hal Roach and MGM. The film was shot partly in Los Angeles and partly in Morocco, where real French legionaries were used as extras. The film was one of the first to use coloring, rear projection and pencil painting techniques to create realistic effects. The film contains famous scenes such as singing Shine On, Harvest Moon, dressing up as Arabs and reincarnating as animals. The film was inspired by real episodes of the Foreign Legion and suggested by Harry Langdon, one of the screenwriters and a famous silent comedian.
JEAN PARKER - Jean Parker (born Lois May Green in 1915) was an American film and stage actress. She was discovered by Louis B. Mayer, the head of MGM, after winning a poster contest for the 1932 Olympics. She starred in several major films, including Little Women (1933), in which she played Elizabeth March, the younger sister of Jo (Katharine Hepburn). In the film The Flying Deuces (1939), Parker played Georgette, the daughter of a Paris hotelier, with whom Ollie (Oliver Hardy) falls in love. (First card of page n.16 of the ALBUM "BUNTE FILM BILDER ALBUM 7" of 1935)
THE JAZZ SINGER 1927 - Ron Hutchinson and Vince Giordano are two cinema and music experts who created an audio commentary for the film, available on DVD from Warner Home Video. In the commentary, the two provide historical information, anecdotes and curiosities about the film, its songs, its actors and its cultural impact. The commentary is much appreciated by fans of the film and the musical genre.
AL JOLSON - Card page 8 of the ALBUM "VOM WERDEN DEUTSCHER FILMUNST DER TONFILM (1935) Germany
A PLANTATION ACT (1926) - A PLANTATION ACT (1926) - This is a sound short film from 1926, the first film in which Jolson acted. Al, with his face painted black, sings three of his hit songs: “When the Red, Red Robin (Comes Bob, Bob, Bobbin’ Along)”, “April Showers” and finally “Rock-a-Bye Your Baby with a Dixie Melody”. The film shows him as if he were in a live performance, with three curtain calls at the end. The film premiered on October 7, 1926 at the Colony Theatre in New York, where it concluded a program of short films that accompanied the second Warner Brothers Vitaphone feature film, “The Better 'Ole”. The short was long considered a lost film, and its unavailability fueled the erroneous belief that Jolson’s first sound film was the famous landmark film “The Jazz Singer”, which came out almost exactly a year later. A silent copy of “A Plantation Act” was finally found in the Library of Congress, mistakenly labeled as a preview of “The Jazz Singer”. A copy of the corresponding sound disc was also found, but it had been broken into four pieces and glued back together so badly that it could not be played. After a careful operation, the restoration technicians managed to make a usable copy from the disc and digitally remove the noises and clicks resulting from the damage. The restored film was included in a LaserDisc released in the 90s and as an extra content in the 3-disc DVD of 2007 of “The Jazz Singer”.
LIFE WITH FATHER - Life with Father is a family comedy based on the book of the same name by Clarence Day, which tells the story of a bourgeois New York family at the end of the 19th century. The father, played by William Powell, is an authoritarian and eccentric Wall Street broker, who tries to impose his order in the house, but often clashes with his wife Vinnie, played by Irene Dunne, who is sweeter and more religious. The couple's four sons are struggling with their first love experiences, school troubles and the sale of patent medicines. The film's main conflict arises when Vinnie discovers that her husband has never been baptized and insists that he do so, fearing for his soul. The father refuses, considering it ridiculous and embarrassing. The film is directed by Michael Curtiz, known for Casablanca and The Falcon, and boasts a cast of excellent actors, including Elizabeth Taylor in the role of Mary, the girlfriend of his eldest son Clarence Jr. The screenplay is signed by Donald Ogden Stewart , who had already worked with Powell and Dunne on The Way to the Impossible. The film is a funny and affectionate depiction of family life at the time, with brilliant dialogue and hilarious situations. The film was nominated for four Oscars, including best picture, but won none. However, it was a great success with audiences and critics, and remains one of the classics of American comedy.
IRENE DUNNE - Irene Dunne was an American actress and singer, famous for her comic and romantic roles. She starred in 42 films and received five Oscar nominations for Best Actress. Among her most famous films are The Awful Truth, My Favorite Wife, Love Affair and Life with Father (1947). Life with Father is a Technicolor comedy film, directed by Michael Curtiz and based on the autobiography and the homonymous theatrical success of Clarence Day. Dunne plays Vinnie Day, the wife of Clarence Day Sr., a grumpy and authoritarian head of a large and lively family in New York at the end of the nineteenth century. Dunne shows her comic skills and her chemistry with William Powell, with whom she had already starred in other films. Dunne was born in 1898 in Louisville, Kentucky, from a family of Irish origin. She studied music and singing, and debuted on Broadway in 1922. She began her career in Hollywood in 1930, playing dramatic and musical roles. She showed her versatility by acting in various genres, from sophisticated comedy to melodrama, from family comedy to western. She worked with directors such as Leo McCarey, George Stevens, John Ford and John Sturges. Dunne married only once, with the dentist Francis Griffin, from 1928 until his death in 1965. They adopted a daughter, Mary Frances. Dunne retired from cinema in 1952, but continued to work in television and radio. She was also a fervent Republican activist and a special delegate to the United Nations. She died in 1990, at the age of 91.
ZASU PITTS - ZaSu Pitts was an American actress, known for her participation in several dramatic films during the silent era, although she was able to skillfully adapt to the sound specializing in the comedy genre. Among her most famous films are Erich von Stroheim’s Greed, in which she played the tormented wife of a greedy dentist, and Life with Father (1947) where Pitts plays Cora Cartwright, the cousin of Vinnie Day, the wife of Clarence Day Sr., a grumpy and authoritarian head of a large and lively family in New York at the end of the nineteenth century. Pitts offers a funny performance as an eccentric and intrusive woman, who tries to arrange the marriage between the eldest son of the Day, Clarence Jr., and the daughter of a reverend. Pitts was born in Parsons, Kansas, in 1894, from a family of English origin. She studied acting in Santa Cruz, California, and debuted in Hollywood in 1917, thanks to the screenwriter Frances Marion, who cast her for the film A Little Princess, with Mary Pickford. She starred in romantic and adventure films, and had a characteristic and shrill voice that allowed her to adapt to the sound cinema. Pitts married twice: with the actor Tom Gallery, from 1920 to 1933, with whom she had two adopted children, and with the real estate agent John E. Woodall, from 1933 until his death in 1962. She also had a long friendship with the actress Thelma Todd, with whom she formed a comic duo in numerous short films. Pitts died in Los Angeles in 1963, at the age of 69.
WILLIAM POWELL - TURF CIGARETTES - FAMOUS FILM STARS - No. 17 - This card depicts the famous actor William Powell in the role of Clarence Day, the family man protagonist of the film Life with Father, a 1947 comedy based on the autobiographical novel of the same name by Clarence Day Jr The film tells the daily events of a bourgeois family in New York at the end of the 19th century, with the authoritarian and gruff father, the sweet and patient mother, and the four reckless children. The film was a great success with audiences and critics, and received four Oscar nominations, including Best Actor for William Powell. The card depicts Powell's smiling face on a petite body, drawn in a caricature style by an unknown artist.
ANITA LOUISE - Anita Louise, born Anita Louise Fremault, was a famous child and teenage actress, who debuted on Broadway at six years old and in cinema at nine. Among her most famous films are A Midsummer Night’s Dream (1935), The Story of Louis Pasteur (1936) and Marie Antoinette (1938). In 1939 she played the role of Rose, the wicked stepsister of Shirley Temple, in the film The Little Princess, based on the novel by Frances Hodgson Burnett. In the forties her film career declined and she dedicated herself to television, where she had success with the series Frida, the story of a boy’s friendship with his horse. She married twice, first with the producer Buddy Adler and then with Henry Berger, and died in 1970 at the age of 55.
HEDY LAMARR AND CHARLES BOYER in "ALGIERS" - CARD no. 95 FILM FAVORITES printed by A. AND M. WIX in 1939. - Hedy Lamarr and Charles Boyer starred together in the 1938 film “Algiers,” which marked Lamarr's Hollywood debut and helped solidify her international fame. Her extraordinary beauty captured the attention of the public and left an indelible mark on cinema. Boyer, on the other hand, brought the character of Pepe le Moko to life, a role so memorable that it inspired the character of Pepé Le Pew from the Warner Bros. cartoons. The film “Algiers” had a significant influence on the culture popular and inspired other cinematic masterpieces, including “Casablanca.” Furthermore, “Algiers” became part of the public heritage in the United States in 1966, thus allowing for wider dissemination and accessibility. These elements highlight the historical and cultural importance of the film and the contributions of Lamarr and Boyer to the world of cinema.
BLACKFACE - Cards Nr.21 Godfrey Phillips Cigarettes PERSONALITIES OF TO-DAY 1932 - (personal collection) - Blackface in the historical context of theater and performance had different meanings and implications compared to how it is perceived today. During the 19th century, blackface was a widespread theatrical makeup style that involved applying markedly unrealistic makeup to take on the stylized and stereotypical appearance of a black person. This practice was an integral part of Minstrel shows, traveling performances that were very popular in the United States, and later in Europe as well. White actors, to perform in blackface, would darken their skin with burnt cork and subsequently black greasepaint or shoe polish, exaggerating the size of the lips with makeup and often wearing wool wigs, gloves, tailcoats, or ragged clothes to complete the transformation. These shows were intended as a comic exaggeration and not as a faithful or respectful representation of black people. However, over time and with the evolution of society, awareness of racism and its manifestations has led to a critical reconsideration of blackface. The African American civil rights movement of the 1960s, led by figures such as Martin Luther King, denounced the racist and derogatory prejudices associated with blackface, leading to its gradual extinction in the United States. Today, blackface is universally recognized as offensive and racist, and its practice is condemned and banned from all theatrical and cinematic representations. The modern understanding of blackface is that it perpetuates harmful racial stereotypes and is based on a history of humiliation and exploitation of black people.
JANET GAYNOR - JANET GAYNOR - Card no.25, DAS ORAMI-ALBUM, Janet Gaynor (pseudonym of Laura Augusta Gainor) was an American actress. Born on October 6, 1906, in Philadelphia, Pennsylvania, Gaynor began her career as an extra in short films and silent movies. In 1926, she signed a contract with Fox Film Corporation (later 20th Century-Fox) and became one of the biggest box office attractions of the time. In 1929, she was the first winner of the Academy Award for Best Actress for her performances in three films: “Seventh Heaven” (1927), “Street Angel” (1927), and “Sunrise” (1927). This was the only occasion where an actress won an Oscar for multiple film roles. Her career continued successfully in the era of sound films, and she achieved notable success in the original version of “A Star is Born” (1937), for which she received a second Oscar nomination for Best Actress. After retiring from acting in 1939, Gaynor married film costume designer Adrian, with whom she had a child. She briefly returned to acting in films and television in the 1950s and later became a skilled oil painter. In 1980, she made her Broadway debut in the theatrical adaptation of the 1971 film “Harold and Maude,” and appeared in the touring production of “On Golden Pond” in February 1982. In September 1984, injuries sustained in a car accident were officially declared the cause of her death.
A STAR IS BORN - “A Star is Born” (1937) is a romantic drama film produced by David O. Selznick and directed by William A. Wellman. The plot follows the story of Esther Victoria Blodgett, a young country girl who dreams of becoming a Hollywood star. Despite warnings from her aunt and father, Esther decides to follow her dream and travels to Hollywood. However, the casting agency has stopped accepting applications from aspiring actresses, and they tell her that her chances of becoming a star are one in a hundred thousand. Esther befriends Danny McGuire, an unemployed assistant director, and during a concert she meets Norman Maine, an accomplished actor but in decline due to alcoholism. Norman is impressed by Esther and offers her an audition. The film explores the relationship between the two characters as Esther begins her career and Norman faces his personal demons. The cast includes Janet Gaynor (in her only Technicolor film) and Fredric March (in his Technicolor debut). In 2018, a new version of “A Star is Born” was made starring Lady Gaga and Bradley Cooper, who also directed the film.
FREDRIC MARCH - FREDRIC MARCH - Card position 7, page no.5, SALEM GOLD-FILM-BILDER ALBUM 2 - Fredric March (full name: Ernest Frederick McIntyre Bickel) was an American actor, considered one of Hollywood's most celebrated stars in the 1930s and 1940s. His versatility as a performer earned him numerous accolades, including two Academy Awards, a Golden Globe, and two Tony Awards. March began his career in 1920, working as an extra in films shot in New York City. In 1926, he made his Broadway debut and by the end of the decade, he signed a film contract with Paramount Pictures. He received two Academy Awards for his performances in “Dr. Jekyll and Mr. Hyde” (1931) and “The Best Years of Our Lives” (1947). He was also nominated for other films, including “A Star is Born” (1937) and “Death of a Salesman” (1951). March became a female audience idol thanks to leading roles in films such as “Honor Among Lovers” (1931), “Merrily We Go to Hell” (1932), and “Design for Living” (1933). He collaborated with famous actresses of the time, such as Greta Garbo, Katharine Hepburn, and Carole Lombard. Besides cinema, March had a successful theater career. He won two Tony Awards for Best Actor in a Play, for his performances in “Years Ago” (1947) and “Long Day’s Journey into Night” (1956). He continued acting in films like “Inherit the Wind” (1960) and “Seven Days in May” (1964). His last role was in “The Iceman Cometh” (1973). March was married to actress Florence Eldridge from 1927 until his death in 1975 due to cancer.
ADOLPHE MENJOU - Card no. 273 , SALEM FILMBILDER ALBUM 2 - Adolphe Menjou (full name: Adolphe Jean Menjou) was an American actor. His career spanned both silent and sound films. After returning from World War I, Menjou gradually gained notoriety with minor roles in films such as “The Faith Healer” (1921) and supporting roles in major films such as “The Sheik” (1921) and “The Three Musketeers” (1921). ). In 1922, he began landing major or near-feature roles, working with Famous Players–Lasky and Paramount Pictures. He was voted Best Dressed Man in America nine times, cementing the image of a well-dressed, worldly man. In the film “A Star Is Born” (1937), Menjou plays Oliver Niles, a film producer and longtime friend of the protagonist Norman Maine (played by Fredric March). His character is involved in launching the career of aspiring actress Esther Blodgett (played by Janet Gaynor).
JANET GAYNOR & FREDRIC MARCH - Card n.36 "FILM FAVOURITES" printed by A. and M. WIX. LONDON - Janet Gaynor plays Esther Victoria Blodgett, a young country girl who dreams of becoming a Hollywood star. Despite warnings from her aunt and father, Esther decides to follow her dream and travels to Hollywood. However, the casting agency has stopped accepting applications from aspiring actresses, and they tell her that her chances of becoming a star are one in a hundred thousand. Esther befriends Danny McGuire, an unemployed assistant director, and during a concert she meets Norman Maine, an accomplished actor but in decline due to alcoholism. Norman is impressed by Esther and offers her an audition. The film explores the relationship between the two characters as Esther begins her career and Norman faces his personal demons. Fredric March, on the other hand, plays Norman Maine, the accomplished but declining actor. His career has been marked by alcoholism, and his meeting with Esther Victoria Blodgett (Janet Gaynor) will change both their lives. March delivers an intense and engaging performance as Norman, capturing the complexity of the character and his personal struggle.
"Courtesy of the Media History Digital Library" - Motion Picture Herald Periodical (Mar-Apr 1937) - David O. Selznick brings “A Star is Born” to the screen, a film that ranks among the great films and can hardly lack the class of great successes. This is due to its superb cast of famous names and a story that keeps audiences gripped from start to finish. In black and white, “A Star Is Born” would easily achieve its goal, but with the added pulse of technicolor, Selznick delivers a production that can count on great success in any location and with any audience. “A Star Is Born” seems to be a natural hit for top earners and should bring dividends to any theater. With a ready global audience, he is destined for a successful career anywhere. David O. Selznick again achieved an artistic and commercial triumph of the film.
"Courtesy of the Media History Digital Library" - Periodical Motion Picture Daily (Apr-Jun 1937)
A FAREWELL TO ARMS (1932) - "Courtesy of the Media History Digital Library" - Motion Picture Herald Periodical (May-Jun 1938) - “The best film of 1932! Big at the box office… 'A Farewell to Arms' tripled in revenue from coast to coast, played extensively and drew full audiences everywhere. It made box office history for the industry and for Paramount. Critics also rated it positively: 'A beautiful and moving film', 'the best film of the year', 'a triumph for all concerned', 'a major cinematic work' and 'a masterpiece'. They spoke enthusiastically about it, emphasizing that it is a film not to be missed. In the heart of Hollywood, at the Academy Awards dinner, 'A Farewell to Arms' stole the show. To heartfelt applause, Helen Hayes received the award for Best Female Performance of the Year, and Frank Borzage was honored for Outstanding Achievement in Director.”
ALGIERS (1938) - "Courtesy of the Media History Digital Library" - Motion Picture Periodical (Aug 1938-Jan 1939)
THE LITTLE PRINCESS (1939) - "Courtesy of the Media History Digital Library" - Periodical Box office digest (Dec 1938-Dec 1939)
ABRAHAM LINCOLN (1930) - "Courtesy of the Media History Digital Library" - Screenland Periodical (Nov 1930-Apr 1931) - The HONOR PAGE has been dedicated to many very talented actors, but rarely has it been as well deserved as this month's, which hands the palm of victory to Walter Huston with a low, deep, graceful bow! Huston gave us a great Abraham Lincoln, beautifully immersing Broadway manners in a complete realization of the Emancipator, never falling into banality or complacency. The surprising part is that Huston had never thought about playing Lincoln until Griffith gave him the role. But like a skilled craftsman taking on a new job, he took on the part and gave it his all! Huston represents the new order of things at Celluloidia. Acting is his job, and he knows it well!
"OF HUMAN BONDAGE" - Card n.9 of the SHOTS FROM FAMOUS FILMS series printed by GALLAHER LTD in 1935 - Leslie Howard together with Frances Dee in a scene from the film.
HAROLD LLOYD - HAROLD LLOYD - Card n.15 - CINEMA STARS 1ST SERIES (W.D. & H.O. WILLS 1928) - Harold Lloyd was one of the greatest comedians of American silent cinema, famous for his acting skills and breathtaking acrobatics. Born in 1893, Lloyd began his career in vaudeville before moving to cinema, where he created the character of “Glasses” or “The Boy,” which became an icon of popular culture in the 1920s. Known for his impassive expression and the dangerous situations he got himself into, like the unforgettable clock scene in “Safety Last!”, Lloyd stood out for his ability to combine physical comedy and pathos. Although his popularity was overshadowed by that of Charlie Chaplin and Buster Keaton, Lloyd remains a key figure in the history of cinema, with over 200 films to his credit. Lloyd created humorous dramas based on a romantic plot, where each film was a story in itself, with a different Harold facing different concerns. This ability to create engaging and entertaining narratives, without ever losing touch with reality and authentic emotions, made Lloyd a unique artist, capable of leaving an indelible mark in the history of cinema. His legacy continues to influence comedians and filmmakers, proving that his talent and courage in the art of comedy are timeless.
SAFETY LAST! - “Safety Last!” is a masterpiece of silent cinema that enchanted audiences with its blend of romance and comedy. Directed by Fred C. Newmeyer and Sam Taylor, this 1923 film stars Harold Lloyd as the protagonist, a young man full of ambitions and dreams. The film’s most memorable scene, which shows Lloyd clinging to the hands of a clock on a skyscraper, has become an unforgettable icon of the silent film era. The success of “Safety Last!” was not limited to its release; the film has continued to receive praise over the years, solidifying Lloyd’s reputation as one of the great pioneers of cinema. The plot of “Safety Last!” is a situational comedy that follows the adventures of Harold, who moves to the city with the goal of making a fortune and marrying his beloved. His journey is dotted with hilarious and dangerous situations, culminating in the famous skyscraper climbing scene. This moment of tension and humor is a perfect example of the film’s ability to effectively combine action and comedy. The film is also known for its revolutionary special effects, which helped create some of the most exciting and dangerous scenes of the time. Lloyd, despite serious injuries sustained in a previous accident, personally performed many of the stunts, demonstrating extraordinary courage and dedication. His performance was so significant that, in 1994, “Safety Last!” was selected for preservation in the United States Library of Congress’s National Film Registry, recognizing it as a work of significant cultural, historical, and aesthetic value. Today, “Safety Last!” remains an enduring classic, a film that continues to delight audiences of all ages and is regularly included in film retrospectives. Its legacy endures as a testament to the ingenuity and innovation of the early years of cinema, and as a reminder of the talent and pioneering spirit of Harold Lloyd and his collaborators.
HAROLD LLOYD - Card no. 13 of the PERSONALITIES OF TO-DAY series printed by GODFREY PHILLIPS LTD in 1932. Imagine Harold Lloyd, the iconic silent film actor, with his unmistakable pair of round glasses, which look like two magnifying glasses that enhance his wide eyes unawares. His smile is a thin line, almost a grimace, which widens into an expression of contagious joy. His hands, always in movement, seem to dance in the air, while his feet, in constant precarious balance, take him on comic adventures on the edge of the absurd. His slight figure, impeccably dressed in a suit that seems too big for him, gives him an air of awkward elegance, a gentleman in a world of slapstick. And then there is his hat, a tilted fedora that seems to have a personality of its own, always in the right place at the right time, as if to underline the comedy of the situations in which he finds himself. Harold Lloyd, with his stage presence, transforms every scene into a masterpiece of timing and expression, a master of visual art who knew how to make people laugh without saying a word.
MEET JOHN DOE - “Meet John Doe,” a 1941 film directed by the celebrated Frank Capra, is a comedy-drama that explores themes of politics and society through the story of an ordinary man who becomes an inadvertent hero. Starring Gary Cooper and Barbara Stanwyck, the film tells of a journalist, played by Stanwyck, who, to take revenge for her dismissal, publishes a fictitious letter from a certain "John Doe", who threatens to commit suicide due to social injustices. The letter goes viral, prompting the newspaper to rehire the journalist and create a political movement around this fictional figure. Cooper plays the drifter hired to impersonate John Doe, becoming a symbol of hope for ordinary people. The film is an incisive critique of media sensationalism and political manipulation, but it is also a story of redemption and community power. "Meet John Doe" is considered a cinematic classic, known for its humor, human warmth and deep emotional resonance.
BARBARA STANWYCK - Card n.15 of the Cinema Stars series printed by ROTHMANS in 1939 - Barbara Stanwyck, one of the undisputed icons of classic American cinema, left an indelible mark with her performance as Ann Mitchell in "Meet John Doe". In this 1941 film, directed by the master Frank Capra, Stanwyck plays an enterprising journalist who, in a stroke of genius (or madness, depending on your perspective), invents a letter from an unemployed man who threatens suicide in protest against social injustices. Her performance was so convincing that even today it is debated whether Ann Mitchell was a visionary or simply a woman desperate to keep her job in times of crisis. The film, which explores themes such as political corruption, populism and human dignity, saw Stanwyck bring to life one of the most complex and multi-faceted female characters of the era, demonstrating her extraordinary ability to play roles with strong emotional and social impact .
MEET JOHN DOE - "Courtesy of the Media History Digital Library" - Page 21 of the periodical CINE-MUNDIAL (1941) published by New York, Chalmers publishing company. (Cine-Mundial was the Spanish-language version of Moving Picture World).
DARK JOURNEY - “Dark Journey” è un film di spionaggio britannico del 1937 diretto da Victor Saville e interpretato da Conrad Veidt, Vivien Leigh e Joan Gardner. La trama si svolge durante la Prima Guerra Mondiale e segue le vicende di due agenti segreti di opposte fazioni che si incontrano e si innamorano nella neutrale Stoccolma. Il film è noto per la sua intrigante narrazione e per le intense performance dei protagonisti. Conrad Veidt interpreta il Barone Karl Von Marwitz, un ufficiale tedesco, mentre Vivien Leigh è Madeleine Goddard, una proprietaria di una boutique di moda che si rivela essere una spia francese. La storia si complica quando Madeleine, che lavora come doppio agente per i francesi, cerca di scoprire l’identità del nuovo capo del servizio segreto tedesco a Stoccolma. “Dark Journey” combina elementi di avventura, crimine e romance, creando un’atmosfera densa di tensione e mistero. Il film è stato lodato per la sua sceneggiatura, scritta da Lajos Bíró e Arthur Wimperis, e per la regia di Saville, che gestisce abilmente il ritmo e la suspense. Inoltre, le scenografie e i costumi contribuiscono a ricreare l’epoca della guerra con dettagli accurati e un’atmosfera autentica. Nonostante alcune critiche riguardo al ritmo lento e alla difficoltà nel distinguere le nazionalità dei personaggi a causa degli accenti, “Dark Journey” rimane un esempio significativo del cinema di spionaggio pre-bellico e un interessante studio dei personaggi coinvolti in giochi di doppia spionaggio durante un periodo storico tumultuoso. In sintesi, “Dark Journey” è un film che merita attenzione per la sua capacità di intrecciare la narrazione di spionaggio con una storia d’amore commovente, il tutto ambientato contro lo sfondo della Prima Guerra Mondiale.
CONRAD VEIDT - Card n.45 della serie FILM STAGE and RADIO STARS stampata dalla ARDATH TOBACCO CO LTD nel 1935Conrad Veidt, pseudonimo di Hans Walter Konrad Veidt, è stato un attore tedesco che ha lasciato un'impronta indelebile nella storia del cinema. Nato a Potsdam il 22 gennaio 1893, Veidt si è distinto per la sua capacità di incarnare personaggi complessi e memorabili, diventando una delle figure più emblematiche del cinema muto tedesco. La sua carriera iniziò nei primi anni del Novecento, quando lavorò a Berlino nella compagnia teatrale di Max Reinhardt. Il suo debutto cinematografico avvenne nel 1917 con il film "Der Weg des Todes", ma fu il ruolo di Cesare nel film "Il gabinetto del dottor Caligari" del 1920 a consacrarlo come stella internazionale. Questo film, una pietra miliare del cinema espressionista, ha mostrato la sua straordinaria capacità di trasmettere emozioni intense attraverso il linguaggio del corpo e dell'espressione facciale. Dopo aver raggiunto la fama in Germania, la vita di Veidt prese una svolta drammatica con l'ascesa del nazismo. A causa delle sue convinzioni politiche e del fatto che sua moglie era ebrea, decise di lasciare la Germania per trasferirsi nel Regno Unito. Qui, ottenne la cittadinanza britannica nel 1939 e continuò la sua carriera cinematografica, spesso interpretando ruoli di militare tedesco in film antinazisti come "La spia in nero" e "Contrabbando". Il suo trasferimento negli Stati Uniti all'inizio degli anni '40 segnò l'ultima fase della sua carriera. A Hollywood, Veidt continuò a lavorare in pellicole di rilievo, tra cui "Casablanca" del 1942, dove interpretò il ruolo del maggiore Strasser, uno dei suoi ultimi e più celebri personaggi. Purtroppo, la sua vita si concluse prematuramente l'anno successivo, il 3 aprile 1943, a causa di un infarto mentre giocava a golf. Conrad Veidt rimane una figura leggendaria, un artista che ha attraversato epoche turbolente, portando sullo schermo una gamma di personaggi che continuano a influenzare il mondo del cinema. La sua eredità artistica vive attraverso le sue interpretazioni, che rimangono testimonianze potenti della sua maestria e del suo spirito indomito.
JOAN GARDNER - Card n.39 della serie SCREEN STARS stampata dalla ABDULLA & Co. Ltd. nel 1939Joan Gardner è stata un'artista poliedrica che ha lasciato un'impronta indelebile nel mondo dell'intrattenimento, soprattutto come doppiatrice. Nata il 16 novembre 1926 a Chicago, Illinois, Gardner ha iniziato la sua carriera sul palcoscenico, ma è stata la sua voce unica a renderla famosa. Con una carriera che si estende dal 1948 al 1991, Gardner ha prestato la sua voce a numerosi personaggi animati, diventando una figura iconica per molte generazioni. Tra i suoi ruoli più noti, c'è quello di Spunky in "The Adventures of Spunky and Tadpole" e di Tanta Kringle nel classico natalizio "Santa Claus Is Comin' to Town". Ha anche lavorato come sceneggiatrice, autrice e compositrice, mostrando il suo talento versatile e la sua passione per l'arte. La sua vita personale è stata altrettanto ricca: sposata con il produttore Edward Janis dal 1960 fino alla sua morte, Gardner ha anche scritto sotto il nome di Joan Janis. La sua scomparsa il 10 dicembre 1992 ha lasciato un vuoto nel settore, ma il suo lavoro continua a vivere e a ispirare. Joan Gardner rappresenta un esempio di come la passione e il talento possano attraversare diverse forme di media, lasciando un'eredità che supera il confine del tempo. La sua voce ha dato vita a personaggi che hanno accompagnato l'infanzia di molti e continueranno a farlo per anni a venire. Grazie, Joan, per averci regalato momenti indimenticabili con la tua arte.
URSULA JEANS - Card n.45 della serie BRITISH BORN FILM STAR stampata dalla ARDATH TOBACCO CO LTD nel 1934Nel panorama del teatro e del cinema britannico, poche figure brillano con l'intensità e il talento di Ursula Jeans. Nata Ursula Jean McMinn il 5 maggio 1906 a Simla, nell'India britannica, Ursula Jeans si è trasferita a Londra dove ha ricevuto un'educazione formale e ha affinato il suo talento alla prestigiosa Royal Academy of Dramatic Art (RADA). La sua carriera iniziò nel 1922, quando fece il suo debutto teatrale al Criterion Theatre. Da lì, la sua passione per la recitazione l'ha portata a specializzarsi in opere classiche di Shakespeare e Shaw, esibendosi principalmente all'Old Vic e con la compagnia Sadler's Wells. Durante la Seconda Guerra Mondiale, Jeans ha lavorato sotto l'egida dell'Entertainments National Service Association (ENSA), insieme al suo secondo marito, l'attore Roger Livesey. Spesso si esibivano insieme sul palco e hanno goduto di un particolare successo nel West End con una commedia scritta appositamente per loro da J.B. Priestley: "Ever Since Paradise". Sul grande schermo, Ursula Jeans ha avuto ruoli memorabili, interpretando spesso mogli gentili e devote, come la signora Molly Wallis in "The Dam Busters" (1955). Tuttavia, è stata particolarmente efficace nei panni della moglie di un ufficiale, Lady Windham, in "North West Frontier" (1959), o come la vedova borghese Martha Dacre, che cerca di venire a patti con le conseguenze della guerra in "The Weaker Sex" (1948). La sua vita personale è stata altrettanto affascinante quanto la sua carriera. Il suo primo matrimonio con l'attore Robin Irvine terminò tragicamente con la sua morte nel 1933. Successivamente, sposò Roger Livesey nel 1937, e la loro unione durò fino alla morte di lei nel 1973. Ursula Jeans è deceduta a causa di un cancro, lasciando un'eredità artistica che continua a influenzare e ispirare. Ursula Jeans non è stata solo un'attrice di talento, ma anche una figura emblematica di forza e resilienza. La sua dedizione alla sua arte e il suo impegno nel portare storie significative sul palco e sullo schermo hanno lasciato un'impronta indelebile nel mondo dello spettacolo. La sua targa commemorativa condivisa con Roger Livesey nella chiesa degli attori di St Paul's a Covent Garden è un tributo alla loro vita insieme e al loro contributo all'arte drammatica. Ursula Jeans rimane un esempio luminoso di come la passione e il talento possano trascendere il tempo e le generazioni, ispirando coloro che seguono le loro orme artistiche. La sua storia è una testimonianza del potere trasformativo del teatro e del cinema, e del ruolo vitale che gli artisti giocano nel plasmare la nostra comprensione della società e dell'umanità.
VIVIEN LEIGH - Card n. 22 FILM STARS (3RD SERIES) (1938) JOHN PLAYER & SONS. - Vivien Leigh è stata una delle attrici più celebri del ventesimo secolo, resa famosa soprattutto per il suo ruolo iconico di Scarlett O’Hara in "Via col vento" e di Blanche DuBois in "Un tram che si chiama Desiderio", per i quali ha vinto due premi Oscar. Nel film "Fire Over England" (1937), Vivien Leigh ha interpretato Cynthia, una delle dame di compagnia della regina Elisabetta I. Il suo personaggio, giovane, vivace e attraente, ha suscitato la gelosia della regina stessa. Cynthia è anche l'interesse amoroso del personaggio di Michael Ingolby, interpretato da Laurence Olivier. La performance di Leigh in questo film è stata cruciale per la sua carriera, poiché ha contribuito a convincere il produttore David O. Selznick a selezionarla per il ruolo di Scarlett O’Hara.
FIRE OVER ENGLAND - "Fire Over England" is a cinematic work that captures the essence of a turbulent era in English history, offering an intimate look at the political tensions and espionage maneuvers that characterized the Elizabethan period. The film stands out for its skillful blend of historical drama and adventure, taking the viewer on a journey through the corridors of power and the stormy waters of the Atlantic. William K. Howard's direction has been praised for his ability to create a vivid and engaging portrait of an era defined by religious conflicts and international rivalries. The narrative follows the exploits of Michael Ingolby, a brave and cunning hero whose mission is to penetrate the secrets of the Spanish court. His determination and ingenuity are palpable in every scene, and Olivier delivers a performance that captures the audacity and complexity of his character. Alongside him, Vivien Leigh shines in the role of Cynthia, whose beauty and spirit reflect the strength and independence of the queen she serves. Their on-screen chemistry is undeniable and marks the beginning of one of the most memorable collaborations in cinema history. The historical context of the film is rendered with great attention to detail, from the luxurious European courts to the warships sailing the seas, creating a sense of authenticity that immerses the viewer in the era. The threat of the Spanish Armada is felt throughout the film, a constant reminder of what is at stake for England and its queen. The tension rises as Ingolby gets closer to his goal, and the viewer is drawn into a web of intrigue and danger. Leigh's performance as Cynthia was crucial not only for the film but also for her career, as it demonstrated her versatility and talent as an actress. Her portrayal left a lasting impression on Selznick, leading her to secure one of the most iconic roles in cinema, that of Scarlett O'Hara in "Gone with the Wind." This role solidified her position as one of the great stars of her time, and her work in "Fire Over England" can be seen as a turning point that paved the way for that success. In conclusion, "Fire Over England" remains a significant film for its cultural and historical impact. It not only marked the beginning of a legendary partnership between Olivier and Leigh but also helped shape the genre of historical films, offering a compelling look at a crucial period in British history. Its legacy endures as a testament to the power of cinema to bring history to life, and it continues to be appreciated by critics and film lovers for its compelling narrative, stellar performances, and impeccable production.
LAURENCE OLIVIER - Card n. 34 FILM STARS (3RD SERIES) (1938) JOHN PLAYER & SONS. - Laurence Olivier è stato uno degli attori più celebrati del ventesimo secolo, famoso per le sue interpretazioni sia teatrali che cinematografiche, specialmente nei ruoli shakespeariani. Ha ricevuto numerosi riconoscimenti, inclusi quattro premi Oscar, lasciando un segno indelebile nel mondo del teatro e del cinema. Nel film "Fire Over England" (1937), Olivier dà vita al personaggio di Michael Ingolby, un giovane ufficiale della marina inglese il cui padre è stato ucciso dagli spagnoli. Michael si offre volontario per infiltrarsi alla corte di Filippo II di Spagna al fine di ottenere informazioni vitali sui piani dell'Armada spagnola. Il suo personaggio è rappresentato come coraggioso, leale e fermamente deciso a difendere l'Inghilterra dalla minaccia spagnola. La sua missione lo vede affrontare pericoli e complotti, mettendo alla prova la sua intelligenza e il suo valore.
FLORA ROBSON - Card no. 30 from the series CHARACTERS COME TO LIFE (GODFREY PHILLIPS LTD) (1938). - Flora Robson was a British actress known for her intense and charismatic performances, particularly in historical roles. Her career spanned many years, distinguishing herself both in film and theatre. In the film "Fire Over England" (1937), Flora Robson brought to life the character of Queen Elizabeth I. Her performance was widely praised for its ability to portray the strength and determination of the sovereign at a crucial moment in English history. In the context of the film, Elizabeth I finds herself facing the threat of the Spanish Armada, having to maneuver through conspiracies and betrayals to safeguard her kingdom. Robson was able to express both the authority and the vulnerability of the Queen, making her Elizabeth memorable and authentic. Her performance is considered one of the most emblematic in the history of British cinema, helping to consolidate her status as an icon in the landscape of theatre and cinema. Robson, with her mastery, took the audience on a journey through the pages of history, proving that talent and passion can transform acting into a sublime art.
RAYMOND MASSEY - Card n.25 della serie CHARACTERS COME TO LIFE (GODFREY PHILLIPS LTD) (1938). - Raymond Massey, attore canadese di straordinario talento, ha lasciato un'impronta indelebile nel mondo del cinema e del teatro con i suoi ruoli intensi e autorevoli. La sua carriera, ricca di successi, si è distinta per la varietà di personaggi storici e drammatici che ha saputo interpretare con maestria. Massey è stato un artista versatile, capace di adattarsi a diversi generi e stili, mantenendo sempre un livello di recitazione elevato. Nel film "Fire Over England" del 1937, Massey ha dato vita al personaggio di Filippo II di Spagna, incarnando l'antagonista principale della narrazione. La sua interpretazione ha catturato l'essenza di un sovrano determinato e inflessibile, opponendosi all'Inghilterra di Elisabetta I. Attraverso la sua performance, Massey ha trasmesso non solo la rigidità e l'ambizione del re spagnolo, ma anche la complessità emotiva di un uomo di potere, aggiungendo così profondità e sfumature al suo ruolo. La sua capacità di dare vita a personaggi potenti e complessi è stata una costante nella sua carriera. Massey ha esplorato le sfaccettature dell'animo umano, portando sullo schermo e sul palcoscenico figure storiche con un realismo e un'intensità che pochi altri hanno saputo eguagliare. Ogni sua interpretazione era un'opera d'arte, caratterizzata da una profonda comprensione del personaggio e da una dedizione assoluta al mestiere dell'attore. Oltre a "Fire Over England", Massey ha brillato in numerosi altri film, come "Abe Lincoln in Illinois" (1940), dove ha interpretato il presidente americano Abraham Lincoln, dimostrando ancora una volta la sua abilità nel rappresentare figure di grande autorità e umanità. La sua performance in questo film è stata acclamata dalla critica e ha rafforzato la sua reputazione come uno degli attori più rispettati del suo tempo. Massey ha continuato a lavorare fino agli ultimi anni della sua vita, lasciando un'eredità di ruoli memorabili che hanno ispirato generazioni di attori. La sua passione per l'arte della recitazione e la sua dedizione al perfezionamento del suo mestiere sono stati esemplari. Raymond Massey non è stato solo un attore; è stato un vero artista, un maestro della scena che ha saputo catturare l'immaginazione del pubblico e toccare il cuore di chi lo ha visto recitare. La sua eredità continua a vivere attraverso le sue indimenticabili interpretazioni, che rimangono un punto di riferimento per tutti coloro che amano il teatro e il cinema.
LESLIE BANKS - Card No. 2 from the series CHARACTERS COME TO LIFE (GODFREY PHILLIPS LTD) (1938). - Leslie Banks was a British actor known for his intense and sometimes menacing roles in films of the 1930s and 1940s. His prolific career spanned both film and theatre, and he is remembered for his ability to portray complex, multi-faceted characters. In the film "Fire Over England" (1937), Leslie Banks brought Robert Dudley, the Earl of Leicester to life. Leicester was a key advisor to Queen Elizabeth I and her former lover. The role played by Banks is crucial to the narrative, as he embodies the loyalty and wisdom needed to face the political and military challenges of the time. His performance gives the film greater depth, revealing both the strength and vulnerability of the character.
DONALD CALTHROP - Card n.16 della serie BRITISH BORN FILM STAR (ARDATH TOBACCO CO LTD) (1934). - Donald Calthrop, attore britannico di straordinario talento, è rimasto impresso nella memoria collettiva per la sua eccezionale capacità di dare vita a personaggi complessi e sfaccettati. La sua carriera, che si estende dal 1916 al 1940, è stata segnata da una serie di interpretazioni memorabili sia sul grande schermo che sul palcoscenico, testimoniando la sua versatilità e il suo impegno artistico. Con oltre sessanta film all'attivo, Calthrop ha lasciato un'impronta indelebile nel mondo del cinema, diventando un punto di riferimento per le generazioni future di attori. Nel film "Fire Over England" del 1937, Calthrop ha assunto il ruolo di Don Escobal, uno degli ufficiali spagnoli al centro della congiura contro l'Inghilterra elisabettiana. La sua interpretazione di Escobal è stata acclamata per la profondità e l'intensità con cui ha rappresentato il personaggio, arricchendo la narrazione con una tensione palpabile e un senso di intrigo che permea ogni scena in cui appare. La sua capacità di incarnare la malizia e l'astuzia di Escobal ha contribuito a creare un'atmosfera carica di suspense, rendendo il film un classico indimenticabile del genere storico. La presenza scenica di Calthrop, unita alla sua interpretazione intelligente e sfumata, ha reso i suoi personaggi memorabili e ha influenzato notevolmente la direzione artistica dei film in cui ha recitato. La sua dedizione all'arte della recitazione e la sua abilità nell'esplorare le complessità psicologiche dei suoi personaggi hanno fatto di lui un'icona del cinema britannico. Attraverso le sue performance, Calthrop ha esplorato temi universali come il potere, la lealtà e il tradimento, dimostrando che il cinema può essere uno strumento potente per riflettere sulla condizione umana. Oltre al suo lavoro sullo schermo, Calthrop ha avuto una carriera teatrale altrettanto impressionante, portando sul palco la stessa intensità e profondità che caratterizzavano le sue performance cinematografiche. La sua capacità di adattarsi a diversi stili e generi ha mostrato la sua eccezionale gamma come attore, e il suo contributo alle arti drammatiche è stato riconosciuto sia dal pubblico che dalla critica. La sua eredità continua a ispirare e a essere celebrata, non solo per le sue realizzazioni artistiche ma anche per il suo impatto sulla cultura cinematografica e teatrale. Donald Calthrop non è stato solo un attore; è stato un vero artista, il cui lavoro continua a risuonare e a influenzare l'industria dell'intrattenimento. La sua vita e la sua carriera rimangono un esempio luminoso di dedizione e passione per la recitazione, e il suo nome sarà sempre sinonimo di eccellenza nel mondo del teatro e del cinema.
FIRE OVER ENGLAND - Sticker #23 from the series SHOTS FROM THE FILM (JA PATTREIOUEX LTD) (1938). - “Fire Over England” is a film full of interesting trivia. For example, it is known for being the first collaboration between Laurence Olivier and Vivien Leigh. During filming, the two actors fell in love, starting one of Hollywood's most famous love stories. In addition, Vivien Leigh's performance in this film was so convincing that it helped land her the role of Scarlett O'Hara in “Gone with the Wind”. The film was directed by William K. Howard and produced by Alexander Korda, a major film producer of the time. The special effects, by Lawrence W. Butler, Edward Cohen and Ned Mann, were particularly notable for the naval battle scenes. Based on the 1936 novel of the same name by AEW Mason, the film stars Flora Robson as Queen Elizabeth I. Her performance was widely praised for embodying the Queen's strength and determination during a critical period in English history.
HANSOM CIGARETTES ADVERTISEMENT - Back first page of the album FILM KUNSTLER AUS ALLER WELT (1931)
THE FRONT PAGE (1931) - "The Front Page" è un capolavoro cinematografico del 1931, diretto dal talentuoso Lewis Milestone e basato sulla vivace commedia teatrale di Ben Hecht e Charles MacArthur. Questo film pre-Code è una commedia screwball che si distingue per il suo ritmo incalzante e i dialoghi scintillanti, elementi che hanno contribuito a renderlo un classico intramontabile. La trama ruota attorno al giornalista Hildy Johnson, interpretato con maestria da Pat O’Brien, che si trova a dover scegliere tra la sua carriera nel giornalismo e una nuova vita nella pubblicità a New York. La situazione si complica quando un condannato a morte, Earl Williams, evade, offrendo a Hildy l'occasione per uno scoop che potrebbe cambiare le sue prospettive future. Adolphe Menjou offre una performance memorabile nel ruolo di Walter Burns, l'editore senza scrupoli che fa di tutto per mantenere Hildy nel mondo frenetico del giornalismo. Il film è stato accolto con entusiasmo dalla critica, ottenendo un impressionante 88% su Rotten Tomatoes e un punteggio di 76 su Metacritic, segno dell'apprezzamento universale per la sua qualità e il suo impatto culturale. Inoltre, "The Front Page" è stato nominato per diversi premi agli Academy Awards, inclusi Miglior Film, Miglior Regista per Milestone e Miglior Attore per Menjou, consolidando ulteriormente il suo status nel panorama cinematografico. La pellicola è stata prodotta da Howard Hughes e distribuita da United Artists, con un cast di supporto che include Mary Brian, Edward Everett Horton e altri talenti dell'epoca. È interessante notare che esistono due versioni del film, ognuna composta da differenti riprese: una destinata al mercato internazionale e l'altra, preferita dal regista Milestone, per la distribuzione originale negli Stati Uniti. Entrambe le versioni sono disponibili per la visione domestica. "The Front Page" è stato selezionato per il National Film Registry della Library of Congress nel 2010, riconoscendolo come opera di significativa importanza culturale, storica ed estetica, e attualmente è di pubblico dominio. La storia di "The Front Page" è un'esplorazione affascinante del giornalismo dell'epoca, con un'acuta critica sociale e politica che risuona ancora oggi. Il film non solo intrattiene, ma offre anche uno spaccato della vita redazionale e delle dinamiche di potere all'interno del mondo dei media, temi che rimangono attuali. La sua eredità continua a influenzare il cinema contemporaneo, e la sua rilevanza è testimoniata dalle numerose trasposizioni e omaggi che ha ispirato nel corso degli anni. Per chiunque sia interessato alla storia del cinema o al giornalismo, "The Front Page" è un'opera imprescindibile che merita di essere vista e rivista.
PAT O'BRIEN - Card n.13 FILM FAVOURITES 3rd Series stampata da A. AND M. WIX LONDON nel 1939 - William Joseph Patrick O'Brien, meglio conosciuto come Pat O'Brien, è stato un attore americano di grande talento e versatilità. Nato l'11 novembre 1899 a Milwaukee, Wisconsin, O'Brien ha lasciato un'impronta indelebile nel mondo del cinema con oltre 100 crediti cinematografici. Di origini irlandesi, ha spesso interpretato personaggi che riflettevano il suo retaggio, guadagnandosi l'affetto del pubblico e il soprannome di "Hollywood's Irishman in Residence". La sua carriera ha preso il via dopo aver frequentato la Marquette Academy e l'American Academy of Dramatic Arts, dove ha coltivato la sua passione per la recitazione e ha stretto una duratura amicizia con Spencer Tracy, un altro gigante del cinema. Il debutto cinematografico di O'Brien avvenne nel 1930 con il cortometraggio "The Nightingale", ma fu il suo ruolo da protagonista come Hildy Johnson nel film "The Front Page" del 1931 a stabilirlo come un attore di primo piano. La sua interpretazione di un giornalista sul punto di abbandonare la cronaca nera per un lavoro in pubblicità a New York è stata acclamata sia dalla critica che dal pubblico, specialmente quando il personaggio si imbatte in uno scoop inaspettato che cambia il corso della sua vita. O'Brien è ricordato anche per le sue performance memorabili in film come "Knute Rockne, All American", dove ha interpretato il leggendario allenatore di football, e "Angels with Dirty Faces", un classico del cinema gangster. Il suo ruolo in "Some Like It Hot" ha dimostrato la sua abilità nel genere della commedia, aggiungendo un altro strato alla sua già ricca carriera. Oltre al cinema, O'Brien ha avuto una presenza significativa anche in televisione e teatro, mostrando una gamma di talenti che pochi possono eguagliare. La vita di O'Brien fu altrettanto interessante fuori dallo schermo. Durante la Prima Guerra Mondiale, lui e Tracy si unirono alla Marina degli Stati Uniti, e anche se non andarono mai in mare, la loro esperienza al Great Lakes Naval Training Center fu notevole. In particolare, O'Brien ebbe un ruolo indiretto nell'aiutare Jack Benny a iniziare la sua carriera nella commedia. Dopo la guerra, completò i suoi studi alla Marquette Academy e successivamente frequentò la Marquette University, prima di trasferirsi a New York per inseguire la sua carriera di attore. La sua vita privata fu segnata da un matrimonio felice con Eloise Taylor nel 1931, dalla nascita di quattro figli e da un profondo impegno nella fede cattolica. O'Brien è stato un esempio di integrità e dedizione, sia nella sua vita professionale che personale. La sua scomparsa il 15 ottobre 1983 a Santa Monica, California, ha lasciato un vuoto nel mondo del cinema, ma il suo retaggio continua a vivere attraverso le sue numerose e indimenticabili interpretazioni.
MARY BRIAN - Card n.20 della serie STARS of the SCREEN stampata dalla GODFREY PHILLIPS LTD nel 1934. - Mary Brian, il cui vero nome era Louise Byrdie Dantzler, nacque il 17 febbraio 1906 a Corsicana, Texas. La sua carriera iniziò in maniera fulminea quando, a soli 16 anni, fu scoperta durante un concorso di bellezza. Questo evento fortuito la portò a ottenere il ruolo di Wendy Darling nel film muto "Peter Pan" del 1924, segnando il suo debutto nel mondo del cinema. Con il passaggio al cinema sonoro, Mary dimostrò una notevole capacità di adattamento, continuando a lavorare con successo e a catturare il cuore del pubblico. Conosciuta come "The Sweetest Girl in Pictures", Mary incarnava l'ideale di dolcezza e innocenza dell'epoca, una reputazione che le permise di recitare in oltre 40 film. Nel 1926, la sua promettente carriera fu ulteriormente riconosciuta quando vinse il premio WAMPAS Baby Stars, assegnato alle giovani attrici più promettenti dell'industria cinematografica. Questo premio era un indicatore significativo del talento e del potenziale percepito in una giovane attrice, e Mary non deluse le aspettative. Uno dei suoi ruoli più memorabili fu quello di Peggy Grant nel film "The Front Page" del 1931. La sua interpretazione le permise di consolidare la sua fama come una delle attrici più talentuose e affascinanti di Hollywood, capace di trasmettere emozioni genuine e di creare personaggi indimenticabili. La sua carriera attraversò diverse fasi, ma rimase sempre una figura amata e rispettata nel settore. Sul fronte personale, Mary Brian si sposò due volte. Il suo primo matrimonio fu con Jon Whitcomb, un noto illustratore dell'epoca, mentre il secondo fu con George Tomasini, un montatore cinematografico di talento. Entrambi i matrimoni riflettevano la sua vicinanza al mondo dell'arte e del cinema, e la sua vita personale era tanto affascinante quanto la sua carriera sullo schermo. Mary Brian visse una vita lunga e ricca, lasciandoci all'età di 96 anni, il 30 dicembre 2002, a Del Mar, California. La sua eredità continua a vivere attraverso le sue performance, che rimangono testimonianza del suo talento e della sua capacità di toccare il cuore del pubblico. La sua storia è un esempio di come talento, determinazione e un pizzico di fortuna possano portare a una carriera straordinaria nel mondo del cinema. Mary Brian rimarrà sempre un'icona del passaggio dal cinema muto al sonoro, e un simbolo dell'età d'oro di Hollywood.
MAE CLARKE - Card #37 from the CINEMA CELEBRITIES series printed by BAT in 1935 - Mae Clarke, born Violet Mary Klotz on August 16, 1910 in Philadelphia, Pennsylvania, was an American actress known for her iconic roles in 1930s cinema. She began her career in vaudeville and nightclubs in New York, sharing a room with actress Barbara Stanwyck. Clarke is best remembered for two roles in 1931: Elizabeth in the film “Frankenstein” and Kitty in the film "The Public Enemy". In “Frankenstein”, she played the girlfriend of Dr. Henry Frankenstein, who is attacked by the monster played by Boris Karloff. In “The Public Enemy”, she is famous for the scene in which James Cagney squeezes a grapefruit in her face, one of the most iconic scenes in cinema. In the 1931 film “The Front Page,” Mae Clarke played Molly Malloy, a good-hearted prostitute who believes in the innocence of a man sentenced to death. Her performance in this film helped cement her reputation as a versatile and talented actress. Clarke continued to work in film and television until the 1970s, but her career was marred by a serious car accident in 1933 that left her with a broken jaw. She died on April 29, 1992, in Los Angeles, California.
THE GREEKS HAD a WORD for THEM - "The Greeks Had a Word for Them", conosciuto anche come "Three Broadway Girls", è un film che ha sapientemente catturato l'essenza della commedia americana degli anni '30, un periodo segnato da una grande vivacità culturale e sociale. La regia di Lowell Sherman offre una visione acuta delle dinamiche sociali e amorose dell'epoca, attraverso la lente di una commedia teatrale scritta da Zoe Akins. Il film si distingue per la rappresentazione di tre donne moderne e indipendenti, interpretate magistralmente da Joan Blondell, Madge Evans e Ina Claire, che cercano di navigare la società in cerca di sicurezza finanziaria e personale. La loro ricerca è intrisa di flirt e intrighi, riflettendo non solo lo stile di vita dell'epoca, ma anche temi progressisti come l'emancipazione femminile e l'importanza dell'autonomia e dell'ingegno delle donne. La distribuzione del film da parte di United Artists ha contribuito a lasciare un segno indelebile nella storia del cinema, influenzando opere successive e rimanendo un punto di riferimento per la sua rappresentazione energica e atemporale delle ambizioni e dei sogni femminili. Il cast del film includeva talenti come David Manners, Lowell Sherman stesso, Phillips Smalley, Sidney Bracey, Louise Beavers, Wilson Benge e Ward Bond, oltre alle protagoniste già citate. La presenza di Betty Grable in un ruolo minore, non accreditato, aggiunge un ulteriore livello di interesse, considerando il suo successo successivo in ruoli simili. Rilasciato il 13 febbraio 1932, con una premiere a New York il 3 febbraio dello stesso anno, "The Greeks Had a Word for Them" si concentra su un trio di donne che aspirano a mantenere uno stile di vita lussuoso attraverso relazioni con uomini benestanti, dando vita a situazioni esilaranti e a volte caotiche. Questa trama, insieme alla direzione artistica e alle performance, ha contribuito a creare un'opera che non solo intrattiene, ma anche stimola la riflessione su temi sociali importanti. Il film rimane un classico, apprezzato per la sua capacità di intrattenere e illuminare, un vero gioiello del cinema che continua a essere rilevante e stimolante per il pubblico contemporaneo.
MADGE EVANS - Card n.2 della serie WORLD FAMOUS CINEMA ARTISTES B.A.T. (1933) - Madge Evans, un'attrice dal fascino discreto e dall'eleganza innata, ha avuto una carriera cinematografica che ha attraversato diverse epoche di Hollywood, lasciando un'impronta indelebile con la sua presenza scenica. Nata nel 1909, Madge iniziò la sua carriera come modella infantile, per poi passare al cinema muto e infine al sonoro, dove la sua bellezza e il suo talento le permisero di ottenere ruoli di rilievo. Nel film "The Greeks Had a Word for Them", noto anche come "Three Broadway Girls", Evans interpretò il personaggio di Polaire, una delle tre protagoniste insieme a Joan Blondell e Ina Claire. La pellicola, diretta da Lowell Sherman e prodotta da Samuel Goldwyn, è basata sull'opera teatrale di Zoe Akins e rappresenta una commedia pre-Code che esplora le dinamiche sociali e le ambizioni di tre donne nella New York degli anni '30. La performance di Madge Evans in questo film è stata particolarmente apprezzata per la sua capacità di bilanciare fascino e vulnerabilità, contribuendo a creare un personaggio memorabile e tridimensionale. La sua carriera proseguì con successo fino agli anni '40, quando decise di ritirarsi dalle scene per dedicarsi alla famiglia, lasciando dietro di sé una serie di interpretazioni che ancora oggi vengono ricordate con affetto e ammirazione. Madge Evans rimane un esempio di talento e dedizione nel mondo del cinema, e la sua eredità continua a ispirare nuove generazioni di attori e cineasti.
JOAN BLONDELL - Card n.5 della serie FILM STARS (SILVER) JOHN PLAYER & SONS (1934) - Joan Blondell, un'icona del cinema americano, ha avuto una vita professionale ricca e variegata, culminata con una performance memorabile nel film "The Greeks Had a Word for Them". Nata nel 1906, Blondell iniziò la sua carriera durante l'epoca d'oro di Hollywood e divenne nota per il suo spirito vivace e la sua presenza magnetica sullo schermo. Nel film del 1932, Blondell interpretò il ruolo di Schatze, una delle tre protagoniste, portando sullo schermo una combinazione di fascino e astuzia che catturò il cuore del pubblico. La sua interpretazione in "The Greeks Had a Word for Them" è stata acclamata per la sua capacità di bilanciare commedia e dramma, dimostrando la sua versatilità come attrice. Fu durante le riprese di questo film che ebbe una relazione con il direttore della fotografia George Barnes, con cui si sposò successivamente. La Blondell, attraverso i suoi ruoli, ha spesso rappresentato donne indipendenti e determinate, riflettendo così gli ideali emergenti dell'epoca. La sua carriera si estese per diverse decadi, durante le quali si adattò ai cambiamenti dell'industria cinematografica, mantenendo sempre una presenza fresca e rilevante. La sua eredità continua a influenzare le attrici di oggi, lasciando un'impronta indelebile nella storia del cinema.
NOSFERATU - "Nosferatu: Una Sinfonia dell'Orrore" (1922) è un capolavoro del cinema espressionista tedesco, diretto da F.W. Murnau. Questo film muto, basato liberamente sul romanzo "Dracula" di Bram Stoker, è considerato uno dei primi e più influenti film horror della storia del cinema. La storia segue Hutter, un giovane agente immobiliare, che viene inviato nei Carpazi per concludere una vendita con il misterioso Conte Orlok. Una volta arrivato, Hutter scopre che Orlok è in realtà un vampiro. Il conte si trasferisce nella città di Hutter, portando con sé una scia di morte e terrore. La moglie di Hutter, Ellen, diventa la chiave per sconfiggere il vampiro, sacrificandosi per distrarlo fino all'alba. "Nosferatu" è celebre per la sua atmosfera inquietante e le sue immagini iconiche. L'uso delle ombre e delle luci, tipico dell'espressionismo tedesco, crea un senso di angoscia e mistero. Le scene in cui il Conte Orlok emerge dalle tenebre o si muove con movimenti innaturali sono diventate simboli del cinema horror. Max Schreck, nel ruolo del Conte Orlok, offre una performance indimenticabile. La sua figura emaciata, le lunghe dita e i denti affilati hanno definito l'immagine del vampiro nel cinema. La sua interpretazione è così convincente che per anni si è speculato che Schreck fosse realmente un vampiro. "Nosferatu" ha avuto un impatto duraturo sul genere horror e sul cinema in generale. Ha influenzato innumerevoli film e registi, e la sua estetica continua a essere un punto di riferimento per il cinema gotico e dell'orrore. Nonostante le controversie legali con gli eredi di Stoker, che portarono alla distruzione di molte copie del film, "Nosferatu" è sopravvissuto e continua a essere celebrato come un capolavoro. "Nosferatu" non è solo un film, ma un'esperienza visiva che ha definito un genere. La sua capacità di evocare paura e meraviglia attraverso immagini potenti e una narrazione avvincente lo rende un classico intramontabile. Se sei un appassionato di cinema o semplicemente ami le storie di vampiri, "Nosferatu" è un film che non puoi perdere.
Max Schreck - Card posizione 1 pag. 94 VOM WERDEM DEUTSCHER FILMKUNST. - Il personaggio di Nosferatu, interpretato da Max Schreck nel film del 1922 "Nosferatu: Una Sinfonia dell'Orrore", è uno dei vampiri più iconici e inquietanti della storia del cinema. Basato sul personaggio di Dracula di Bram Stoker, Nosferatu è un vampiro che incarna la paura e il terrore in modo unico e indimenticabile. Nosferatu, o Conte Orlok, è caratterizzato da una figura emaciata, con lunghe dita affilate e denti sporgenti. La sua pelle pallida e i suoi occhi penetranti contribuiscono a creare un'immagine spettrale e minacciosa. A differenza del Dracula di Stoker, che è spesso ritratto come un aristocratico affascinante, Nosferatu è una creatura più bestiale e primitiva, il che lo rende ancora più terrificante. La performance di Max Schreck è così convincente che per anni si è speculato che l'attore fosse realmente un vampiro. Schreck riesce a trasmettere una sensazione di inquietudine e pericolo attraverso i suoi movimenti lenti e innaturali, e la sua presenza sullo schermo è tanto magnetica quanto spaventosa. Il personaggio di Nosferatu ha avuto un impatto duraturo sul genere horror e ha influenzato innumerevoli rappresentazioni di vampiri nel cinema e nella cultura popolare. La sua immagine è diventata un simbolo del terrore e della morte, e il suo nome è sinonimo di vampiro. La capacità di Nosferatu di evocare paura e meraviglia attraverso la sua presenza visiva lo rende un personaggio indimenticabile e un pilastro del cinema horror.
LAURENCE OLIVIER & VIVIEN LEIGH - Card No.10 from the FAMOUS LOVE SCENES series (GODFREY PHILLIPS LTD) (1938) - "Fire Over England" is a historical drama film directed by William K. Howard, set during the reign of Elizabeth I and centered on England's victory over the Spanish Armada. This film is notable for being the first collaboration between Vivien Leigh and Laurence Olivier, two of the greatest stars of British cinema. Vivien Leigh plays Cynthia Burleigh, the young and lively niece of Lord Burleigh, one of Queen Elizabeth I's chief advisors. Cynthia is one of the queen's ladies-in-waiting, and her beauty and vivacity arouse the queen's jealousy. Cynthia's character is central to the plot, as her love for Michael Ingolby, played by Laurence Olivier, is one of the film's main threads. Laurence Olivier plays Michael Ingolby, a young and courageous officer in the English navy. Michael is determined to defend England from the Spanish invasion, and his love for Cynthia further motivates him. The on-screen chemistry between Leigh and Olivier is palpable and contributed to the film's success. The performance of Vivien Leigh and Laurence Olivier in "Fire Over England" was pivotal for their careers and solidified their reputation as one of the most iconic couples in cinema. Their collaboration in this film paved the way for future collaborations and left a lasting mark on the history of cinema.
LIGHTS OF NEW YORK - "Lights of New York" is a film that has skillfully captured the essence of American cinema in the 1920s, a period marked by great cultural and social vitality. Directed by Bryan Foy, it offers a sharp insight into the social and criminal dynamics of the era through the lens of a crime drama. The film stands out for being the first fully talking feature film, an innovation that revolutionized the film industry. The plot follows the story of two young men, played by Cullen Landis and Eugene Pallette, who find themselves entangled in a world of crime and corruption in New York. Their quest for success and security is fraught with dangers and intrigues, reflecting not only the lifestyle of the era but also themes such as the struggle for survival and the importance of ingenuity and determination. The film's distribution by Warner Bros. has left an indelible mark on the history of cinema, influencing subsequent works and remaining a benchmark for its energetic and timeless portrayal of American ambitions and dreams. The cast includes talents such as Wheeler Oakman, Helene Costello, Gladys Brockwell, Mary Carr, and Tom Dugan, in addition to the aforementioned protagonists. Released on July 6, 1928, "Lights of New York" focuses on a world of lights and shadows, where luxury and decadence intertwine with crime and redemption. This plot, along with the artistic direction and performances, has helped create a work that not only entertains but also stimulates reflection on important social themes. The film remains a classic, appreciated for its ability to entertain and enlighten, a true gem of cinema that continues to be relevant and inspiring for contemporary audiences.
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WINGS - "Wings" (1927) is a masterpiece of war cinema, notable for its technical innovations and for being the first film to win an Oscar. Set in 1917, the film tells the story of Jack Powell, a young car enthusiast, and his friend Mary Preston, who is in love with him without Jack realizing it. Jack, on the other hand, is in love with Sylvia Lewis, who prefers David Armstrong. When the United States enters World War I, Jack and David enlist as pilots in the Air Force to fight in France. Their initial rivalry turns into a deep friendship, and they become ace pilots. Mary also joins the Women's Motor Corps to stay close to Jack. During a battle, David is shot down but manages to procure a German plane to return to base. In a tragic mistake, Jack shoots down David, killing him. Devastated by guilt, Jack returns home a hero and finally realizes he loves Mary. The film is known for its spectacular aerial shots, with cameras mounted on planes to give the audience a sense of authenticity and adrenaline of aerial combat. Paramount invested $2 million in the production, a huge sum for the time. After the premiere in San Antonio, the film was released in theaters with some modifications, including the cutting of a reel and the addition of music for the flight scenes. However, the love scenes have not aged as well over time, appearing repetitive and dated today, with the character of Mary, played by Clara Bow, particularly affected. Nevertheless, the film contains memorable moments, such as the opening scene on the swing and the long take at the Folies Bergères, which seems to anticipate techniques used by directors like Scorsese or De Palma. Director William A. Wellman, a former aviator, gave the film a touch of authenticity by insisting on shooting only with cloudy skies, adding dynamism and realism to the shots. Wellman's technical innovations influenced subsequent cinematic language. The cast includes Charles "Buddy" Rogers and Richard Arlen, who did not have particularly brilliant careers after "Wings," and Gary Cooper, who appears briefly in a role that nonetheless launched his career. Jobyna Ralston, known for her work with Harold Lloyd, married Richard Arlen during the filming. "Wings" remains a monument of cinema not only for its technical mastery but also for its ability to tell a human story in a war context, despite some parts having aged less well.
CLARA BOW - Card n.25 Cinema Stars - CAVANDERS LTD (1934) - Clara Bow, conosciuta come la "It Girl" di Hollywood, è stata una delle attrici più iconiche degli anni '20. La sua presenza magnetica sullo schermo e il suo carisma naturale l'hanno resa una delle star più amate del cinema muto. Uno dei suoi ruoli più memorabili è stato quello di Mary Preston nel film "Wings" del 1927, diretto da William A. Wellman. In "Wings", Clara Bow interpreta Mary Preston, una giovane donna innamorata del suo vicino di casa, Jack Powell. Nonostante i suoi sentimenti, Jack non se ne accorge e invece è innamorato di Sylvia Lewis. Quando gli Stati Uniti entrano nella Prima Guerra Mondiale, Jack e il suo rivale in amore, David Armstrong, si arruolano come piloti nell'Air Force. Mary, determinata a stare vicina a Jack, si unisce ai Corpi Motorizzati Femminili. La sua dedizione e il suo coraggio sono evidenti mentre cerca di sostenere Jack durante la guerra. Clara Bow era già una grande star quando fu scelta per "Wings". La sua presenza nel film ha aggiunto un tocco di glamour e ha attirato un vasto pubblico. La sua interpretazione di Mary Preston è stata elogiata per la sua vivacità e il suo spirito. Bow ha portato una dimensione emotiva al film, rendendo il personaggio di Mary non solo una figura di supporto, ma una protagonista a pieno titolo. "Wings" è famoso per le sue innovative riprese aeree e le sequenze di battaglia. Tuttavia, il film è anche ricordato per alcune scene memorabili che coinvolgono Clara Bow. Una delle più iconiche è la scena del dolly alle Folies Bergères, dove la macchina da presa si muove tra i tavoli di un locale affollato fino a fermarsi su Jack, ubriaco fradicio. Questa scena, moderna e sorprendente, è un esempio del virtuosismo tecnico del film. Clara Bow ha lasciato un'impronta indelebile nel cinema con il suo ruolo in "Wings". La sua interpretazione di Mary Preston ha dimostrato il suo talento e il suo carisma, contribuendo a fare di "Wings" un capolavoro del cinema di guerra. La sua carriera è stata segnata da numerosi successi, ma il suo ruolo in "Wings" rimane uno dei più significativi e memorabili.
RICHARD ARLEN - Cards n.02 FILM STARS - JOHN PLAYER & SONS (1934) - Richard Arlen, nato Sylvanus Richard Van Mattimore il 1º settembre 1899 a Saint Paul, Minnesota, è stato un attore americano noto per i suoi ruoli nel cinema muto e sonoro. Dopo aver servito come pilota nel Royal Flying Corps durante la Prima Guerra Mondiale, Arlen si trasferì a Los Angeles e iniziò a lavorare come fattorino in un laboratorio cinematografico. Un incidente stradale attirò l'attenzione della Paramount Pictures, che lo scritturò dapprima come comparsa. In "Wings" del 1927, Arlen interpreta David Armstrong, un giovane pilota che si arruola nell'Air Force durante la Prima Guerra Mondiale. La sua performance nel film, che vinse il primo Oscar per il miglior film, fu fondamentale per il successo della pellicola. Arlen sfruttò la sua esperienza di aviatore per portare autenticità al ruolo, contribuendo a rendere le scene di battaglia aerea ancora più realistiche e coinvolgenti. Arlen era già noto per il suo fisico atletico e il suo aspetto prestante, che lo resero perfetto per ruoli di eroe duro e cinico. La sua interpretazione in "Wings" consolidò la sua carriera, portandolo a recitare in numerosi altri film di successo. Tuttavia, la sua carriera iniziò a declinare negli anni '40, e Arlen si dedicò prevalentemente alla televisione e al teatro. Richard Arlen ha lasciato un'impronta duratura nel cinema con il suo ruolo in "Wings". La sua interpretazione di David Armstrong ha dimostrato il suo talento e la sua capacità di coinvolgere il pubblico, contribuendo a fare di "Wings" un capolavoro del cinema di guerra. La sua carriera è stata segnata da numerosi successi, ma il suo ruolo in "Wings" rimane uno dei più significativi e memorabili.
GARY COOPER - Card n.1 CINEMA STARS - ABDULLA & Co. Ltd. (1934) - Gary Cooper, nato Frank James Cooper il 7 maggio 1901 a Helena, Montana, è stato uno degli attori più iconici di Hollywood. Conosciuto per il suo stile di recitazione sobrio e la sua presenza magnetica sullo schermo, Cooper ha lasciato un'impronta indelebile nel cinema americano. La sua carriera è iniziata negli anni '20 e si è estesa fino agli anni '60, con oltre 100 film all'attivo. In "Wings" del 1927, Gary Cooper appare brevemente nel ruolo di un pilota, una performance che, seppur breve, ha avuto un impatto significativo sulla sua carriera. La sua apparizione in "Wings" ha attirato l'attenzione di Hollywood, portandolo a ottenere ruoli da protagonista in seguito. Questo film ha segnato l'inizio della sua ascesa come una delle più grandi star del cinema. Cooper è noto per i suoi ruoli in film western e melodrammi, e l'American Film Institute lo ha inserito all'11º posto tra le più grandi star della storia del cinema. Durante la sua carriera, ha vinto due Oscar come miglior attore e ha ricevuto un Oscar onorario nel 1961 per i suoi contributi al cinema. La sua interpretazione in "Wings" ha dimostrato il suo talento naturale e la sua capacità di catturare l'attenzione del pubblico, anche in ruoli minori. Questo ruolo ha lanciato la sua carriera, portandolo a diventare uno degli attori più rispettati e amati di Hollywood.
SWING HIGH, SWING LOW - In 1937, director Mitchell Leisen gifted us with a classic romantic film, "Swing High, Swing Low," a dramatic comedy that revolves around the lives of Maggie King and "Skid" Johnson, masterfully portrayed by Carole Lombard and Fred MacMurray. The story follows their chance meeting and the love that blossoms, but not without challenges. Maggie is a naive yet hopeful young woman, while Skid is a talented trumpeter with a haunting past. The cast is enriched by secondary characters like Harry, played by Charles Butterworth, who adds a touch of humor, and Jean Dixon and Dorothy Lamour, who complete the vibrant and lively New York setting. Leisen's direction, along with the screenplay by Virginia Van Upp and contributions from Oscar Hammerstein II, creates a unique atmosphere, supported by the soundtrack of Phil Boutelje and Victor Young, which becomes almost a character in itself. At the time, the reviews were mixed. Frank Nugent of the New York Times wrote that the film "goes nowhere," but praised the actors' performances, suggesting they deserved better material. However, the audience proved otherwise, making the film a box office success. "Swing High, Swing Low" left an indelible mark on the romantic genre, showing that love can be complex and imperfect, yet profoundly beautiful. Thanks to its public domain status since 1965, we can still enjoy this masterpiece today. This film is more than just a love story; it is an emotional journey that continues to resonate with anyone who believes that love, despite everything, is always worth experiencing.
Fred MacMurray - Pubblicità anni 40 per il marchio Chesterfield, uno dei brands più popolari dell'epoca. Fred MacMurray, nato il 30 agosto 1908 a Kankakee, Illinois, è stato un attore americano noto per la sua carriera sia nel cinema che in televisione. Prima di diventare una star, MacMurray ha iniziato come musicista, suonando il sassofono in diverse band durante il periodo universitario. La sua carriera nel cinema ha preso il via negli anni '30, ma è stato con "Swing High, Swing Low" nel 1937 che ha iniziato a guadagnarsi una reputazione come attore di talento. Nel film "Swing High, Swing Low", MacMurray interpreta "Skid" Johnson, un trombettista affascinante ma tormentato. Il suo personaggio è al centro della trama, essendo coinvolto in una tormentata storia d'amore con Maggie King, interpretata da Carole Lombard. Skid è un individuo complesso, con un talento musicale che lo eleva ma un passato di dipendenze e fallimenti che lo trascina verso il basso. MacMurray riesce a portare sullo schermo sia il fascino che la vulnerabilità di Skid, rendendo il personaggio sia amabile che tragico. La sua interpretazione non solo cattura il cuore del pubblico, ma anche l'essenza della vita bohémienne degli artisti dell'epoca. MacMurray usa la sua esperienza musicale per dare credibilità al ruolo, suonando davvero la tromba in alcune scene, il che aggiunge autenticità alla sua performance. Attraverso "Skid", MacMurray esplora temi di redenzione, amore e la ricerca di un equilibrio tra successo professionale e felicità personale, lasciando un'impronta duratura nel cinema romantico drammatico degli anni '30.
DOROTHY LAMOUR - Dorothy Lamour, born Mary Leta Dorothy Slaton on December 10, 1914 in New Orleans, Louisiana, was an American actress and singer who stood out in Hollywood in the 1930s and 1940s. Known for her exotic beauty and musical talent, Lamour rose to fame for her roles in the "Road to..." film series with Bing Crosby and Bob Hope, where she often appeared in her trademark sarong, which became a symbol of her allure. In the 1937 film "Swing High, Swing Low," Dorothy Lamour plays Anita Alvarez, a lively and seductive singer and dancer. Anita is a key character who represents the romantic past of Skid Johnson (played by Fred MacMurray), adding a layer of complexity to the main plot. Before Skid met Maggie King (Carole Lombard), Anita was in a relationship with him, and her return to the scene creates tension and challenges for the new couple. Although her role is not a leading one in the film, Lamour manages to capture attention with her performance, bringing to the screen the energy and atmosphere of the art scene of the time. Her portrayal of Anita helps to paint a richer and more dynamic picture of the nightlife and intricate relationships of the entertainment world.
Panama Canal - Album Card "THE WORLDS GREATEST ENGINEERING FEAT" Maduro Jr. - "Immerse yourself in the glamour of 1937 with 'Swing High, Swing Low,' where Maggie and Skid's enchanting romantic adventure begins on the majestic waters of the Panama Canal. This exotic starting point not only marks the meeting of our protagonists but also the beginning of an emotional journey that will take them from the seas of Central America to the vibrant streets of New York. Their love story, intertwined with drama and music, begins here, on the waves of one of the engineering marvels of the world."
THE DIVORCE OF LADY X - Immagina di ritrovarti in un elegante hotel di Londra, anno 1938. Una nebbia così densa da sembrare un muro avvolge la città, bloccando gli ospiti di una festa dentro quelle pareti sontuose. È qui che inizia The Divorce of Lady X, una commedia romantica britannica che ti cattura con il suo umorismo brillante e un cast da capogiro: Merle Oberon, Laurence Olivier, Ralph Richardson e Binnie Barnes, diretti da Tim Whelan e prodotti dal leggendario Alexander Korda. Preparati, perché questa non è una semplice storia d’amore: è un viaggio esilarante fatto di malintesi, battute pungenti e un pizzico di caos che ti terrà incollato fino all’ultimo sorriso. Tutto parte da Leslie Steele, una socialite affascinante e un po’ sfacciata, interpretata da una Merle Oberon che brilla di vivacità. Con un colpo di audacia, Leslie si intrufola nella suite di Everard Logan, un avvocato esperto in divorzi dal carattere burbero ma dal cuore tenero, portato sullo schermo da un irresistibile Laurence Olivier. Logan, seppur controvoglia, le cede la camera da letto, relegandosi in un’altra stanza. Durante la notte, lei lo stuzzica con provocazioni e risate, ma al mattino, quando lui si sveglia deciso a rivederla, Leslie è già svanita come un’ombra nella nebbia, lasciandolo con un mistero e un desiderio che non riesce a scrollarsi di dosso. Ma Leslie non è tipo da sparire e basta. Scoperta la professione di Logan, decide – con una determinazione quasi comica – che quell’uomo deve diventare suo marito. Intanto, Logan è alle prese con un caso spinoso: Lord Mere, uno dei suoi clienti, è convinto che la moglie lo tradisca. E qui le cose si complicano, perché una serie di equivoci porta Logan a sospettare che Leslie sia proprio la misteriosa Lady Mere! Da questo momento, la trama si trasforma in un vortice di situazioni assurde e dialoghi scoppiettanti, con i due protagonisti che si scontrano, si punzecchiano e, inevitabilmente, si avvicinano. Questo ci porta dritti al cuore di ciò che rende il film speciale: è un perfetto esempio di screwball comedy. Ma cos’è esattamente? Immagina una commedia romantica con una marcia in più, un sottogenere nato negli anni ’30 e ’40 che prende il nome da una palla curva del baseball – imprevedibile e sorprendente. Le screwball comedy sono un’esplosione di dialoghi veloci e brillanti, situazioni al limite del ridicolo e protagoniste femminili che non hanno paura di prendere in mano la situazione. Pensa a Leslie, con la sua grinta e il suo fascino, che tiene testa a Logan in ogni scena. È un genere che gioca con l’assurdo e il romanticismo, spesso infilandoci una sottile satira su temi come le classi sociali o i ruoli di genere, il tutto servito con una leggerezza irresistibile. Se vuoi un paragone, pensa a classici come Bringing Up Baby, dove Katharine Hepburn e Cary Grant si inseguono tra leopardi e malintesi, o His Girl Friday, con Rosalind Russell che domina la scena con la sua parlantina fulminante. The Divorce of Lady X si inserisce alla perfezione in questa tradizione, con Merle Oberon che dà vita a una Leslie indimenticabile – indipendente, astuta e adorabile – e Laurence Olivier che rende Logan un mix di serietà e vulnerabilità comica. La loro chimica è il motore del film: ogni battuta, ogni sguardo, è un piccolo fuoco d’artificio che illumina lo schermo. E poi c’è il resto: una sceneggiatura che scorre come seta, un cast di supporto che aggiunge sapore – Ralph Richardson e Binnie Barnes non sono da meno – e quell’eleganza britannica che dà al tutto un tocco di classe. È una commedia leggera, certo, ma con una profondità che viene dalla bravura di chi la racconta. Ti fa ridere, ti fa tifare per i protagonisti e ti lascia con la voglia di rivederlo subito. Se ami i classici o semplicemente hai un debole per le storie d’amore con un po’ di pepe, questo film è una gemma da riscoprire. Mettiti comodo e lasciati trasportare: tra nebbia, risate e un lieto fine assicurato, non te ne pentirai!
MERLE OBERON - Card n.8 CHAMPIONS OF SCREEN & STAGE - GALLAHER'S CIGARETTES - Merle Oberon, un nome che danza tra eleganza e mistero, è stata una delle stelle più scintillanti del cinema degli anni '30 e '40. Nata nel 1911 come Estelle Merle O’Brien Thompson, questa attrice britannica di origini indiane portava con sé un fascino esotico che ammaliava chiunque la guardasse. La sua bellezza, magnetica e unica, era solo il preludio al suo vero dono: un talento recitativo capace di illuminare lo schermo. Scoperta dal celebre regista Alexander Korda, Merle si fece strada rapidamente nel mondo del cinema, conquistando il pubblico con ruoli memorabili in film come The Private Life of Henry VIII (1933) e The Scarlet Pimpernel (1934). Qui dimostrò una versatilità sorprendente, passando con grazia da eroine romantiche a personaggi più intensi e drammatici. Ma è in The Divorce of Lady X (1938) che Merle Oberon regala una performance che è pura magia, un’esplosione di charme e allegria. Nel film interpreta Leslie Steele, una socialite affascinante e audace che irrompe nella vita – e nella suite – di Everard Logan, un avvocato divorzista interpretato dal grande Laurence Olivier. La scena si apre in una Londra avvolta da una nebbia così fitta da sembrare un sipario: Leslie, con la sua energia irrefrenabile, si intrufola nella stanza di Logan, dando il via a un turbine di equivoci e battute. È una donna moderna, spiritosa, determinata: non si limita a seguire le regole del gioco, le riscrive a modo suo. Con un sorriso malizioso e una parlantina veloce, sfida le convenzioni sociali dell’epoca e conquista chiunque le stia intorno. Il personaggio di Leslie è un vero gioiello: vivace, astuta, adorabilmente sfacciata. Merle Oberon lo interpreta con una freschezza che ti cattura dal primo istante. Ogni sguardo, ogni risata, è un invito a innamorarsi di lei. La chimica con Laurence Olivier è semplicemente elettrizzante: i due si scambiano battute come in una danza, trasformando il film in un fuoco d’artificio di dialoghi brillanti. Leslie non è solo bella; è intelligente e grintosa, un’eroina che potrebbe tranquillamente reggere il confronto con le protagoniste delle migliori screwball comedy. Merle la rende indimenticabile, bilanciando eleganza e giocosità con una naturalezza che lascia il segno. In The Divorce of Lady X, Merle Oberon non è solo un’attrice: è il cuore pulsante della storia. Leslie Steele, grazie a lei, diventa molto più di un personaggio – è un simbolo di indipendenza e vitalità, una donna che guida la trama con il suo carisma e fa battere il cuore del pubblico. Se questo film resta una perla del cinema classico, gran parte del merito va proprio a Merle, che con il suo talento e la sua bellezza ha scritto una pagina indelebile nella storia dello schermo.
BINNY BARNES - Card n. 252 - BUNTE FILM BILDER - ALBUM 7 SALEM CIGARETTENFABRIK G.m.b.H., Dresden (1935) - Binnie Barnes, un talento scintillante e spesso troppo poco celebrato, illumina lo schermo nel 1938 con la sua interpretazione di Lady Mere in The Divorce of Lady X, una commedia romantica che vive di equivoci e risate. Con quel suo fascino irresistibile – un mix di eleganza britannica e un pizzico di malizia – Binnie trasforma Lady Mere in un personaggio che cattura l’attenzione ogni volta che appare. Non è solo una figura di contorno: è il cuore pulsante del malinteso che dà vita alla trama, un enigma sofisticato che danza tra mistero e comicità con una grazia innata. Immagina Lady Mere come una donna che sa tutto ma non lo dice, una presenza che fluttua nella storia con un sorriso ironico e occhi che brillano di divertimento. Nel film, lei è la moglie di Lord Mere, un uomo che sospetta un tradimento inesistente. Questo fraintendimento scatena un caos esilarante, e Binnie lo cavalca con maestria. Quando l’avvocato divorzista Everard Logan (Laurence Olivier) scambia Leslie Steele (Merle Oberon) per Lady Mere, la vera Lady Mere entra in scena con un aplomb che è puro spettacolo. Ogni suo movimento è calibrato, ogni battuta è un’esplosione di spirito – come quando incrocia Logan e Leslie, dispensando sorrisi che dicono più di mille parole. Cosa la rende speciale? Binnie dona a Lady Mere un’eleganza che non si piega mai, nemmeno nel turbine degli equivoci. È divertente senza essere caricaturale, sofisticata senza risultare distante. La sua voce calda e il suo modo di porgere le battute – un cocktail di sarcasmo e dolcezza – trasformano ogni scena in un momento da ricordare. Alla fine, è lei a sciogliere i nodi della trama con una risata leggera e un’alzata di spalle, come a dire: “Vi siete preoccupati per nulla, vero?” E il pubblico, incantato, non può che annuire. In The Divorce of Lady X, Binnie Barnes non si limita a interpretare Lady Mere: la rende indimenticabile. Con il suo talento comico e il suo charme naturale, porta sullo schermo una donna intelligente, spiritosa e irresistibile, dimostrando che anche un ruolo apparentemente secondario può rubare la scena. Se questa commedia resta un gioiellino del cinema classico, gran parte del merito va a lei – un’attrice che, con classe e un tocco di magia, ha dato vita a una Lady Mere che ancora oggi fa sorridere e sognare.
THE DIVORCE OF LADY X - Card n.23 FILM FAVOURITES 3rd Series stampata da A. AND M. WIX LONDON nel 1939 - CURIOSITA' - 1. Un remake colorato - The Divorce of Lady X è in realtà un remake del film del 1933 Counsel's Opinion, anch’esso prodotto da London Films. Curiosamente, Binnie Barnes, che qui interpreta Lady Mere, era la protagonista Leslie nella versione originale. Il copione, basato su una commedia di Gilbert Wakefield, è stato rielaborato per questa nuova versione e girato in Technicolor, una novità per l’epoca che lo rende uno dei primi film britannici a sfruttare questa tecnica vivace. 2. La magia del Technicolor - L’uso del Technicolor, supervisionato da Natalie Kalmus, dona al film una palette cromatica straordinaria. Anche se alcuni critici dell’epoca lo ritenevano superfluo per una commedia, i colori esaltano i costumi e le scenografie, soprattutto nelle scene della festa in maschera. Questi momenti, probabilmente inseriti per giustificare i costi della tecnologia, regalano un tocco di opulenza che si sposa perfettamente con l’ambientazione altolocata. 3. La nebbia di Londra - La trama inizia con una fitta nebbia che blocca i protagonisti in un hotel. Non è solo un espediente narrativo: le famose nebbie londinesi, dense e impenetrabili, erano una realtà dell’epoca, capaci di paralizzare la città. Questo dettaglio dà un sapore autentico alla storia e spiega come Leslie (Merle Oberon) finisca per irrompere nella stanza di Everard Logan (Laurence Olivier), dando il via al caos comico. 4. Olivier in versione comica - Laurence Olivier, celebre per i suoi ruoli drammatici, si cimenta qui in una commedia con il personaggio di Everard Logan, un avvocato divorzista sarcastico e un po’ goffo. Sebbene alcuni critici lo trovassero fuori luogo, il suo scambio di battute con Merle Oberon è brillante e dimostra la sua versatilità. Un lato più leggero di un attore leggendario! 5. Un tocco di screwball - Il film rientra nel genere della screwball comedy, tipico di Hollywood negli anni ’30 e ’40, con dialoghi veloci, situazioni assurde e una protagonista femminile forte. I filmmakers britannici hanno adattato questo stile americano aggiungendo eleganza e umorismo tipicamente inglese, creando un mix irresistibile. 6. Tensione dietro le quinte - Tra Merle Oberon e Laurence Olivier si vociferava di una certa attrazione durante le riprese. Oberon avrebbe fatto avances a Olivier, che all’epoca era legato a Vivien Leigh. Questo retroscena aggiunge una nota intrigante alla loro chimica sullo schermo, visibile nei loro dialoghi carichi di energia. 7. Un cast di supporto eccezionale - Oltre ai protagonisti, spiccano Ralph Richardson nei panni dell’eccentrico Lord Mere e Binnie Barnes come Lady Mere, che porta ulteriore confusione comica. Anche Morton Selten, il nonno di Leslie, regala momenti memorabili, come quando si lamenta del caffè troppo leggero con il maggiordomo. 8. Costumi da sogno - I costumi sono un altro punto forte: gli abiti di Leslie, soprattutto quello della scena iniziale, incarnano lo stile degli anni ’30, mentre la festa in maschera offre un’esplosione di creatività sartoriale. Questi dettagli non solo riflettono lo status sociale dei personaggi, ma rendono il film un piacere visivo per gli amanti della moda vintage. 9. Equivoci a non finire - La trama ruota attorno a un malinteso: Logan crede che Leslie sia Lady Mere, scatenando una catena di situazioni esilaranti. Questo tema di identità sbagliate, tipico delle screwball comedies, è gestito con maestria e tiene lo spettatore incollato allo schermo. 10. Un fascino senza tempo - A più di 80 anni dalla sua uscita, The Divorce of Lady X conserva un’energia fresca e universale. I temi dell’amore, degli equivoci e della lotta tra i sessi, uniti a un umorismo ancora efficace, lo rendono un classico da riscoprire.
TOPPER TAKES A TRIP - - FUN FACTS - A sequel without Cary Grant: In the first film, Topper (1937), Cary Grant played George Kirby, Marion's ghostly husband. However, he did not return for the sequel due to his growing commitments and preference for leading roles. As a result, the screenplay was adapted to focus on Marion as the sole human ghost, with the dog Mr. Atlas—played by the famous Skippy—as her delightful spectral sidekick. Skippy, aka Asta, steals the show: Mr. Atlas, Marion's ghostly canine companion, is portrayed by Skippy, a Wire Fox Terrier already famous for his role as Asta in The Thin Man series. Trained by the legendary Henry East and Gale Henry, Skippy was a genuine canine star, capable of executing complex commands and charming audiences with his charisma. In Topper Takes a Trip, his spectral antics add an irresistible touch of humor! A glamorous setting for the sequel: Unlike the first Topper, which primarily took place in the United States, Topper Takes a Trip transports the action to the French Riviera. This choice was intentional: the producers aimed to leverage the exotic and luxurious atmosphere of the Riviera to lend the film an elegant touch and distinguish the sequel from the original. Cutting-edge special effects for the era: The film's special effects, such as Marion and her dog Atlas's appearances and disappearances, were impressive for the 1930s. Using techniques like "double negatives" and transparency effects, the filmmakers created a convincing illusion of ghostly characters, giving the film its magical tone. Constance Bennett, a diva both on and off-screen: Constance Bennett didn't just act in the film; as one of the highest-paid actresses of the time, she had significant creative control over the project. It's said that she improvised some of Marion's funniest lines, shaping the character's witty and lively tone. A success that solidified the saga: Despite Cary Grant's absence, Topper Takes a Trip was a box-office success, thanks to its blend of sophisticated humor, supernatural elements, and the beloved presence of Skippy. The film paved the way for a third installment, Topper Returns (1941), albeit with a partially different cast.
ROLAND YOUNG - Card no. 43 from the series BRITISH BORN FILM STAR, printed by ARDATH TOBACCO CO LTD in 1934 Roland Young was born on November 11, 1887, in London, England, into a middle-class family. After studying at University College London, he became passionate about theater and began his career on stage, first in England and later in the United States, where he moved in the 1910s. He debuted on Broadway and, with the advent of sound cinema, transitioned to Hollywood, becoming one of the most beloved character actors of the 1930s and 1940s. With his distinctive appearance, British accent, and natural talent for comedy, Young excelled in roles portraying ordinary men swept up in extraordinary situations. He is best known for his role as Cosmo Topper in the Topper trilogy, but he also shone in films like The Man Who Could Work Miracles (1936) and The Philadelphia Story (1940), where he played Uncle Willie. He received an Academy Award nomination for Best Supporting Actor for Topper (1937). Despite his success, Young remained a reserved man, dedicating his free time to painting and writing. He passed away on June 5, 1953, in New York, leaving behind a legacy of memorable performances that continue to enchant fans of classic cinema. In Topper Takes a Trip (1938), Roland Young reprises his role as Cosmo Topper, the saga's protagonist—a shy and respectable banker who finds himself embroiled in supernatural adventures. Following the events of the first film, Cosmo faces a marital crisis: his wife Clara (Billie Burke) plans to divorce him, and he travels to France to confront the situation. There, he is joined by the ghost of Marion Kirby (Constance Bennett), who, along with her dog Mr. Atlas (Skippy), drags him into a whirlwind of misunderstandings and hilarious scenarios as she attempts to reunite him with Clara. Young delivers a pitch-perfect portrayal of Cosmo Topper: an ordinary, somewhat awkward man oscillating between frustration and amusement as he tries to cope with Marion's spectral interference. His physical comedy, marked by exasperated expressions and clumsy gestures, is impeccable, and his mastery of comedic timing makes him the ideal counterpart to Bennett's vivacity. Young's performance is pivotal to the film's success: his Cosmo is the emotional heart of the story, a character with whom audiences can empathize as he navigates the supernatural chaos and the very earthly troubles of his marriage. His portrayal in Topper Takes a Trip solidifies the character as an icon of classic comedy, contributing to the film's status as a gem of the era.
BILLIE BURKE - Card no. 8 from the ACTRESSES PURPLE BROWN series, printed by B.A.T. in 1910 Billie Burke, born Mary William Ethelbert Appleton Burke on August 7, 1884, in Washington, D.C., was an American actress renowned for her comedic talent and ethereal charm. The daughter of a Barnum & Bailey circus clown, Billie grew up in the world of entertainment and made her stage debut in London at the age of 18. She later moved to Broadway, where she became one of the most beloved actresses of the 1910s and 1920s. In 1914, she married the legendary theater impresario Florenz Ziegfeld Jr., becoming a prominent figure in the Ziegfeld Follies. With the advent of sound cinema, Burke began a second career in Hollywood in the 1930s, specializing in roles as sophisticated yet often scatterbrained and adorably eccentric women. She is best remembered for her role as Glinda, the Good Witch of the North, in The Wizard of Oz (1939), but her filmography includes dozens of comedies, such as Dinner at Eight (1933) and Merrily We Live (1938), for which she received an Academy Award nomination for Best Supporting Actress. Her high-pitched voice and lively style made her perfect for quirky and comedic characters. After Ziegfeld’s death in 1932, Burke dedicated herself fully to acting to support her family, continuing to work until the 1950s. She passed away on May 14, 1970, in Los Angeles, leaving a legacy as one of the most distinctive actresses of classic cinema. In Topper Takes a Trip (1938), Billie Burke plays Clara Topper, the wife of Cosmo Topper (Roland Young), a role she had already portrayed in the first film of the series, Topper (1937). Clara is an elegant but capricious woman, often clashing with her husband due to her strict nature and inability to loosen up. In this sequel, Clara is determined to divorce Cosmo and is staying in France at a luxurious Riviera hotel when the ghost of Marion Kirby (Constance Bennett) and her dog Mr. Atlas (Skippy) intervene to save the marriage. Burke infuses the character with eccentric humor and frenetic energy, typical of her style: her exaggerated reactions, high-pitched voice, and theatrical gestures make Clara a hilarious figure, often unaware of the supernatural chaos around her. Her portrayal perfectly balances the dynamic with Cosmo, creating comedic tension that resolves into sweet moments of reconciliation. Burke's presence adds a touch of glamour and lightness to the film, and her skill in slapstick scenes—such as those involving indirect interactions with Marion's ghost—contributes to the film's carefree tone. Clara Topper, in Burke's hands, becomes an unforgettable character, a mix of sophistication and adorable confusion. Billie Burke, with her Clara Topper, truly lights up Topper Takes a Trip.
SKIPPY - Skippy: Hollywood's Canine Star Skippy, a Wire Fox Terrier born around 1931, is one of the most celebrated animal stars of Hollywood's golden age. Trained by the legendary Henry East and Gale Henry, Skippy became a sensation due to his intelligence and natural talent, capable of performing complex commands such as opening doors, barking on cue, and even "acting" with expressions that charmed audiences. His most famous role was as Asta, the loyal companion of Nick and Nora Charles in The Thin Man series, starting with the first film in 1934, alongside William Powell and Myrna Loy. However, his stage name “Asta” was only used during his work for MGM; in real life and other productions, he remained Skippy. Despite his fame, Skippy lived a controlled life: his owner, Henry East, forbade him from having a “love life” to avoid litters, fearing Hollywood was already “full of Rin-Tin-Tin’s offspring.” Earning $750 a week—a remarkable sum for a dog in the 1930s—Skippy was treated like a true star, with a contract that ensured priority over other canine performers and special care for his wardrobe and on-set safety. His career spanned the 1930s and 1940s, making him an icon of classic cinema. The Role of Mr. Atlas in Topper Takes a Trip In Topper Takes a Trip (1938), Skippy plays Mr. Atlas, the ghostly dog companion of Marion Kirby (Constance Bennett). Atlas is Marion’s spectral sidekick, returning from the dead alongside her to help in her mission: reuniting Cosmo Topper (Roland Young) and his wife Clara (Billie Burke). As an “ectoplasmic pup,” Atlas adds a touch of humor and tenderness to the film, appearing and disappearing magically thanks to the special effects of the time. Skippy brings his natural charisma to the role, stealing the show with his antics—whether trotting through a luxurious French Riviera hotel or interacting with human characters, his talent for physical comedy is evident. Skippy's contract for the film, signed with Hal Roach Studios, emphasized his star status, ensuring a salary of $750 a week and special conditions, such as no stand-ins except for dangerous situations. His presence in Topper Takes a Trip not only enriches the storyline with an element of lightness but also draws in audiences already charmed by him as Asta, contributing to the film's success. Skippy, aka Mr. Atlas, is a delightful addition to Topper Takes a Trip, showcasing once again why he was one of Hollywood's most beloved canine “actors.”
TOPPER RETURNS - Topper Returns (in Italia Una bionda in paradiso), diretto da Roy Del Ruth e distribuito da United Artists nel 1941, è un gioiello dell’epoca d’oro di Hollywood, terzo e ultimo capitolo della trilogia di commedie soprannaturali ispirate ai romanzi di Thorne Smith. Prodotto dalla Hal Roach Studios, questo film di 88 minuti intreccia mistero, comicità slapstick e un tocco di brivido gotico in una villa piena di passaggi segreti e personaggi eccentrici. Con un cast stellare e effetti speciali rivoluzionari, è un viaggio esilarante che cattura il fascino del cinema degli anni ’40. La storia segue Gail Richards (Joan Blondell), una giovane donna assassinata per errore dopo uno scambio di stanze con la sua amica Ann Carrington (Carole Landis) in una sontuosa villa californiana. Trasformata in un fantasma, Gail non vuole riposare in pace: cerca giustizia. Si rivolge a Cosmo Topper (Roland Young), un banchiere timido e riluttante già abituato agli spiriti, che, insieme alla frivola moglie Clara (Billie Burke) e all’autista Eddie (Eddie “Rochester” Anderson), si ritrova a indagare tra corridoi inquietanti, sospetti ambigui e un assassino incappucciato. Tra gag comiche, spaventi e un inseguimento finale al cardiopalma, il film tiene alta la tensione fino a un colpo di scena sorprendente. Il cast è il cuore pulsante del film. Roland Young è impeccabile come Topper, con il suo mix di sarcasmo e panico, mentre Joan Blondell rende Gail un fantasma vivace e irresistibile. Billie Burke porta un’adorabile esagerazione a Clara, e Eddie Anderson ruba la scena con reazioni esilaranti, anche se il suo ruolo riflette stereotipi razziali dell’epoca, oggi discutibili. Carole Landis, luminosa e tragica figura, aggiunge grazia, mentre attori come George Zucco e Rafaela Ottiano amplificano l’atmosfera da mystery-horror. Diretto da Roy Del Ruth, Topper Returns si distingue per il suo approccio da giallo-commedia, con una villa gotica che ricorda i film di mistero degli anni ’30. Il copione, co-scritto da Jonathan Latimer, equilibra dialoghi brillanti e suspense, mentre gli effetti speciali, nominati agli Oscar per il Miglior Suono e i Migliori Effetti Visivi, stupiscono ancora oggi. Le apparizioni di Gail, con dissolvenze fluide, e sequenze come l’auto “invisibile” mostrano l’innovazione di Hal Roach, maestro delle comiche. Il ritmo incalzante e le gag ben orchestrate rendono ogni scena memorabile. Al debutto, il film fu un successo al botteghino e oggi vanta un 89% su Rotten Tomatoes (basato su 9 recensioni), lodato per la chimica del cast e l’energia narrativa. Entrato nel pubblico dominio nel 1969 per un mancato rinnovo del copyright, è stato restaurato e presentato al UCLA Festival of Preservation nel 2022, conquistando nuovi spettatori. Il suo mix di generi ha influenzato commedie soprannaturali come Beetlejuice, dimostrando la capacità di Hollywood di trasformare idee bizzarre in intrattenimento puro. Topper Returns è perfetto per chi ama le commedie classiche o i misteri con un tocco di magia. La villa spettrale, i personaggi stravaganti e le battute rapide creano un’atmosfera irresistibile, anche se gli stereotipi razziali nel ruolo di Anderson possono risultare datati. Puoi guardarlo gratuitamente su Tubi, Pluto TV, The Roku Channel o Archive.org, o noleggiarlo su Amazon Prime Video e Apple TV. La versione restaurata è un must per gli appassionati di classici. In conclusione, Topper Returns è un invito a ridere, rabbrividire e innamorarsi del cinema degli anni ’40. Con un cast indimenticabile, effetti sorprendenti e un mistero che tiene incollati allo schermo, questo film dimostra che un fantasma con un piano può ancora rubare il cuore del pubblico. Preparati a scoprire l’assassino di Gail e a ridere con Cosmo Topper, il banchiere più sfortunato di Hollywood!
ROLAND YOUNG - Roland Young, nato l’11 novembre 1887 a Londra, è stato un attore britannico dal talento sottile e raffinato, celebre per il suo umorismo discreto e la capacità di rendere credibili anche le situazioni più assurde. Con il suo aspetto distinto, voce modulata e un’ironia che emergeva in ogni sguardo, Young è stato una figura chiave del cinema degli anni ’30 e ’40, noto per ruoli in film come L’uomo che poteva compiere miracoli (1936) e E la vita continua (1943). In Topper Returns (1941), terzo capitolo della trilogia di commedie soprannaturali ispirate a Thorne Smith, Young brilla come Cosmo Topper, il banchiere riluttante al centro di un mistero spettrale, offrendo una performance che consolida il suo status di pilastro della serie. Cresciuto in una famiglia benestante, Young studiò alla Royal Academy of Dramatic Art e debuttò a teatro prima di approdare a Broadway e Hollywood. La sua versatilità gli permise di eccellere in commedie, drammi e ruoli di supporto, spesso interpretando gentiluomini inglesi con un tocco di eccentricità. Nominato all’Oscar come Miglior Attore Non Protagonista per Topper (1937), Young portò al cinema un’eleganza naturale che lo rese perfetto per ruoli come quello di Topper. La sua carriera, che include oltre 100 film, si estese fino agli anni ’50, lasciandolo come un’icona del cinema classico. In Topper Returns, diretto da Roy Del Ruth, Roland Young interpreta Cosmo Topper, un banchiere pacato e un po’ nevrotico che si ritrova, ancora una volta, a interagire con un fantasma. Questa volta, è Gail Richards (Joan Blondell), una giovane donna assassinata in una villa gotica, che lo recluta per scoprire il suo assassino. Topper, affiancato dalla svampita moglie Clara (Billie Burke) e dall’autista Eddie (Eddie “Rochester” Anderson), naviga un intrico di passaggi segreti, sospetti e situazioni comiche, mantenendo un’esasperazione contenuta che è il cuore del film. Young rende Topper un personaggio universale: un uomo comune trascinato in eventi straordinari, con reazioni che oscillano tra sarcasmo, panico e rassegnazione. La sua chimica con Blondell è elettrizzante, mentre i battibecchi con Burke aggiungono un tocco di commedia matrimoniale. Ogni sua espressione, dal sopracciglio alzato al borbottio esasperato, trasforma Topper in un’ancora emotiva per lo spettatore, rendendo credibile anche il caos soprannaturale. Nei primi due film, Topper (1937) e Topper Takes a Trip (1938), il Cosmo Topper di Young è un personaggio in evoluzione, modellato dalle interazioni con i fantasmi George e Marion Kerby (Cary Grant e Constance Bennett). In Topper, Topper è un banchiere rigido che i Kerby, spiriti di una coppia morta in un incidente, spingono a vivere con più audacia, in una commedia sofisticata con toni romantici e screwball. Young dà a Topper un misto di rigidità e curiosità, con un arco narrativo che lo vede sciogliersi sotto l’influenza dei Kerby. In Topper Takes a Trip, Topper è più sicuro di sé, coinvolto in una crisi coniugale in Francia, con Marion che lo aiuta a riconquistare Clara. Qui, Young accentua il lato comico e romantico del personaggio, in un’atmosfera glamour e leggera. In Topper Returns, invece, Topper è un veterano delle esperienze soprannaturali, ma non per questo meno riluttante. Rispetto ai primi film, il tono è più orientato al giallo-commedia, con una villa spettrale e un mistero centrale che richiedono un Topper più attivo, quasi un detective suo malgrado. Young adatta la sua performance a questo cambio: il suo Topper è meno sorpreso dagli eventi paranormali, ma più frustrato, con un’ironia tagliente che emerge nelle interazioni con Gail, un fantasma più pratico e diretto rispetto ai Kerby. A differenza delle commedie sofisticate dei predecessori, Topper Returns abbraccia elementi slapstick e suspense, e Young bilancia questi toni con una presenza scenica che tiene unito il cast. Mentre nei primi film Topper è un uomo trasformato dai fantasmi, qui è un eroe riluttante, più coinvolto nell’azione, come nelle sequenze di inseguimento o nell’esplorazione della villa. Un’altra differenza è il contesto narrativo: Topper e Topper Takes a Trip si concentrano su dinamiche personali e sociali, mentre Topper Returns è una storia standalone con un mistero da risolvere, dando a Young l’opportunità di esplorare un Topper più pragmatico, ma sempre comicamente fuori posto. La sua performance, meno romantica e più reattiva, si adatta al ritmo incalzante del film, diretto da Del Ruth e scritto in parte da Jonathan Latimer, rendendo Topper il collante di un ensemble vivace. L’Eredità di Young in Topper Returns La performance di Roland Young in Topper Returns è un pilastro del film, che ottenne un 89% su Rotten Tomatoes e un successo al botteghino. La sua capacità di rendere Topper sia relatable che esilarante contribuisce al fascino duraturo del film, oggi nel pubblico dominio e restaurato per il UCLA Festival of Preservation nel 2022. Disponibile su Tubi, Pluto TV, Archive.org o in noleggio su Amazon Prime Video, Topper Returns mostra Young al suo meglio: un attore che trasforma un banchiere qualunque in un’icona della commedia soprannaturale. Young morì il 5 giugno 1953 a New York, ma il suo Cosmo Topper rimane un simbolo della sua abilità nel dare vita a personaggi complessi con un’eleganza senza sforzo. In Topper Returns, il suo talento illumina ogni scena, dimostrando perché fosse una delle stelle più rispettate della sua epoca.
BILLIE BURKE - Billie Burke, nata Mary William Ethelbert Appleton Burke il 7 agosto 1884 a Washington, D.C., è stata una delle attrici più amate dell’epoca d’oro di Hollywood, celebre per il suo fascino effervescente e la voce squillante che la resero un’icona della commedia. Con una carriera che spaziava dal teatro al cinema, Burke è ricordata soprattutto per il ruolo della fata madrina Glinda in Il mago di Oz (1939), ma la sua interpretazione di Clara Topper in Topper Returns (1941) è un esempio perfetto del suo talento comico e della sua capacità di rubare la scena. Figlia di un clown di circo, Billie crebbe nel mondo dello spettacolo e debuttò a Broadway nel 1903, diventando una star del teatro grazie alla sua grazia e al suo umorismo. Sposata con il leggendario impresario Florenz Ziegfeld Jr. dal 1914 fino alla sua morte nel 1932, Burke affrontò difficoltà finanziarie dopo la crisi del ’29, ma il cinema le offrì una seconda carriera. Con oltre 80 film all’attivo, portò sullo schermo un’energia unica, spesso interpretando donne frivole ma adorabili, con un’eleganza che mascherava una comicità impeccabile. In Topper Returns, terza commedia soprannaturale della trilogia di Thorne Smith, Billie Burke interpreta Clara Topper, la moglie eccentrica e un po’ svampita di Cosmo Topper (Roland Young). Clara è una figura centrale nel film, che ruota attorno a un mistero spettrale in una villa piena di segreti. Mentre Cosmo è trascinato in un’indagine da un fantasma (Joan Blondell), Clara si ritrova spesso al centro di momenti comici, con le sue reazioni esagerate e il suo candore che aggiungono leggerezza alla suspense. La sua performance, con gesti teatrali e una voce che danza tra sorpresa e indignazione, rende Clara un contrappunto perfetto al caos soprannaturale, strappando risate in scene come i battibecchi con il marito o gli incontri con l’autista Eddie (Eddie “Rochester” Anderson). Burke trasforma Clara in un personaggio memorabile, una donna che naviga il mistero con un mix di ingenuità e charme irresistibile. La sua interpretazione in Topper Returns riflette il suo stile: un’energia scenica che illumina ogni inquadratura, anche in un ruolo di supporto. All’età di 57 anni, Burke dimostrava una vitalità giovanile, consolidando la sua reputazione come regina delle commedie sofisticate. Il film, un successo al botteghino con un 89% su Rotten Tomatoes, deve parte del suo fascino alla chimica tra Burke e il cast, che eleva il mix di giallo e umorismo. Billie Burke continuò a recitare fino agli anni ’50, lasciando un’eredità che vive in classici come Topper Returns e Il mago di Oz. Morì il 14 maggio 1970 a Los Angeles, ma il suo sorriso e la sua voce inconfondibile rimangono impressi nella storia del cinema. Per i fan delle commedie d’epoca, la sua Clara Topper è un promemoria del perché Burke fosse, e resta, una stella senza tempo.

JOAN BLONDELL - Joan Blondell, nata il 30 agosto 1906 a New York, è stata una delle stelle più versatili e carismatiche dell’epoca d’oro di Hollywood, capace di passare con disinvoltura da ruoli drammatici a commedie frizzanti. Con il suo fascino sfrontato, occhi vivaci e un’energia che illuminava lo schermo, Blondell è stata un’icona degli anni ’30 e ’40, nota per film come La donna del miracolo (1931) e Chorus Girl (1933). In Topper Returns (1941), terzo e ultimo capitolo della trilogia di commedie soprannaturali ispirate a Thorne Smith, Blondell regala una performance memorabile come Gail Richards, un fantasma determinato e irresistibile, distinguendosi nettamente dai toni dei primi due film della serie. Figlia di attori di vaudeville, Blondell crebbe sul palcoscenico e approdò a Hollywood dopo successi a Broadway. Con oltre 100 film all’attivo, si guadagnò una reputazione per la sua autenticità e il suo umorismo, spesso interpretando donne indipendenti e argute. Nominata all’Oscar come Miglior Attrice Non Protagonista per The Blue Veil (1951), continuò a lavorare in cinema, teatro e televisione fino agli anni ’70. La sua vitalità e il suo calore umano la resero una delle attrici più amate del suo tempo. In Topper Returns, diretto da Roy Del Ruth, Joan Blondell interpreta Gail Richards, una giovane donna assassinata per errore in una villa gotica dopo uno scambio di stanze con l’amica Ann Carrington (Carole Landis). Trasformata in un fantasma, Gail è il motore della storia: non cerca solo giustizia, ma trascina il banchiere Cosmo Topper (Roland Young) in un’indagine piena di suspense e risate. Con la sua parlantina veloce e un’energia quasi palpabile, Blondell rende Gail un personaggio unico: un fantasma che è allo stesso tempo malizioso, determinato e adorabile. Le sue interazioni con Topper, la svampita Clara (Billie Burke) e l’autista Eddie (Eddie “Rochester” Anderson) sono il cuore comico del film, mentre le scene in cui appare e scompare, grazie a effetti speciali nominati agli Oscar, aggiungono un tocco di magia visiva. Blondell domina ogni inquadratura, portando una freschezza che eleva il mix di giallo, commedia e horror leggero. Rispetto a Topper (1937) e Topper Takes a Trip (1938), Topper Returns si distingue per tono, struttura e il ruolo del personaggio di Blondell. Nei primi due film, la coppia di fantasmi George e Marion Kerby (Cary Grant e Constance Bennett) è al centro della storia, con un focus su commedie sofisticate e dinamiche matrimoniali. In Topper, i Kerby, morti in un incidente d’auto, tornano come spiriti per “redimere” Topper, spingendolo a vivere con più audacia. La loro presenza è giocosa e romantica, con un’energia da screwball comedy. In Topper Takes a Trip, Marion (senza George) aiuta Topper a risolvere una crisi coniugale in Francia, mantenendo un’atmosfera leggera e mondana. In Topper Returns, invece, Gail Richards di Blondell introduce un’energia più terrena e diretta. A differenza dei Kerby, che sono spiriti spensierati con motivazioni altruistiche, Gail è mossa da un obiettivo personale: trovare il suo assassino. Questo sposta il film verso un registro da giallo-commedia, con una villa piena di passaggi segreti e un’atmosfera che ricorda i mystery-horror degli anni ’30. Mentre Marion Kerby è elegante e maliziosa, Gail è più sfacciata e pratica, con un umorismo che riflette lo stile di Blondell, fatto di battute rapide e un’attitudine da “ragazza della porta accanto”. Inoltre, Topper Returns abbandona la continuity romantica dei Kerby, concentrandosi su un’indagine standalone, il che rende il ruolo di Blondell più centrale e narrativamente cruciale rispetto a quello di Bennett nei film precedenti. Un’altra differenza è il tono: i primi due film sono commedie sofisticate con un tocco di glamour, mentre Topper Returns abbraccia elementi slapstick e suspense, grazie anche alla regia di Del Ruth e alla sceneggiatura di Jonathan Latimer. Blondell, con la sua versatilità, si adatta perfettamente a questo mix, portando una comicità più fisica e meno eterea rispetto a Constance Bennett. La sua Gail non è solo un fantasma, ma una detective improvvisata, dando al film un ritmo più incalzante e un appeal più moderno. La performance di Blondell in Topper Returns è uno dei motivi del suo successo, con un 89% su Rotten Tomatoes e un posto tra i classici del genere. Il film, nel pubblico dominio dal 1969, è stato restaurato per il UCLA Festival of Preservation nel 2022, e la chimica di Blondell con Young, Burke e Anderson rimane un punto di forza. Puoi guardarlo su Tubi, Pluto TV o Archive.org, o noleggiarlo su Amazon Prime Video. La sua Gail Richards è un’icona della commedia soprannaturale, un personaggio che anticipa figure come Elvira o le protagoniste di Ghostbusters. Joan Blondell morì il 25 dicembre 1979 a Santa Monica, ma la sua eredità vive in ruoli come quello di Topper Returns, dove ha dimostrato di poter trasformare un fantasma in una forza della natura. Con il suo sorriso malizioso e la sua verve, Blondell rimane una stella che illumina ogni fotogramma.
TOPPER RETURNS - Topper Returns (in Italia Una bionda in paradiso), diretto da Roy Del Ruth e distribuito da United Artists nel 1941, è un gioiello dell’epoca d’oro di Hollywood, terzo e ultimo capitolo della trilogia di commedie soprannaturali ispirate ai romanzi di Thorne Smith. Prodotto dalla Hal Roach Studios, questo film di 88 minuti intreccia mistero, comicità slapstick e un tocco di brivido gotico in una villa piena di passaggi segreti e personaggi eccentrici. Con un cast stellare e effetti speciali rivoluzionari, è un viaggio esilarante che cattura il fascino del cinema degli anni ’40. La storia segue Gail Richards (Joan Blondell), una giovane donna assassinata per errore dopo uno scambio di stanze con la sua amica Ann Carrington (Carole Landis) in una sontuosa villa californiana. Trasformata in un fantasma, Gail non vuole riposare in pace: cerca giustizia. Si rivolge a Cosmo Topper (Roland Young), un banchiere timido e riluttante già abituato agli spiriti, che, insieme alla frivola moglie Clara (Billie Burke) e all’autista Eddie (Eddie “Rochester” Anderson), si ritrova a indagare tra corridoi inquietanti, sospetti ambigui e un assassino incappucciato. Tra gag comiche, spaventi e un inseguimento finale al cardiopalma, il film tiene alta la tensione fino a un colpo di scena sorprendente. Il cast è il cuore pulsante del film. Roland Young è impeccabile come Topper, con il suo mix di sarcasmo e panico, mentre Joan Blondell rende Gail un fantasma vivace e irresistibile. Billie Burke porta un’adorabile esagerazione a Clara, e Eddie Anderson ruba la scena con reazioni esilaranti, anche se il suo ruolo riflette stereotipi razziali dell’epoca, oggi discutibili. Carole Landis, luminosa e tragica figura, aggiunge grazia, mentre attori come George Zucco e Rafaela Ottiano amplificano l’atmosfera da mystery-horror. Diretto da Roy Del Ruth, Topper Returns si distingue per il suo approccio da giallo-commedia, con una villa gotica che ricorda i film di mistero degli anni ’30. Il copione, co-scritto da Jonathan Latimer, equilibra dialoghi brillanti e suspense, mentre gli effetti speciali, nominati agli Oscar per il Miglior Suono e i Migliori Effetti Visivi, stupiscono ancora oggi. Le apparizioni di Gail, con dissolvenze fluide, e sequenze come l’auto “invisibile” mostrano l’innovazione di Hal Roach, maestro delle comiche. Il ritmo incalzante e le gag ben orchestrate rendono ogni scena memorabile. Al debutto, il film fu un successo al botteghino e oggi vanta un 89% su Rotten Tomatoes (basato su 9 recensioni), lodato per la chimica del cast e l’energia narrativa. Entrato nel pubblico dominio nel 1969 per un mancato rinnovo del copyright, è stato restaurato e presentato al UCLA Festival of Preservation nel 2022, conquistando nuovi spettatori. Il suo mix di generi ha influenzato commedie soprannaturali come Beetlejuice, dimostrando la capacità di Hollywood di trasformare idee bizzarre in intrattenimento puro. Topper Returns è perfetto per chi ama le commedie classiche o i misteri con un tocco di magia. La villa spettrale, i personaggi stravaganti e le battute rapide creano un’atmosfera irresistibile, anche se gli stereotipi razziali nel ruolo di Anderson possono risultare datati. Puoi guardarlo gratuitamente su Tubi, Pluto TV, The Roku Channel o Archive.org, o noleggiarlo su Amazon Prime Video e Apple TV. La versione restaurata è un must per gli appassionati di classici. In conclusione, Topper Returns è un invito a ridere, rabbrividire e innamorarsi del cinema degli anni ’40. Con un cast indimenticabile, effetti sorprendenti e un mistero che tiene incollati allo schermo, questo film dimostra che un fantasma con un piano può ancora rubare il cuore del pubblico. Preparati a scoprire l’assassino di Gail e a ridere con Cosmo Topper, il banchiere più sfortunato di Hollywood!
ROLAND YOUNG - Roland Young, nato l’11 novembre 1887 a Londra, è stato un attore britannico dal talento sottile e raffinato, celebre per il suo umorismo discreto e la capacità di rendere credibili anche le situazioni più assurde. Con il suo aspetto distinto, voce modulata e un’ironia che emergeva in ogni sguardo, Young è stato una figura chiave del cinema degli anni ’30 e ’40, noto per ruoli in film come L’uomo che poteva compiere miracoli (1936) e E la vita continua (1943). In Topper Returns (1941), terzo capitolo della trilogia di commedie soprannaturali ispirate a Thorne Smith, Young brilla come Cosmo Topper, il banchiere riluttante al centro di un mistero spettrale, offrendo una performance che consolida il suo status di pilastro della serie. Cresciuto in una famiglia benestante, Young studiò alla Royal Academy of Dramatic Art e debuttò a teatro prima di approdare a Broadway e Hollywood. La sua versatilità gli permise di eccellere in commedie, drammi e ruoli di supporto, spesso interpretando gentiluomini inglesi con un tocco di eccentricità. Nominato all’Oscar come Miglior Attore Non Protagonista per Topper (1937), Young portò al cinema un’eleganza naturale che lo rese perfetto per ruoli come quello di Topper. La sua carriera, che include oltre 100 film, si estese fino agli anni ’50, lasciandolo come un’icona del cinema classico. In Topper Returns, diretto da Roy Del Ruth, Roland Young interpreta Cosmo Topper, un banchiere pacato e un po’ nevrotico che si ritrova, ancora una volta, a interagire con un fantasma. Questa volta, è Gail Richards (Joan Blondell), una giovane donna assassinata in una villa gotica, che lo recluta per scoprire il suo assassino. Topper, affiancato dalla svampita moglie Clara (Billie Burke) e dall’autista Eddie (Eddie “Rochester” Anderson), naviga un intrico di passaggi segreti, sospetti e situazioni comiche, mantenendo un’esasperazione contenuta che è il cuore del film. Young rende Topper un personaggio universale: un uomo comune trascinato in eventi straordinari, con reazioni che oscillano tra sarcasmo, panico e rassegnazione. La sua chimica con Blondell è elettrizzante, mentre i battibecchi con Burke aggiungono un tocco di commedia matrimoniale. Ogni sua espressione, dal sopracciglio alzato al borbottio esasperato, trasforma Topper in un’ancora emotiva per lo spettatore, rendendo credibile anche il caos soprannaturale. Nei primi due film, Topper (1937) e Topper Takes a Trip (1938), il Cosmo Topper di Young è un personaggio in evoluzione, modellato dalle interazioni con i fantasmi George e Marion Kerby (Cary Grant e Constance Bennett). In Topper, Topper è un banchiere rigido che i Kerby, spiriti di una coppia morta in un incidente, spingono a vivere con più audacia, in una commedia sofisticata con toni romantici e screwball. Young dà a Topper un misto di rigidità e curiosità, con un arco narrativo che lo vede sciogliersi sotto l’influenza dei Kerby. In Topper Takes a Trip, Topper è più sicuro di sé, coinvolto in una crisi coniugale in Francia, con Marion che lo aiuta a riconquistare Clara. Qui, Young accentua il lato comico e romantico del personaggio, in un’atmosfera glamour e leggera. In Topper Returns, invece, Topper è un veterano delle esperienze soprannaturali, ma non per questo meno riluttante. Rispetto ai primi film, il tono è più orientato al giallo-commedia, con una villa spettrale e un mistero centrale che richiedono un Topper più attivo, quasi un detective suo malgrado. Young adatta la sua performance a questo cambio: il suo Topper è meno sorpreso dagli eventi paranormali, ma più frustrato, con un’ironia tagliente che emerge nelle interazioni con Gail, un fantasma più pratico e diretto rispetto ai Kerby. A differenza delle commedie sofisticate dei predecessori, Topper Returns abbraccia elementi slapstick e suspense, e Young bilancia questi toni con una presenza scenica che tiene unito il cast. Mentre nei primi film Topper è un uomo trasformato dai fantasmi, qui è un eroe riluttante, più coinvolto nell’azione, come nelle sequenze di inseguimento o nell’esplorazione della villa. Un’altra differenza è il contesto narrativo: Topper e Topper Takes a Trip si concentrano su dinamiche personali e sociali, mentre Topper Returns è una storia standalone con un mistero da risolvere, dando a Young l’opportunità di esplorare un Topper più pragmatico, ma sempre comicamente fuori posto. La sua performance, meno romantica e più reattiva, si adatta al ritmo incalzante del film, diretto da Del Ruth e scritto in parte da Jonathan Latimer, rendendo Topper il collante di un ensemble vivace. L’Eredità di Young in Topper Returns La performance di Roland Young in Topper Returns è un pilastro del film, che ottenne un 89% su Rotten Tomatoes e un successo al botteghino. La sua capacità di rendere Topper sia relatable che esilarante contribuisce al fascino duraturo del film, oggi nel pubblico dominio e restaurato per il UCLA Festival of Preservation nel 2022. Disponibile su Tubi, Pluto TV, Archive.org o in noleggio su Amazon Prime Video, Topper Returns mostra Young al suo meglio: un attore che trasforma un banchiere qualunque in un’icona della commedia soprannaturale. Young morì il 5 giugno 1953 a New York, ma il suo Cosmo Topper rimane un simbolo della sua abilità nel dare vita a personaggi complessi con un’eleganza senza sforzo. In Topper Returns, il suo talento illumina ogni scena, dimostrando perché fosse una delle stelle più rispettate della sua epoca.
BILLIE BURKE - Billie Burke, nata Mary William Ethelbert Appleton Burke il 7 agosto 1884 a Washington, D.C., è stata una delle attrici più amate dell’epoca d’oro di Hollywood, celebre per il suo fascino effervescente e la voce squillante che la resero un’icona della commedia. Con una carriera che spaziava dal teatro al cinema, Burke è ricordata soprattutto per il ruolo della fata madrina Glinda in Il mago di Oz (1939), ma la sua interpretazione di Clara Topper in Topper Returns (1941) è un esempio perfetto del suo talento comico e della sua capacità di rubare la scena. Figlia di un clown di circo, Billie crebbe nel mondo dello spettacolo e debuttò a Broadway nel 1903, diventando una star del teatro grazie alla sua grazia e al suo umorismo. Sposata con il leggendario impresario Florenz Ziegfeld Jr. dal 1914 fino alla sua morte nel 1932, Burke affrontò difficoltà finanziarie dopo la crisi del ’29, ma il cinema le offrì una seconda carriera. Con oltre 80 film all’attivo, portò sullo schermo un’energia unica, spesso interpretando donne frivole ma adorabili, con un’eleganza che mascherava una comicità impeccabile. In Topper Returns, terza commedia soprannaturale della trilogia di Thorne Smith, Billie Burke interpreta Clara Topper, la moglie eccentrica e un po’ svampita di Cosmo Topper (Roland Young). Clara è una figura centrale nel film, che ruota attorno a un mistero spettrale in una villa piena di segreti. Mentre Cosmo è trascinato in un’indagine da un fantasma (Joan Blondell), Clara si ritrova spesso al centro di momenti comici, con le sue reazioni esagerate e il suo candore che aggiungono leggerezza alla suspense. La sua performance, con gesti teatrali e una voce che danza tra sorpresa e indignazione, rende Clara un contrappunto perfetto al caos soprannaturale, strappando risate in scene come i battibecchi con il marito o gli incontri con l’autista Eddie (Eddie “Rochester” Anderson). Burke trasforma Clara in un personaggio memorabile, una donna che naviga il mistero con un mix di ingenuità e charme irresistibile. La sua interpretazione in Topper Returns riflette il suo stile: un’energia scenica che illumina ogni inquadratura, anche in un ruolo di supporto. All’età di 57 anni, Burke dimostrava una vitalità giovanile, consolidando la sua reputazione come regina delle commedie sofisticate. Il film, un successo al botteghino con un 89% su Rotten Tomatoes, deve parte del suo fascino alla chimica tra Burke e il cast, che eleva il mix di giallo e umorismo. Billie Burke continuò a recitare fino agli anni ’50, lasciando un’eredità che vive in classici come Topper Returns e Il mago di Oz. Morì il 14 maggio 1970 a Los Angeles, ma il suo sorriso e la sua voce inconfondibile rimangono impressi nella storia del cinema. Per i fan delle commedie d’epoca, la sua Clara Topper è un promemoria del perché Burke fosse, e resta, una stella senza tempo.

CONSTANCE BENNETT - Card no. 47 from the FAMOUS FILM STARS series, printed by ARDATH TOBACCO CO LTD in 1934 Constance Campbell Bennett was born on October 22, 1904, in New York City into a family already immersed in the entertainment world. Her father, Richard Bennett, was a successful stage actor, and her sisters, Joan and Barbara, followed similar career paths. Constance made her big-screen debut in the 1920s during the silent film era, but her career truly took off with the advent of sound cinema. Thanks to her refined voice, elegant charm, and natural comedic talent, she became one of the most famous and highly paid actresses of the 1930s. Among her most notable roles are What Price Hollywood? (1932), a precursor to A Star Is Born, and Merrily We Live (1938). Beyond acting, Bennett was a savvy businesswoman: she founded a production company and was active in fashion and cosmetics, even launching her own beauty line. During World War II, she performed for the troops, showcasing her social commitment. Married five times, including to actor Gilbert Roland and producer Henri de la Falaise, Bennett passed away on July 24, 1965, leaving a lasting legacy in cinema. In Topper Takes a Trip (1938), Constance Bennett reprises her role as Marion Kirby, the lively ghost she had previously portrayed in the first film of the series, Topper (1937). Marion is an ethereal and carefree figure, a socialite who died in a car accident and returns to Earth with one mission: to perform a good deed to earn her place in heaven. In this sequel, Marion focuses on saving the marriage of Cosmo Topper (Roland Young) and his wife Clara (Billie Burke), weaving chaos and laughter with her unpredictable approach. Accompanied by her ghostly dog Mr. Atlas (played by the famous Skippy), Marion brings mischief and magic to a luxurious hotel on the French Riviera, tackling absurd situations with her blend of wit and charm. Bennett imbues the character with irresistible lightness and sparkling energy, stealing the scene with her commanding presence and comedic talent. Her performance not only solidifies the saga's success but also elevates Marion Kirby to an iconic status among supernatural comedies of the era. Additionally, Bennett played an active role behind the scenes, influencing the film's tone and improvising some of its most memorable lines, as confirmed by anecdotes from the set. Constance Bennett, with her portrayal of Marion, is the beating heart of Topper Takes a Trip, turning a lighthearted comedy into an unforgettable experience.
TOPPER TAKES A TRIP - Prepare yourself for an exhilarating and otherworldly journey with Topper Takes a Trip, the second installment in the film saga inspired by Thorne Smith's novels, masterfully directed by Norman Z. McLeod in 1938. This fantasy comedy is an irresistible cocktail of laughter, absurdity, and a touch of magic that will captivate you from start to finish! Following the success of Topper, the spirited Marion Kirby—a ghost with irresistible charm played by Constance Bennett—returns to Earth, accompanied by her adorable dog Atlas, on a mission to save the marriage of Cosmo Topper (Roland Young) and his lovely but exasperated wife Clara (Billie Burke), which is on the verge of collapse. Through spectral interventions and hilarious mishaps, Marion not only tries to rekindle the spark between the two but also aims to earn herself a ticket to heaven. Things take a complicated turn when a slick French baron enters the picture, dragging the entire affair to a luxurious hotel on the French Riviera, where chaos reaches hilarious new heights. The film shines thanks to a stellar cast: Roland Young is simply perfect as Cosmo, an ordinary man caught up in extraordinary situations, with a physical comedy that elicits laughter at every turn. Constance Bennett is a whirlwind of charm and wit, an ethereal presence dominating the screen, while Billie Burke adds a touch of delightful eccentricity as Clara. With slapstick gags and brilliant dialogue, Topper Takes a Trip masterfully blends refined humor and supernatural madness, delivering an experience that never loses its rhythm. Compared to the first chapter, this sequel raises the stakes with new adventures and a glamorous setting, without ever betraying its lighthearted and carefree spirit. It’s a joyous escape into a world where ghosts play Cupid and every scene is an explosion of timeless fun. If you have a soft spot for classic comedies with a magical twist, this little gem from the 1930s is an absolute must-see: it will win you over with its mix of laughter, heart, and old-world elegance!
TOPPER TAKES A TRIP - - FUN FACTS - A sequel without Cary Grant: In the first film, Topper (1937), Cary Grant played George Kirby, Marion's ghostly husband. However, he did not return for the sequel due to his growing commitments and preference for leading roles. As a result, the screenplay was adapted to focus on Marion as the sole human ghost, with the dog Mr. Atlas—played by the famous Skippy—as her delightful spectral sidekick. Skippy, aka Asta, steals the show: Mr. Atlas, Marion's ghostly canine companion, is portrayed by Skippy, a Wire Fox Terrier already famous for his role as Asta in The Thin Man series. Trained by the legendary Henry East and Gale Henry, Skippy was a genuine canine star, capable of executing complex commands and charming audiences with his charisma. In Topper Takes a Trip, his spectral antics add an irresistible touch of humor! A glamorous setting for the sequel: Unlike the first Topper, which primarily took place in the United States, Topper Takes a Trip transports the action to the French Riviera. This choice was intentional: the producers aimed to leverage the exotic and luxurious atmosphere of the Riviera to lend the film an elegant touch and distinguish the sequel from the original. Cutting-edge special effects for the era: The film's special effects, such as Marion and her dog Atlas's appearances and disappearances, were impressive for the 1930s. Using techniques like "double negatives" and transparency effects, the filmmakers created a convincing illusion of ghostly characters, giving the film its magical tone. Constance Bennett, a diva both on and off-screen: Constance Bennett didn't just act in the film; as one of the highest-paid actresses of the time, she had significant creative control over the project. It's said that she improvised some of Marion's funniest lines, shaping the character's witty and lively tone. A success that solidified the saga: Despite Cary Grant's absence, Topper Takes a Trip was a box-office success, thanks to its blend of sophisticated humor, supernatural elements, and the beloved presence of Skippy. The film paved the way for a third installment, Topper Returns (1941), albeit with a partially different cast.
ROLAND YOUNG - Card no. 43 from the series BRITISH BORN FILM STAR, printed by ARDATH TOBACCO CO LTD in 1934 Roland Young was born on November 11, 1887, in London, England, into a middle-class family. After studying at University College London, he became passionate about theater and began his career on stage, first in England and later in the United States, where he moved in the 1910s. He debuted on Broadway and, with the advent of sound cinema, transitioned to Hollywood, becoming one of the most beloved character actors of the 1930s and 1940s. With his distinctive appearance, British accent, and natural talent for comedy, Young excelled in roles portraying ordinary men swept up in extraordinary situations. He is best known for his role as Cosmo Topper in the Topper trilogy, but he also shone in films like The Man Who Could Work Miracles (1936) and The Philadelphia Story (1940), where he played Uncle Willie. He received an Academy Award nomination for Best Supporting Actor for Topper (1937). Despite his success, Young remained a reserved man, dedicating his free time to painting and writing. He passed away on June 5, 1953, in New York, leaving behind a legacy of memorable performances that continue to enchant fans of classic cinema. In Topper Takes a Trip (1938), Roland Young reprises his role as Cosmo Topper, the saga's protagonist—a shy and respectable banker who finds himself embroiled in supernatural adventures. Following the events of the first film, Cosmo faces a marital crisis: his wife Clara (Billie Burke) plans to divorce him, and he travels to France to confront the situation. There, he is joined by the ghost of Marion Kirby (Constance Bennett), who, along with her dog Mr. Atlas (Skippy), drags him into a whirlwind of misunderstandings and hilarious scenarios as she attempts to reunite him with Clara. Young delivers a pitch-perfect portrayal of Cosmo Topper: an ordinary, somewhat awkward man oscillating between frustration and amusement as he tries to cope with Marion's spectral interference. His physical comedy, marked by exasperated expressions and clumsy gestures, is impeccable, and his mastery of comedic timing makes him the ideal counterpart to Bennett's vivacity. Young's performance is pivotal to the film's success: his Cosmo is the emotional heart of the story, a character with whom audiences can empathize as he navigates the supernatural chaos and the very earthly troubles of his marriage. His portrayal in Topper Takes a Trip solidifies the character as an icon of classic comedy, contributing to the film's status as a gem of the era.
BILLIE BURKE - Card no. 8 from the ACTRESSES PURPLE BROWN series, printed by B.A.T. in 1910 Billie Burke, born Mary William Ethelbert Appleton Burke on August 7, 1884, in Washington, D.C., was an American actress renowned for her comedic talent and ethereal charm. The daughter of a Barnum & Bailey circus clown, Billie grew up in the world of entertainment and made her stage debut in London at the age of 18. She later moved to Broadway, where she became one of the most beloved actresses of the 1910s and 1920s. In 1914, she married the legendary theater impresario Florenz Ziegfeld Jr., becoming a prominent figure in the Ziegfeld Follies. With the advent of sound cinema, Burke began a second career in Hollywood in the 1930s, specializing in roles as sophisticated yet often scatterbrained and adorably eccentric women. She is best remembered for her role as Glinda, the Good Witch of the North, in The Wizard of Oz (1939), but her filmography includes dozens of comedies, such as Dinner at Eight (1933) and Merrily We Live (1938), for which she received an Academy Award nomination for Best Supporting Actress. Her high-pitched voice and lively style made her perfect for quirky and comedic characters. After Ziegfeld’s death in 1932, Burke dedicated herself fully to acting to support her family, continuing to work until the 1950s. She passed away on May 14, 1970, in Los Angeles, leaving a legacy as one of the most distinctive actresses of classic cinema. In Topper Takes a Trip (1938), Billie Burke plays Clara Topper, the wife of Cosmo Topper (Roland Young), a role she had already portrayed in the first film of the series, Topper (1937). Clara is an elegant but capricious woman, often clashing with her husband due to her strict nature and inability to loosen up. In this sequel, Clara is determined to divorce Cosmo and is staying in France at a luxurious Riviera hotel when the ghost of Marion Kirby (Constance Bennett) and her dog Mr. Atlas (Skippy) intervene to save the marriage. Burke infuses the character with eccentric humor and frenetic energy, typical of her style: her exaggerated reactions, high-pitched voice, and theatrical gestures make Clara a hilarious figure, often unaware of the supernatural chaos around her. Her portrayal perfectly balances the dynamic with Cosmo, creating comedic tension that resolves into sweet moments of reconciliation. Burke's presence adds a touch of glamour and lightness to the film, and her skill in slapstick scenes—such as those involving indirect interactions with Marion's ghost—contributes to the film's carefree tone. Clara Topper, in Burke's hands, becomes an unforgettable character, a mix of sophistication and adorable confusion. Billie Burke, with her Clara Topper, truly lights up Topper Takes a Trip.
SKIPPY - Skippy: Hollywood's Canine Star Skippy, a Wire Fox Terrier born around 1931, is one of the most celebrated animal stars of Hollywood's golden age. Trained by the legendary Henry East and Gale Henry, Skippy became a sensation due to his intelligence and natural talent, capable of performing complex commands such as opening doors, barking on cue, and even "acting" with expressions that charmed audiences. His most famous role was as Asta, the loyal companion of Nick and Nora Charles in The Thin Man series, starting with the first film in 1934, alongside William Powell and Myrna Loy. However, his stage name “Asta” was only used during his work for MGM; in real life and other productions, he remained Skippy. Despite his fame, Skippy lived a controlled life: his owner, Henry East, forbade him from having a “love life” to avoid litters, fearing Hollywood was already “full of Rin-Tin-Tin’s offspring.” Earning $750 a week—a remarkable sum for a dog in the 1930s—Skippy was treated like a true star, with a contract that ensured priority over other canine performers and special care for his wardrobe and on-set safety. His career spanned the 1930s and 1940s, making him an icon of classic cinema. The Role of Mr. Atlas in Topper Takes a Trip In Topper Takes a Trip (1938), Skippy plays Mr. Atlas, the ghostly dog companion of Marion Kirby (Constance Bennett). Atlas is Marion’s spectral sidekick, returning from the dead alongside her to help in her mission: reuniting Cosmo Topper (Roland Young) and his wife Clara (Billie Burke). As an “ectoplasmic pup,” Atlas adds a touch of humor and tenderness to the film, appearing and disappearing magically thanks to the special effects of the time. Skippy brings his natural charisma to the role, stealing the show with his antics—whether trotting through a luxurious French Riviera hotel or interacting with human characters, his talent for physical comedy is evident. Skippy's contract for the film, signed with Hal Roach Studios, emphasized his star status, ensuring a salary of $750 a week and special conditions, such as no stand-ins except for dangerous situations. His presence in Topper Takes a Trip not only enriches the storyline with an element of lightness but also draws in audiences already charmed by him as Asta, contributing to the film's success. Skippy, aka Mr. Atlas, is a delightful addition to Topper Takes a Trip, showcasing once again why he was one of Hollywood's most beloved canine “actors.”

LAURENCE OLIVIER - Card n.22 MY FAVOURITE PART GALLAHER Ltd. - Laurence Olivier, un nome che vibra come una corda di violino tesa al massimo, è stato il cuore pulsante del teatro e del cinema del Novecento. Nato il 22 maggio 1907 a Dorking, una cittadina inglese avvolta dal verde, Olivier sembrava portare con sé, fin dall’infanzia, un’aura di grandezza. Figlio di un reverendo severo, trovò presto rifugio nei drammi shakespeariani, recitando sonetti con una passione che lasciava già intravedere il genio. La Royal Academy of Dramatic Art lo accolse come un diamante grezzo, e lui ne uscì affilato, pronto a conquistare i palcoscenici di Londra con una voce che ruggiva come il mare in tempesta e un’eleganza che ammutoliva le platee. Ma non si fermò al teatro: il cinema lo chiamava, e Olivier rispose con una carriera che ha scolpito il suo nome nella storia. Immagina un uomo capace di tutto: un Heathcliff selvaggio e disperato in Wuthering Heights (1939), che si aggira tra le brughiere con occhi pieni di fuoco; un Maxim de Winter in Rebecca (1940), così tormentedamente affascinante da far tremare i muri della villa di Manderley; e poi l’Amleto del 1948, un principe danese fragile e feroce, che gli valse un Oscar e la corona di re indiscusso della recitazione. Olivier non era solo un attore: era un tornado di emozioni, un alchimista che trasformava ogni battuta in oro puro. Con il suo portamento regale, i lineamenti cesellati e quel modo di scandire le parole – come se ogni sillaba fosse un dono – incantava chiunque lo guardasse. E poi c’è The Divorce of Lady X (1938), un gioiellino dove Olivier svela un lato diverso, più leggero, ma non meno magnetico. Qui è Everard Logan, un avvocato divorzista dal cipiglio severo, un uomo che in tribunale sbroglia matrimoni con la precisione di un chirurgo e la freddezza di un generale. Ma quando Leslie Steele, interpretata dalla radiosa Merle Oberon, piomba nella sua vita come un fulmine in una notte nebbiosa, tutto cambia. Pensa alla scena: Londra avvolta da una coltre di fumo, Logan costretto a cedere la sua suite d’albergo a questa sconosciuta sfacciata, e una tensione che cresce tra battute taglienti e sguardi rubati. Lui, con quel sopracciglio inarcato e un’aria di sfida, cerca di resistere; lei, con un sorriso che scioglierebbe il ghiaccio, lo trascina in un gioco di seduzione e malintesi. Olivier dà a Logan una vita che pulsa: è rigido ma vulnerabile, sarcastico ma adorabile. La sua chimica con Merle Oberon è un fuoco d’artificio – ogni dialogo è un botta e risposta che scoppietta di umorismo e desiderio represso. Guarda come il suo Logan, da austero professionista, si ritrova a inseguire Leslie con un misto di irritazione e fascinazione, inciampando quasi nella propria dignità. È un Olivier che gioca, che si diverte, e che ci ricorda quanto fosse versatile: capace di passare dal dramma shakespeariano alla commedia romantica senza perdere un grammo della sua potenza. The Divorce of Lady X brilla anche grazie a lui. Everard Logan, sotto la guida di Olivier, diventa il perfetto eroe comico: un uomo che scopre l’amore quando meno se lo aspetta, e che ci fa ridere e sospirare allo stesso tempo. Se questo film resta un classico, è perché Laurence Olivier, con il suo talento sconfinato, ha saputo trasformare ogni gesto, ogni sguardo, in un momento indimenticabile. Un gigante, un poeta, un eterno incantatore: questo era Olivier, e questo rimarrà per sempre.
THE DIVORCE OF LADY X - Immagina di ritrovarti in un elegante hotel di Londra, anno 1938. Una nebbia così densa da sembrare un muro avvolge la città, bloccando gli ospiti di una festa dentro quelle pareti sontuose. È qui che inizia The Divorce of Lady X, una commedia romantica britannica che ti cattura con il suo umorismo brillante e un cast da capogiro: Merle Oberon, Laurence Olivier, Ralph Richardson e Binnie Barnes, diretti da Tim Whelan e prodotti dal leggendario Alexander Korda. Preparati, perché questa non è una semplice storia d’amore: è un viaggio esilarante fatto di malintesi, battute pungenti e un pizzico di caos che ti terrà incollato fino all’ultimo sorriso. Tutto parte da Leslie Steele, una socialite affascinante e un po’ sfacciata, interpretata da una Merle Oberon che brilla di vivacità. Con un colpo di audacia, Leslie si intrufola nella suite di Everard Logan, un avvocato esperto in divorzi dal carattere burbero ma dal cuore tenero, portato sullo schermo da un irresistibile Laurence Olivier. Logan, seppur controvoglia, le cede la camera da letto, relegandosi in un’altra stanza. Durante la notte, lei lo stuzzica con provocazioni e risate, ma al mattino, quando lui si sveglia deciso a rivederla, Leslie è già svanita come un’ombra nella nebbia, lasciandolo con un mistero e un desiderio che non riesce a scrollarsi di dosso. Ma Leslie non è tipo da sparire e basta. Scoperta la professione di Logan, decide – con una determinazione quasi comica – che quell’uomo deve diventare suo marito. Intanto, Logan è alle prese con un caso spinoso: Lord Mere, uno dei suoi clienti, è convinto che la moglie lo tradisca. E qui le cose si complicano, perché una serie di equivoci porta Logan a sospettare che Leslie sia proprio la misteriosa Lady Mere! Da questo momento, la trama si trasforma in un vortice di situazioni assurde e dialoghi scoppiettanti, con i due protagonisti che si scontrano, si punzecchiano e, inevitabilmente, si avvicinano. Questo ci porta dritti al cuore di ciò che rende il film speciale: è un perfetto esempio di screwball comedy. Ma cos’è esattamente? Immagina una commedia romantica con una marcia in più, un sottogenere nato negli anni ’30 e ’40 che prende il nome da una palla curva del baseball – imprevedibile e sorprendente. Le screwball comedy sono un’esplosione di dialoghi veloci e brillanti, situazioni al limite del ridicolo e protagoniste femminili che non hanno paura di prendere in mano la situazione. Pensa a Leslie, con la sua grinta e il suo fascino, che tiene testa a Logan in ogni scena. È un genere che gioca con l’assurdo e il romanticismo, spesso infilandoci una sottile satira su temi come le classi sociali o i ruoli di genere, il tutto servito con una leggerezza irresistibile. Se vuoi un paragone, pensa a classici come Bringing Up Baby, dove Katharine Hepburn e Cary Grant si inseguono tra leopardi e malintesi, o His Girl Friday, con Rosalind Russell che domina la scena con la sua parlantina fulminante. The Divorce of Lady X si inserisce alla perfezione in questa tradizione, con Merle Oberon che dà vita a una Leslie indimenticabile – indipendente, astuta e adorabile – e Laurence Olivier che rende Logan un mix di serietà e vulnerabilità comica. La loro chimica è il motore del film: ogni battuta, ogni sguardo, è un piccolo fuoco d’artificio che illumina lo schermo. E poi c’è il resto: una sceneggiatura che scorre come seta, un cast di supporto che aggiunge sapore – Ralph Richardson e Binnie Barnes non sono da meno – e quell’eleganza britannica che dà al tutto un tocco di classe. È una commedia leggera, certo, ma con una profondità che viene dalla bravura di chi la racconta. Ti fa ridere, ti fa tifare per i protagonisti e ti lascia con la voglia di rivederlo subito. Se ami i classici o semplicemente hai un debole per le storie d’amore con un po’ di pepe, questo film è una gemma da riscoprire. Mettiti comodo e lasciati trasportare: tra nebbia, risate e un lieto fine assicurato, non te ne pentirai!
MERLE OBERON - Card n.8 CHAMPIONS OF SCREEN & STAGE - GALLAHER'S CIGARETTES - Merle Oberon, un nome che danza tra eleganza e mistero, è stata una delle stelle più scintillanti del cinema degli anni '30 e '40. Nata nel 1911 come Estelle Merle O’Brien Thompson, questa attrice britannica di origini indiane portava con sé un fascino esotico che ammaliava chiunque la guardasse. La sua bellezza, magnetica e unica, era solo il preludio al suo vero dono: un talento recitativo capace di illuminare lo schermo. Scoperta dal celebre regista Alexander Korda, Merle si fece strada rapidamente nel mondo del cinema, conquistando il pubblico con ruoli memorabili in film come The Private Life of Henry VIII (1933) e The Scarlet Pimpernel (1934). Qui dimostrò una versatilità sorprendente, passando con grazia da eroine romantiche a personaggi più intensi e drammatici. Ma è in The Divorce of Lady X (1938) che Merle Oberon regala una performance che è pura magia, un’esplosione di charme e allegria. Nel film interpreta Leslie Steele, una socialite affascinante e audace che irrompe nella vita – e nella suite – di Everard Logan, un avvocato divorzista interpretato dal grande Laurence Olivier. La scena si apre in una Londra avvolta da una nebbia così fitta da sembrare un sipario: Leslie, con la sua energia irrefrenabile, si intrufola nella stanza di Logan, dando il via a un turbine di equivoci e battute. È una donna moderna, spiritosa, determinata: non si limita a seguire le regole del gioco, le riscrive a modo suo. Con un sorriso malizioso e una parlantina veloce, sfida le convenzioni sociali dell’epoca e conquista chiunque le stia intorno. Il personaggio di Leslie è un vero gioiello: vivace, astuta, adorabilmente sfacciata. Merle Oberon lo interpreta con una freschezza che ti cattura dal primo istante. Ogni sguardo, ogni risata, è un invito a innamorarsi di lei. La chimica con Laurence Olivier è semplicemente elettrizzante: i due si scambiano battute come in una danza, trasformando il film in un fuoco d’artificio di dialoghi brillanti. Leslie non è solo bella; è intelligente e grintosa, un’eroina che potrebbe tranquillamente reggere il confronto con le protagoniste delle migliori screwball comedy. Merle la rende indimenticabile, bilanciando eleganza e giocosità con una naturalezza che lascia il segno. In The Divorce of Lady X, Merle Oberon non è solo un’attrice: è il cuore pulsante della storia. Leslie Steele, grazie a lei, diventa molto più di un personaggio – è un simbolo di indipendenza e vitalità, una donna che guida la trama con il suo carisma e fa battere il cuore del pubblico. Se questo film resta una perla del cinema classico, gran parte del merito va proprio a Merle, che con il suo talento e la sua bellezza ha scritto una pagina indelebile nella storia dello schermo.
BINNY BARNES - Card n. 252 - BUNTE FILM BILDER - ALBUM 7 SALEM CIGARETTENFABRIK G.m.b.H., Dresden (1935) - Binnie Barnes, un talento scintillante e spesso troppo poco celebrato, illumina lo schermo nel 1938 con la sua interpretazione di Lady Mere in The Divorce of Lady X, una commedia romantica che vive di equivoci e risate. Con quel suo fascino irresistibile – un mix di eleganza britannica e un pizzico di malizia – Binnie trasforma Lady Mere in un personaggio che cattura l’attenzione ogni volta che appare. Non è solo una figura di contorno: è il cuore pulsante del malinteso che dà vita alla trama, un enigma sofisticato che danza tra mistero e comicità con una grazia innata. Immagina Lady Mere come una donna che sa tutto ma non lo dice, una presenza che fluttua nella storia con un sorriso ironico e occhi che brillano di divertimento. Nel film, lei è la moglie di Lord Mere, un uomo che sospetta un tradimento inesistente. Questo fraintendimento scatena un caos esilarante, e Binnie lo cavalca con maestria. Quando l’avvocato divorzista Everard Logan (Laurence Olivier) scambia Leslie Steele (Merle Oberon) per Lady Mere, la vera Lady Mere entra in scena con un aplomb che è puro spettacolo. Ogni suo movimento è calibrato, ogni battuta è un’esplosione di spirito – come quando incrocia Logan e Leslie, dispensando sorrisi che dicono più di mille parole. Cosa la rende speciale? Binnie dona a Lady Mere un’eleganza che non si piega mai, nemmeno nel turbine degli equivoci. È divertente senza essere caricaturale, sofisticata senza risultare distante. La sua voce calda e il suo modo di porgere le battute – un cocktail di sarcasmo e dolcezza – trasformano ogni scena in un momento da ricordare. Alla fine, è lei a sciogliere i nodi della trama con una risata leggera e un’alzata di spalle, come a dire: “Vi siete preoccupati per nulla, vero?” E il pubblico, incantato, non può che annuire. In The Divorce of Lady X, Binnie Barnes non si limita a interpretare Lady Mere: la rende indimenticabile. Con il suo talento comico e il suo charme naturale, porta sullo schermo una donna intelligente, spiritosa e irresistibile, dimostrando che anche un ruolo apparentemente secondario può rubare la scena. Se questa commedia resta un gioiellino del cinema classico, gran parte del merito va a lei – un’attrice che, con classe e un tocco di magia, ha dato vita a una Lady Mere che ancora oggi fa sorridere e sognare.
THE DIVORCE OF LADY X - Card n.23 FILM FAVOURITES 3rd Series stampata da A. AND M. WIX LONDON nel 1939 - CURIOSITA' - 1. Un remake colorato - The Divorce of Lady X è in realtà un remake del film del 1933 Counsel's Opinion, anch’esso prodotto da London Films. Curiosamente, Binnie Barnes, che qui interpreta Lady Mere, era la protagonista Leslie nella versione originale. Il copione, basato su una commedia di Gilbert Wakefield, è stato rielaborato per questa nuova versione e girato in Technicolor, una novità per l’epoca che lo rende uno dei primi film britannici a sfruttare questa tecnica vivace. 2. La magia del Technicolor - L’uso del Technicolor, supervisionato da Natalie Kalmus, dona al film una palette cromatica straordinaria. Anche se alcuni critici dell’epoca lo ritenevano superfluo per una commedia, i colori esaltano i costumi e le scenografie, soprattutto nelle scene della festa in maschera. Questi momenti, probabilmente inseriti per giustificare i costi della tecnologia, regalano un tocco di opulenza che si sposa perfettamente con l’ambientazione altolocata. 3. La nebbia di Londra - La trama inizia con una fitta nebbia che blocca i protagonisti in un hotel. Non è solo un espediente narrativo: le famose nebbie londinesi, dense e impenetrabili, erano una realtà dell’epoca, capaci di paralizzare la città. Questo dettaglio dà un sapore autentico alla storia e spiega come Leslie (Merle Oberon) finisca per irrompere nella stanza di Everard Logan (Laurence Olivier), dando il via al caos comico. 4. Olivier in versione comica - Laurence Olivier, celebre per i suoi ruoli drammatici, si cimenta qui in una commedia con il personaggio di Everard Logan, un avvocato divorzista sarcastico e un po’ goffo. Sebbene alcuni critici lo trovassero fuori luogo, il suo scambio di battute con Merle Oberon è brillante e dimostra la sua versatilità. Un lato più leggero di un attore leggendario! 5. Un tocco di screwball - Il film rientra nel genere della screwball comedy, tipico di Hollywood negli anni ’30 e ’40, con dialoghi veloci, situazioni assurde e una protagonista femminile forte. I filmmakers britannici hanno adattato questo stile americano aggiungendo eleganza e umorismo tipicamente inglese, creando un mix irresistibile. 6. Tensione dietro le quinte - Tra Merle Oberon e Laurence Olivier si vociferava di una certa attrazione durante le riprese. Oberon avrebbe fatto avances a Olivier, che all’epoca era legato a Vivien Leigh. Questo retroscena aggiunge una nota intrigante alla loro chimica sullo schermo, visibile nei loro dialoghi carichi di energia. 7. Un cast di supporto eccezionale - Oltre ai protagonisti, spiccano Ralph Richardson nei panni dell’eccentrico Lord Mere e Binnie Barnes come Lady Mere, che porta ulteriore confusione comica. Anche Morton Selten, il nonno di Leslie, regala momenti memorabili, come quando si lamenta del caffè troppo leggero con il maggiordomo. 8. Costumi da sogno - I costumi sono un altro punto forte: gli abiti di Leslie, soprattutto quello della scena iniziale, incarnano lo stile degli anni ’30, mentre la festa in maschera offre un’esplosione di creatività sartoriale. Questi dettagli non solo riflettono lo status sociale dei personaggi, ma rendono il film un piacere visivo per gli amanti della moda vintage. 9. Equivoci a non finire - La trama ruota attorno a un malinteso: Logan crede che Leslie sia Lady Mere, scatenando una catena di situazioni esilaranti. Questo tema di identità sbagliate, tipico delle screwball comedies, è gestito con maestria e tiene lo spettatore incollato allo schermo. 10. Un fascino senza tempo - A più di 80 anni dalla sua uscita, The Divorce of Lady X conserva un’energia fresca e universale. I temi dell’amore, degli equivoci e della lotta tra i sessi, uniti a un umorismo ancora efficace, lo rendono un classico da riscoprire.

CAROLE LOMBARD - Card n.26 della serie BEAUTIES of TO-DAY settima serie della GODFREY PHILLIPS Ltd.- Carole Lombard, nata Jane Alice Peters il 6 ottobre 1908 a Fort Wayne, Indiana, è stata una delle attrici più amate e influenti di Hollywood durante gli anni '30 e '40. Conosciuta per il suo spirito vivace, la sua bellezza radiosa e il suo talento comico, Lombard ha iniziato la sua carriera come attrice bambina, ma è stata con i suoi ruoli da adulta che ha raggiunto la vera celebrità. Nel film "Swing High, Swing Low" del 1937, Carole Lombard interpreta Maggie King, il cuore e l'anima della storia. Maggie è una giovane donna ingenua ma piena di speranza, che si innamora di "Skid" Johnson (interpretato da Fred MacMurray). La sua performance cattura l'essenza di un personaggio che è sia vulnerabile che determinato, navigando attraverso l'amore e le sfide con grazia e forza. Lombard trasmette una genuinità e una profondità che rendono Maggie un personaggio memorabile e amabile, dimostrandosi capace di portare sullo schermo non solo la leggerezza della commedia ma anche la complessità del dramma. La sua interpretazione di Maggie è centrale per il successo del film, offrendo un contrasto perfetto alla tormentata figura di Skid, e contribuendo a creare una delle storie d'amore più toccanti del periodo. Lombard, con la sua presenza magnetica e la sua abilità nel bilanciare emozione e umorismo, ha lasciato un'impronta duratura in questo ruolo, dimostrando perché è stata considerata una delle grandi stelle del cinema classico.
SWING HIGH, SWING LOW - In 1937, director Mitchell Leisen gifted us with a classic romantic film, "Swing High, Swing Low," a dramatic comedy that revolves around the lives of Maggie King and "Skid" Johnson, masterfully portrayed by Carole Lombard and Fred MacMurray. The story follows their chance meeting and the love that blossoms, but not without challenges. Maggie is a naive yet hopeful young woman, while Skid is a talented trumpeter with a haunting past. The cast is enriched by secondary characters like Harry, played by Charles Butterworth, who adds a touch of humor, and Jean Dixon and Dorothy Lamour, who complete the vibrant and lively New York setting. Leisen's direction, along with the screenplay by Virginia Van Upp and contributions from Oscar Hammerstein II, creates a unique atmosphere, supported by the soundtrack of Phil Boutelje and Victor Young, which becomes almost a character in itself. At the time, the reviews were mixed. Frank Nugent of the New York Times wrote that the film "goes nowhere," but praised the actors' performances, suggesting they deserved better material. However, the audience proved otherwise, making the film a box office success. "Swing High, Swing Low" left an indelible mark on the romantic genre, showing that love can be complex and imperfect, yet profoundly beautiful. Thanks to its public domain status since 1965, we can still enjoy this masterpiece today. This film is more than just a love story; it is an emotional journey that continues to resonate with anyone who believes that love, despite everything, is always worth experiencing.
Fred MacMurray - Pubblicità anni 40 per il marchio Chesterfield, uno dei brands più popolari dell'epoca. Fred MacMurray, nato il 30 agosto 1908 a Kankakee, Illinois, è stato un attore americano noto per la sua carriera sia nel cinema che in televisione. Prima di diventare una star, MacMurray ha iniziato come musicista, suonando il sassofono in diverse band durante il periodo universitario. La sua carriera nel cinema ha preso il via negli anni '30, ma è stato con "Swing High, Swing Low" nel 1937 che ha iniziato a guadagnarsi una reputazione come attore di talento. Nel film "Swing High, Swing Low", MacMurray interpreta "Skid" Johnson, un trombettista affascinante ma tormentato. Il suo personaggio è al centro della trama, essendo coinvolto in una tormentata storia d'amore con Maggie King, interpretata da Carole Lombard. Skid è un individuo complesso, con un talento musicale che lo eleva ma un passato di dipendenze e fallimenti che lo trascina verso il basso. MacMurray riesce a portare sullo schermo sia il fascino che la vulnerabilità di Skid, rendendo il personaggio sia amabile che tragico. La sua interpretazione non solo cattura il cuore del pubblico, ma anche l'essenza della vita bohémienne degli artisti dell'epoca. MacMurray usa la sua esperienza musicale per dare credibilità al ruolo, suonando davvero la tromba in alcune scene, il che aggiunge autenticità alla sua performance. Attraverso "Skid", MacMurray esplora temi di redenzione, amore e la ricerca di un equilibrio tra successo professionale e felicità personale, lasciando un'impronta duratura nel cinema romantico drammatico degli anni '30.
DOROTHY LAMOUR - Dorothy Lamour, born Mary Leta Dorothy Slaton on December 10, 1914 in New Orleans, Louisiana, was an American actress and singer who stood out in Hollywood in the 1930s and 1940s. Known for her exotic beauty and musical talent, Lamour rose to fame for her roles in the "Road to..." film series with Bing Crosby and Bob Hope, where she often appeared in her trademark sarong, which became a symbol of her allure. In the 1937 film "Swing High, Swing Low," Dorothy Lamour plays Anita Alvarez, a lively and seductive singer and dancer. Anita is a key character who represents the romantic past of Skid Johnson (played by Fred MacMurray), adding a layer of complexity to the main plot. Before Skid met Maggie King (Carole Lombard), Anita was in a relationship with him, and her return to the scene creates tension and challenges for the new couple. Although her role is not a leading one in the film, Lamour manages to capture attention with her performance, bringing to the screen the energy and atmosphere of the art scene of the time. Her portrayal of Anita helps to paint a richer and more dynamic picture of the nightlife and intricate relationships of the entertainment world.
Panama Canal - Album Card "THE WORLDS GREATEST ENGINEERING FEAT" Maduro Jr. - "Immerse yourself in the glamour of 1937 with 'Swing High, Swing Low,' where Maggie and Skid's enchanting romantic adventure begins on the majestic waters of the Panama Canal. This exotic starting point not only marks the meeting of our protagonists but also the beginning of an emotional journey that will take them from the seas of Central America to the vibrant streets of New York. Their love story, intertwined with drama and music, begins here, on the waves of one of the engineering marvels of the world."

CHARLES (BUDDY) ROGERS - Card n.13 della serie CINEMA STARS - ABDULLA & Co. Ltd. (1934) - Charles "Buddy" Rogers, conosciuto come "America's Boyfriend", è stato un attore e musicista americano nato il 13 agosto 1904 a Olathe, Kansas. Durante il picco della sua popolarità negli anni '20 e '30, Rogers era noto per il suo fascino e il suo talento sia come attore che come musicista. Ha iniziato la sua carriera a Hollywood a metà degli anni '20 e ha rapidamente guadagnato fama grazie al suo carisma e alla sua versatilità. In "Wings" del 1927, Rogers interpreta Jack Powell, un giovane appassionato di automobili che si arruola nell'Air Force durante la Prima Guerra Mondiale. Il suo personaggio è inizialmente rivale in amore con David Armstrong, ma la loro rivalità si trasforma in un'amicizia fraterna mentre combattono insieme in Francia. La performance di Rogers in "Wings" è stata fondamentale per il successo del film, grazie alla sua capacità di trasmettere emozioni intense e di coinvolgere il pubblico. Rogers era già una stella emergente quando fu scelto per "Wings", e la sua presenza nel film ha contribuito a renderlo un successo. La sua interpretazione di Jack Powell è stata elogiata per la sua autenticità e il suo spirito. Rogers ha portato una dimensione emotiva al film, rendendo il personaggio di Jack non solo un eroe di guerra, ma anche un giovane uomo alle prese con l'amore e la perdita. Oltre alla sua carriera cinematografica, Rogers era anche un talentuoso musicista. Ha suonato in diverse band e ha registrato numerosi dischi durante la sua carriera. Durante la Seconda Guerra Mondiale, ha servito nella Marina degli Stati Uniti come istruttore di volo. Charles "Buddy" Rogers ha lasciato un'impronta duratura nel cinema con il suo ruolo in "Wings". La sua interpretazione di Jack Powell ha dimostrato il suo talento e il suo carisma, contribuendo a fare di "Wings" un capolavoro del cinema di guerra. La sua carriera è stata segnata da numerosi successi, ma il suo ruolo in "Wings" rimane uno dei più significativi e memorabili.
WINGS - "Wings" (1927) is a masterpiece of war cinema, notable for its technical innovations and for being the first film to win an Oscar. Set in 1917, the film tells the story of Jack Powell, a young car enthusiast, and his friend Mary Preston, who is in love with him without Jack realizing it. Jack, on the other hand, is in love with Sylvia Lewis, who prefers David Armstrong. When the United States enters World War I, Jack and David enlist as pilots in the Air Force to fight in France. Their initial rivalry turns into a deep friendship, and they become ace pilots. Mary also joins the Women's Motor Corps to stay close to Jack. During a battle, David is shot down but manages to procure a German plane to return to base. In a tragic mistake, Jack shoots down David, killing him. Devastated by guilt, Jack returns home a hero and finally realizes he loves Mary. The film is known for its spectacular aerial shots, with cameras mounted on planes to give the audience a sense of authenticity and adrenaline of aerial combat. Paramount invested $2 million in the production, a huge sum for the time. After the premiere in San Antonio, the film was released in theaters with some modifications, including the cutting of a reel and the addition of music for the flight scenes. However, the love scenes have not aged as well over time, appearing repetitive and dated today, with the character of Mary, played by Clara Bow, particularly affected. Nevertheless, the film contains memorable moments, such as the opening scene on the swing and the long take at the Folies Bergères, which seems to anticipate techniques used by directors like Scorsese or De Palma. Director William A. Wellman, a former aviator, gave the film a touch of authenticity by insisting on shooting only with cloudy skies, adding dynamism and realism to the shots. Wellman's technical innovations influenced subsequent cinematic language. The cast includes Charles "Buddy" Rogers and Richard Arlen, who did not have particularly brilliant careers after "Wings," and Gary Cooper, who appears briefly in a role that nonetheless launched his career. Jobyna Ralston, known for her work with Harold Lloyd, married Richard Arlen during the filming. "Wings" remains a monument of cinema not only for its technical mastery but also for its ability to tell a human story in a war context, despite some parts having aged less well.
CLARA BOW - Card n.25 Cinema Stars - CAVANDERS LTD (1934) - Clara Bow, conosciuta come la "It Girl" di Hollywood, è stata una delle attrici più iconiche degli anni '20. La sua presenza magnetica sullo schermo e il suo carisma naturale l'hanno resa una delle star più amate del cinema muto. Uno dei suoi ruoli più memorabili è stato quello di Mary Preston nel film "Wings" del 1927, diretto da William A. Wellman. In "Wings", Clara Bow interpreta Mary Preston, una giovane donna innamorata del suo vicino di casa, Jack Powell. Nonostante i suoi sentimenti, Jack non se ne accorge e invece è innamorato di Sylvia Lewis. Quando gli Stati Uniti entrano nella Prima Guerra Mondiale, Jack e il suo rivale in amore, David Armstrong, si arruolano come piloti nell'Air Force. Mary, determinata a stare vicina a Jack, si unisce ai Corpi Motorizzati Femminili. La sua dedizione e il suo coraggio sono evidenti mentre cerca di sostenere Jack durante la guerra. Clara Bow era già una grande star quando fu scelta per "Wings". La sua presenza nel film ha aggiunto un tocco di glamour e ha attirato un vasto pubblico. La sua interpretazione di Mary Preston è stata elogiata per la sua vivacità e il suo spirito. Bow ha portato una dimensione emotiva al film, rendendo il personaggio di Mary non solo una figura di supporto, ma una protagonista a pieno titolo. "Wings" è famoso per le sue innovative riprese aeree e le sequenze di battaglia. Tuttavia, il film è anche ricordato per alcune scene memorabili che coinvolgono Clara Bow. Una delle più iconiche è la scena del dolly alle Folies Bergères, dove la macchina da presa si muove tra i tavoli di un locale affollato fino a fermarsi su Jack, ubriaco fradicio. Questa scena, moderna e sorprendente, è un esempio del virtuosismo tecnico del film. Clara Bow ha lasciato un'impronta indelebile nel cinema con il suo ruolo in "Wings". La sua interpretazione di Mary Preston ha dimostrato il suo talento e il suo carisma, contribuendo a fare di "Wings" un capolavoro del cinema di guerra. La sua carriera è stata segnata da numerosi successi, ma il suo ruolo in "Wings" rimane uno dei più significativi e memorabili.
RICHARD ARLEN - Cards n.02 FILM STARS - JOHN PLAYER & SONS (1934) - Richard Arlen, nato Sylvanus Richard Van Mattimore il 1º settembre 1899 a Saint Paul, Minnesota, è stato un attore americano noto per i suoi ruoli nel cinema muto e sonoro. Dopo aver servito come pilota nel Royal Flying Corps durante la Prima Guerra Mondiale, Arlen si trasferì a Los Angeles e iniziò a lavorare come fattorino in un laboratorio cinematografico. Un incidente stradale attirò l'attenzione della Paramount Pictures, che lo scritturò dapprima come comparsa. In "Wings" del 1927, Arlen interpreta David Armstrong, un giovane pilota che si arruola nell'Air Force durante la Prima Guerra Mondiale. La sua performance nel film, che vinse il primo Oscar per il miglior film, fu fondamentale per il successo della pellicola. Arlen sfruttò la sua esperienza di aviatore per portare autenticità al ruolo, contribuendo a rendere le scene di battaglia aerea ancora più realistiche e coinvolgenti. Arlen era già noto per il suo fisico atletico e il suo aspetto prestante, che lo resero perfetto per ruoli di eroe duro e cinico. La sua interpretazione in "Wings" consolidò la sua carriera, portandolo a recitare in numerosi altri film di successo. Tuttavia, la sua carriera iniziò a declinare negli anni '40, e Arlen si dedicò prevalentemente alla televisione e al teatro. Richard Arlen ha lasciato un'impronta duratura nel cinema con il suo ruolo in "Wings". La sua interpretazione di David Armstrong ha dimostrato il suo talento e la sua capacità di coinvolgere il pubblico, contribuendo a fare di "Wings" un capolavoro del cinema di guerra. La sua carriera è stata segnata da numerosi successi, ma il suo ruolo in "Wings" rimane uno dei più significativi e memorabili.
GARY COOPER - Card n.1 CINEMA STARS - ABDULLA & Co. Ltd. (1934) - Gary Cooper, nato Frank James Cooper il 7 maggio 1901 a Helena, Montana, è stato uno degli attori più iconici di Hollywood. Conosciuto per il suo stile di recitazione sobrio e la sua presenza magnetica sullo schermo, Cooper ha lasciato un'impronta indelebile nel cinema americano. La sua carriera è iniziata negli anni '20 e si è estesa fino agli anni '60, con oltre 100 film all'attivo. In "Wings" del 1927, Gary Cooper appare brevemente nel ruolo di un pilota, una performance che, seppur breve, ha avuto un impatto significativo sulla sua carriera. La sua apparizione in "Wings" ha attirato l'attenzione di Hollywood, portandolo a ottenere ruoli da protagonista in seguito. Questo film ha segnato l'inizio della sua ascesa come una delle più grandi star del cinema. Cooper è noto per i suoi ruoli in film western e melodrammi, e l'American Film Institute lo ha inserito all'11º posto tra le più grandi star della storia del cinema. Durante la sua carriera, ha vinto due Oscar come miglior attore e ha ricevuto un Oscar onorario nel 1961 per i suoi contributi al cinema. La sua interpretazione in "Wings" ha dimostrato il suo talento naturale e la sua capacità di catturare l'attenzione del pubblico, anche in ruoli minori. Questo ruolo ha lanciato la sua carriera, portandolo a diventare uno degli attori più rispettati e amati di Hollywood.

MARY CARR - Mary Carr, born Mary Kenevan on March 14, 1874, in Germantown, Pennsylvania, was an American actress known for her maternal roles in films. She began her career as a teacher but soon left teaching to work as an actress in traveling theater companies. She married actor William Carr and toured extensively with his company. After the turn of the century, William Carr transitioned to film production as an actor and director, involving Mary and their six children in the film industry. Mary Carr made her film debut in 1916, but it was her performance in "Over the Hill to the Poorhouse" (1920) that made her famous. This film was a great success due to her touching portrayal of a poor mother. She continued to act in similar roles in numerous films during the silent film era. With the advent of sound films, she faced a difficult period, but thanks to publicity about her situation, she received help and occasionally found work. She spent her later years appearing sporadically in films, often directed by her son Thomas Carr. One of the most significant sound films in which Mary Carr acted was "Lights of New York" (1928), the first fully talking feature film. In this film, Mary Carr played the role of Mrs. Morgan, the mother of the protagonist Eddie Morgan, played by Cullen Landis. The plot follows Eddie and his friend Gene, played by Eugene Pallette, who find themselves entangled in a world of crime and corruption in New York. This film marked a turning point in Mary Carr's career, demonstrating her ability to adapt to the new sound format of cinema. Mary Carr passed away on June 24, 1973, in Woodland Hills, Los Angeles, at the age of 99.
LIGHTS OF NEW YORK - "Lights of New York" is a film that has skillfully captured the essence of American cinema in the 1920s, a period marked by great cultural and social vitality. Directed by Bryan Foy, it offers a sharp insight into the social and criminal dynamics of the era through the lens of a crime drama. The film stands out for being the first fully talking feature film, an innovation that revolutionized the film industry. The plot follows the story of two young men, played by Cullen Landis and Eugene Pallette, who find themselves entangled in a world of crime and corruption in New York. Their quest for success and security is fraught with dangers and intrigues, reflecting not only the lifestyle of the era but also themes such as the struggle for survival and the importance of ingenuity and determination. The film's distribution by Warner Bros. has left an indelible mark on the history of cinema, influencing subsequent works and remaining a benchmark for its energetic and timeless portrayal of American ambitions and dreams. The cast includes talents such as Wheeler Oakman, Helene Costello, Gladys Brockwell, Mary Carr, and Tom Dugan, in addition to the aforementioned protagonists. Released on July 6, 1928, "Lights of New York" focuses on a world of lights and shadows, where luxury and decadence intertwine with crime and redemption. This plot, along with the artistic direction and performances, has helped create a work that not only entertains but also stimulates reflection on important social themes. The film remains a classic, appreciated for its ability to entertain and enlighten, a true gem of cinema that continues to be relevant and inspiring for contemporary audiences.
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F.W. MURNAU - Card n.507 - MERCEDES FILMBILDER ALBUM 4 - F.W. Murnau è uno dei registi più influenti del cinema espressionista tedesco e del cinema muto in generale. Nato come Friedrich Wilhelm Plumpe, Murnau ha lasciato un'impronta indelebile nella storia del cinema con il suo stile visivo unico e la sua capacità di creare atmosfere inquietanti e suggestive. Murnau è forse meglio conosciuto per il suo capolavoro del 1922, "Nosferatu: Una Sinfonia dell'Orrore". Questo film, basato liberamente sul romanzo "Dracula" di Bram Stoker, è considerato uno dei primi e più influenti film horror della storia del cinema. La sua capacità di utilizzare le ombre e le luci per creare un senso di angoscia e mistero è diventata una firma del suo stile. Oltre a "Nosferatu", Murnau ha diretto altri film importanti come "Der letzte Mann" (L'ultima risata) del 1924, che è noto per l'uso innovativo della cinepresa mobile e per la sua narrazione visiva senza didascalie. Questo film ha dimostrato la sua abilità nel raccontare storie complesse attraverso immagini potenti e ha influenzato molti registi successivi. Un altro capolavoro di Murnau è "Sunrise: A Song of Two Humans" (Aurora) del 1927, che ha vinto il primo Oscar per la Miglior Produzione Artistica. Questo film è celebrato per la sua fotografia espressionista e per la sua capacità di combinare elementi di realismo e fantasia in una narrazione emotivamente coinvolgente. Murnau ha avuto un impatto duraturo sul cinema, influenzando innumerevoli registi e contribuendo a definire l'estetica del cinema espressionista e dell'horror. La sua capacità di evocare emozioni profonde attraverso immagini visive potenti lo rende uno dei registi più rispettati e ammirati della storia del cinema.
NOSFERATU - "Nosferatu: Una Sinfonia dell'Orrore" (1922) è un capolavoro del cinema espressionista tedesco, diretto da F.W. Murnau. Questo film muto, basato liberamente sul romanzo "Dracula" di Bram Stoker, è considerato uno dei primi e più influenti film horror della storia del cinema. La storia segue Hutter, un giovane agente immobiliare, che viene inviato nei Carpazi per concludere una vendita con il misterioso Conte Orlok. Una volta arrivato, Hutter scopre che Orlok è in realtà un vampiro. Il conte si trasferisce nella città di Hutter, portando con sé una scia di morte e terrore. La moglie di Hutter, Ellen, diventa la chiave per sconfiggere il vampiro, sacrificandosi per distrarlo fino all'alba. "Nosferatu" è celebre per la sua atmosfera inquietante e le sue immagini iconiche. L'uso delle ombre e delle luci, tipico dell'espressionismo tedesco, crea un senso di angoscia e mistero. Le scene in cui il Conte Orlok emerge dalle tenebre o si muove con movimenti innaturali sono diventate simboli del cinema horror. Max Schreck, nel ruolo del Conte Orlok, offre una performance indimenticabile. La sua figura emaciata, le lunghe dita e i denti affilati hanno definito l'immagine del vampiro nel cinema. La sua interpretazione è così convincente che per anni si è speculato che Schreck fosse realmente un vampiro. "Nosferatu" ha avuto un impatto duraturo sul genere horror e sul cinema in generale. Ha influenzato innumerevoli film e registi, e la sua estetica continua a essere un punto di riferimento per il cinema gotico e dell'orrore. Nonostante le controversie legali con gli eredi di Stoker, che portarono alla distruzione di molte copie del film, "Nosferatu" è sopravvissuto e continua a essere celebrato come un capolavoro. "Nosferatu" non è solo un film, ma un'esperienza visiva che ha definito un genere. La sua capacità di evocare paura e meraviglia attraverso immagini potenti e una narrazione avvincente lo rende un classico intramontabile. Se sei un appassionato di cinema o semplicemente ami le storie di vampiri, "Nosferatu" è un film che non puoi perdere.
Max Schreck - Card posizione 1 pag. 94 VOM WERDEM DEUTSCHER FILMKUNST. - Il personaggio di Nosferatu, interpretato da Max Schreck nel film del 1922 "Nosferatu: Una Sinfonia dell'Orrore", è uno dei vampiri più iconici e inquietanti della storia del cinema. Basato sul personaggio di Dracula di Bram Stoker, Nosferatu è un vampiro che incarna la paura e il terrore in modo unico e indimenticabile. Nosferatu, o Conte Orlok, è caratterizzato da una figura emaciata, con lunghe dita affilate e denti sporgenti. La sua pelle pallida e i suoi occhi penetranti contribuiscono a creare un'immagine spettrale e minacciosa. A differenza del Dracula di Stoker, che è spesso ritratto come un aristocratico affascinante, Nosferatu è una creatura più bestiale e primitiva, il che lo rende ancora più terrificante. La performance di Max Schreck è così convincente che per anni si è speculato che l'attore fosse realmente un vampiro. Schreck riesce a trasmettere una sensazione di inquietudine e pericolo attraverso i suoi movimenti lenti e innaturali, e la sua presenza sullo schermo è tanto magnetica quanto spaventosa. Il personaggio di Nosferatu ha avuto un impatto duraturo sul genere horror e ha influenzato innumerevoli rappresentazioni di vampiri nel cinema e nella cultura popolare. La sua immagine è diventata un simbolo del terrore e della morte, e il suo nome è sinonimo di vampiro. La capacità di Nosferatu di evocare paura e meraviglia attraverso la sua presenza visiva lo rende un personaggio indimenticabile e un pilastro del cinema horror.

INA CLAIRE - Card n.5 della serie STARS OF SCREEN & STAGE GALLAHER Ltd. Ina Claire, nata Ina Fagan il 15 ottobre 1893, è stata una luminosa stella del palcoscenico di Broadway e un'affermata attrice cinematografica. La sua vita è stata un affascinante viaggio attraverso l'epoca d'oro del teatro e del cinema americano. Orfana di padre prima della nascita, Ina e sua madre hanno affrontato sfide significative, ma la sua determinazione e il suo talento l'hanno portata a diventare una delle attrici più amate e rispettate del suo tempo. Conosciuta per il suo spirito effervescente e la sua presenza scenica magnetica, Ina Claire ha incantato il pubblico con la sua eleganza e il suo ingegno, diventando un'icona di stile e di grazia sul palcoscenico e sullo schermo. La sua eredità continua a vivere attraverso le sue memorabili performance e il suo impatto duraturo sull'industria dell'intrattenimento. Ina Claire ha brillato nel suo ruolo nel film "The Greeks Had a Word for Them", un'opera del 1932 che ha catturato l'essenza della commedia sofisticata dell'epoca pre-Code. La sua interpretazione, insieme a quella delle co-protagoniste Joan Blondell e Madge Evans, ha portato sullo schermo una vivacità e uno spirito che hanno definito il film come un classico senza tempo. Il film, diretto da Lowell Sherman e prodotto da Samuel Goldwyn, è basato sulla commedia di Zoe Akins e presenta Ina Claire nel ruolo di una donna mondana e astuta, che naviga con intelligenza e fascino le complessità delle relazioni sociali e romantiche. La sua performance è stata acclamata per la sua capacità di bilanciare umorismo e pathos, dimostrando la sua versatilità come attrice.
THE GREEKS HAD a WORD for THEM - "The Greeks Had a Word for Them", conosciuto anche come "Three Broadway Girls", è un film che ha sapientemente catturato l'essenza della commedia americana degli anni '30, un periodo segnato da una grande vivacità culturale e sociale. La regia di Lowell Sherman offre una visione acuta delle dinamiche sociali e amorose dell'epoca, attraverso la lente di una commedia teatrale scritta da Zoe Akins. Il film si distingue per la rappresentazione di tre donne moderne e indipendenti, interpretate magistralmente da Joan Blondell, Madge Evans e Ina Claire, che cercano di navigare la società in cerca di sicurezza finanziaria e personale. La loro ricerca è intrisa di flirt e intrighi, riflettendo non solo lo stile di vita dell'epoca, ma anche temi progressisti come l'emancipazione femminile e l'importanza dell'autonomia e dell'ingegno delle donne. La distribuzione del film da parte di United Artists ha contribuito a lasciare un segno indelebile nella storia del cinema, influenzando opere successive e rimanendo un punto di riferimento per la sua rappresentazione energica e atemporale delle ambizioni e dei sogni femminili. Il cast del film includeva talenti come David Manners, Lowell Sherman stesso, Phillips Smalley, Sidney Bracey, Louise Beavers, Wilson Benge e Ward Bond, oltre alle protagoniste già citate. La presenza di Betty Grable in un ruolo minore, non accreditato, aggiunge un ulteriore livello di interesse, considerando il suo successo successivo in ruoli simili. Rilasciato il 13 febbraio 1932, con una premiere a New York il 3 febbraio dello stesso anno, "The Greeks Had a Word for Them" si concentra su un trio di donne che aspirano a mantenere uno stile di vita lussuoso attraverso relazioni con uomini benestanti, dando vita a situazioni esilaranti e a volte caotiche. Questa trama, insieme alla direzione artistica e alle performance, ha contribuito a creare un'opera che non solo intrattiene, ma anche stimola la riflessione su temi sociali importanti. Il film rimane un classico, apprezzato per la sua capacità di intrattenere e illuminare, un vero gioiello del cinema che continua a essere rilevante e stimolante per il pubblico contemporaneo.
MADGE EVANS - Card n.2 della serie WORLD FAMOUS CINEMA ARTISTES B.A.T. (1933) - Madge Evans, un'attrice dal fascino discreto e dall'eleganza innata, ha avuto una carriera cinematografica che ha attraversato diverse epoche di Hollywood, lasciando un'impronta indelebile con la sua presenza scenica. Nata nel 1909, Madge iniziò la sua carriera come modella infantile, per poi passare al cinema muto e infine al sonoro, dove la sua bellezza e il suo talento le permisero di ottenere ruoli di rilievo. Nel film "The Greeks Had a Word for Them", noto anche come "Three Broadway Girls", Evans interpretò il personaggio di Polaire, una delle tre protagoniste insieme a Joan Blondell e Ina Claire. La pellicola, diretta da Lowell Sherman e prodotta da Samuel Goldwyn, è basata sull'opera teatrale di Zoe Akins e rappresenta una commedia pre-Code che esplora le dinamiche sociali e le ambizioni di tre donne nella New York degli anni '30. La performance di Madge Evans in questo film è stata particolarmente apprezzata per la sua capacità di bilanciare fascino e vulnerabilità, contribuendo a creare un personaggio memorabile e tridimensionale. La sua carriera proseguì con successo fino agli anni '40, quando decise di ritirarsi dalle scene per dedicarsi alla famiglia, lasciando dietro di sé una serie di interpretazioni che ancora oggi vengono ricordate con affetto e ammirazione. Madge Evans rimane un esempio di talento e dedizione nel mondo del cinema, e la sua eredità continua a ispirare nuove generazioni di attori e cineasti.
JOAN BLONDELL - Card n.5 della serie FILM STARS (SILVER) JOHN PLAYER & SONS (1934) - Joan Blondell, un'icona del cinema americano, ha avuto una vita professionale ricca e variegata, culminata con una performance memorabile nel film "The Greeks Had a Word for Them". Nata nel 1906, Blondell iniziò la sua carriera durante l'epoca d'oro di Hollywood e divenne nota per il suo spirito vivace e la sua presenza magnetica sullo schermo. Nel film del 1932, Blondell interpretò il ruolo di Schatze, una delle tre protagoniste, portando sullo schermo una combinazione di fascino e astuzia che catturò il cuore del pubblico. La sua interpretazione in "The Greeks Had a Word for Them" è stata acclamata per la sua capacità di bilanciare commedia e dramma, dimostrando la sua versatilità come attrice. Fu durante le riprese di questo film che ebbe una relazione con il direttore della fotografia George Barnes, con cui si sposò successivamente. La Blondell, attraverso i suoi ruoli, ha spesso rappresentato donne indipendenti e determinate, riflettendo così gli ideali emergenti dell'epoca. La sua carriera si estese per diverse decadi, durante le quali si adattò ai cambiamenti dell'industria cinematografica, mantenendo sempre una presenza fresca e rilevante. La sua eredità continua a influenzare le attrici di oggi, lasciando un'impronta indelebile nella storia del cinema.

ADOLPHE MENJOU - Card n.75 della serie CINEMA STARS stampata dalla GALLAHER LTD nel 1926 - Adolphe Menjou, nato il 18 febbraio 1890 a Pittsburgh, Pennsylvania, è stato un attore statunitense che ha lasciato un'impronta indelebile nel mondo del cinema. Dopo aver completato la sua formazione presso la Culver Military Academy e laureatosi in ingegneria alla Cornell University, Menjou fu attratto dal teatro e dal vaudeville, facendo il suo debutto cinematografico nel 1914 con "The Acid Test". Emerse come una stella del cinema muto, brillando in film come "Lo sceicco" e "I tre moschettieri" nel 1921. Con l'avvento del cinema sonoro, la sua carriera non solo continuò, ma prosperò, culminando in una nomination all'Oscar nel 1931 per il suo ruolo in "The Front Page". In "The Front Page", Menjou diede vita al personaggio di Walter Burns, un editore astuto e senza scrupoli, una performance che rafforzò la sua reputazione di uomo elegante e sofisticato. Oltre alla sua carriera cinematografica, Menjou era noto per le sue convinzioni politiche conservatrici e per il suo coinvolgimento con la Commissione per le attività antiamericane durante il periodo della paura rossa negli Stati Uniti. La sua vita fu segnata da successi professionali e da una presenza attiva nel dibattito politico del suo tempo. Menjou si distinse anche per il suo stile impeccabile, tanto da essere nominato più volte come l'uomo più elegante d'America. La sua abilità nel vestire e nel portare se stesso con una grazia senza tempo lo ha reso un'icona di stile. La sua carriera attraversò diverse fasi del cinema, dai film muti ai talkies, e lavorò con alcuni dei più grandi nomi dell'epoca, come Charlie Chaplin in "A Woman of Paris", e Marlene Dietrich e Gary Cooper in "Morocco". Menjou fu anche un volto familiare in "A Star Is Born" con Janet Gaynor e Fredric March. La sua vita privata fu altrettanto colorata quanto la sua carriera, con tre matrimoni, l'ultimo dei quali con l'attrice Verree Teasdale, durato fino alla sua morte nel 1963. Menjou lasciò un'eredità duratura come uno degli attori più raffinati e carismatici del suo tempo, un vero gentiluomo dello schermo che continua a ispirare gli attori di oggi.
THE FRONT PAGE (1931) - "The Front Page" è un capolavoro cinematografico del 1931, diretto dal talentuoso Lewis Milestone e basato sulla vivace commedia teatrale di Ben Hecht e Charles MacArthur. Questo film pre-Code è una commedia screwball che si distingue per il suo ritmo incalzante e i dialoghi scintillanti, elementi che hanno contribuito a renderlo un classico intramontabile. La trama ruota attorno al giornalista Hildy Johnson, interpretato con maestria da Pat O’Brien, che si trova a dover scegliere tra la sua carriera nel giornalismo e una nuova vita nella pubblicità a New York. La situazione si complica quando un condannato a morte, Earl Williams, evade, offrendo a Hildy l'occasione per uno scoop che potrebbe cambiare le sue prospettive future. Adolphe Menjou offre una performance memorabile nel ruolo di Walter Burns, l'editore senza scrupoli che fa di tutto per mantenere Hildy nel mondo frenetico del giornalismo. Il film è stato accolto con entusiasmo dalla critica, ottenendo un impressionante 88% su Rotten Tomatoes e un punteggio di 76 su Metacritic, segno dell'apprezzamento universale per la sua qualità e il suo impatto culturale. Inoltre, "The Front Page" è stato nominato per diversi premi agli Academy Awards, inclusi Miglior Film, Miglior Regista per Milestone e Miglior Attore per Menjou, consolidando ulteriormente il suo status nel panorama cinematografico. La pellicola è stata prodotta da Howard Hughes e distribuita da United Artists, con un cast di supporto che include Mary Brian, Edward Everett Horton e altri talenti dell'epoca. È interessante notare che esistono due versioni del film, ognuna composta da differenti riprese: una destinata al mercato internazionale e l'altra, preferita dal regista Milestone, per la distribuzione originale negli Stati Uniti. Entrambe le versioni sono disponibili per la visione domestica. "The Front Page" è stato selezionato per il National Film Registry della Library of Congress nel 2010, riconoscendolo come opera di significativa importanza culturale, storica ed estetica, e attualmente è di pubblico dominio. La storia di "The Front Page" è un'esplorazione affascinante del giornalismo dell'epoca, con un'acuta critica sociale e politica che risuona ancora oggi. Il film non solo intrattiene, ma offre anche uno spaccato della vita redazionale e delle dinamiche di potere all'interno del mondo dei media, temi che rimangono attuali. La sua eredità continua a influenzare il cinema contemporaneo, e la sua rilevanza è testimoniata dalle numerose trasposizioni e omaggi che ha ispirato nel corso degli anni. Per chiunque sia interessato alla storia del cinema o al giornalismo, "The Front Page" è un'opera imprescindibile che merita di essere vista e rivista.
PAT O'BRIEN - Card n.13 FILM FAVOURITES 3rd Series stampata da A. AND M. WIX LONDON nel 1939 - William Joseph Patrick O'Brien, meglio conosciuto come Pat O'Brien, è stato un attore americano di grande talento e versatilità. Nato l'11 novembre 1899 a Milwaukee, Wisconsin, O'Brien ha lasciato un'impronta indelebile nel mondo del cinema con oltre 100 crediti cinematografici. Di origini irlandesi, ha spesso interpretato personaggi che riflettevano il suo retaggio, guadagnandosi l'affetto del pubblico e il soprannome di "Hollywood's Irishman in Residence". La sua carriera ha preso il via dopo aver frequentato la Marquette Academy e l'American Academy of Dramatic Arts, dove ha coltivato la sua passione per la recitazione e ha stretto una duratura amicizia con Spencer Tracy, un altro gigante del cinema. Il debutto cinematografico di O'Brien avvenne nel 1930 con il cortometraggio "The Nightingale", ma fu il suo ruolo da protagonista come Hildy Johnson nel film "The Front Page" del 1931 a stabilirlo come un attore di primo piano. La sua interpretazione di un giornalista sul punto di abbandonare la cronaca nera per un lavoro in pubblicità a New York è stata acclamata sia dalla critica che dal pubblico, specialmente quando il personaggio si imbatte in uno scoop inaspettato che cambia il corso della sua vita. O'Brien è ricordato anche per le sue performance memorabili in film come "Knute Rockne, All American", dove ha interpretato il leggendario allenatore di football, e "Angels with Dirty Faces", un classico del cinema gangster. Il suo ruolo in "Some Like It Hot" ha dimostrato la sua abilità nel genere della commedia, aggiungendo un altro strato alla sua già ricca carriera. Oltre al cinema, O'Brien ha avuto una presenza significativa anche in televisione e teatro, mostrando una gamma di talenti che pochi possono eguagliare. La vita di O'Brien fu altrettanto interessante fuori dallo schermo. Durante la Prima Guerra Mondiale, lui e Tracy si unirono alla Marina degli Stati Uniti, e anche se non andarono mai in mare, la loro esperienza al Great Lakes Naval Training Center fu notevole. In particolare, O'Brien ebbe un ruolo indiretto nell'aiutare Jack Benny a iniziare la sua carriera nella commedia. Dopo la guerra, completò i suoi studi alla Marquette Academy e successivamente frequentò la Marquette University, prima di trasferirsi a New York per inseguire la sua carriera di attore. La sua vita privata fu segnata da un matrimonio felice con Eloise Taylor nel 1931, dalla nascita di quattro figli e da un profondo impegno nella fede cattolica. O'Brien è stato un esempio di integrità e dedizione, sia nella sua vita professionale che personale. La sua scomparsa il 15 ottobre 1983 a Santa Monica, California, ha lasciato un vuoto nel mondo del cinema, ma il suo retaggio continua a vivere attraverso le sue numerose e indimenticabili interpretazioni.
MARY BRIAN - Card n.20 della serie STARS of the SCREEN stampata dalla GODFREY PHILLIPS LTD nel 1934. - Mary Brian, il cui vero nome era Louise Byrdie Dantzler, nacque il 17 febbraio 1906 a Corsicana, Texas. La sua carriera iniziò in maniera fulminea quando, a soli 16 anni, fu scoperta durante un concorso di bellezza. Questo evento fortuito la portò a ottenere il ruolo di Wendy Darling nel film muto "Peter Pan" del 1924, segnando il suo debutto nel mondo del cinema. Con il passaggio al cinema sonoro, Mary dimostrò una notevole capacità di adattamento, continuando a lavorare con successo e a catturare il cuore del pubblico. Conosciuta come "The Sweetest Girl in Pictures", Mary incarnava l'ideale di dolcezza e innocenza dell'epoca, una reputazione che le permise di recitare in oltre 40 film. Nel 1926, la sua promettente carriera fu ulteriormente riconosciuta quando vinse il premio WAMPAS Baby Stars, assegnato alle giovani attrici più promettenti dell'industria cinematografica. Questo premio era un indicatore significativo del talento e del potenziale percepito in una giovane attrice, e Mary non deluse le aspettative. Uno dei suoi ruoli più memorabili fu quello di Peggy Grant nel film "The Front Page" del 1931. La sua interpretazione le permise di consolidare la sua fama come una delle attrici più talentuose e affascinanti di Hollywood, capace di trasmettere emozioni genuine e di creare personaggi indimenticabili. La sua carriera attraversò diverse fasi, ma rimase sempre una figura amata e rispettata nel settore. Sul fronte personale, Mary Brian si sposò due volte. Il suo primo matrimonio fu con Jon Whitcomb, un noto illustratore dell'epoca, mentre il secondo fu con George Tomasini, un montatore cinematografico di talento. Entrambi i matrimoni riflettevano la sua vicinanza al mondo dell'arte e del cinema, e la sua vita personale era tanto affascinante quanto la sua carriera sullo schermo. Mary Brian visse una vita lunga e ricca, lasciandoci all'età di 96 anni, il 30 dicembre 2002, a Del Mar, California. La sua eredità continua a vivere attraverso le sue performance, che rimangono testimonianza del suo talento e della sua capacità di toccare il cuore del pubblico. La sua storia è un esempio di come talento, determinazione e un pizzico di fortuna possano portare a una carriera straordinaria nel mondo del cinema. Mary Brian rimarrà sempre un'icona del passaggio dal cinema muto al sonoro, e un simbolo dell'età d'oro di Hollywood.
MAE CLARKE - Card #37 from the CINEMA CELEBRITIES series printed by BAT in 1935 - Mae Clarke, born Violet Mary Klotz on August 16, 1910 in Philadelphia, Pennsylvania, was an American actress known for her iconic roles in 1930s cinema. She began her career in vaudeville and nightclubs in New York, sharing a room with actress Barbara Stanwyck. Clarke is best remembered for two roles in 1931: Elizabeth in the film “Frankenstein” and Kitty in the film "The Public Enemy". In “Frankenstein”, she played the girlfriend of Dr. Henry Frankenstein, who is attacked by the monster played by Boris Karloff. In “The Public Enemy”, she is famous for the scene in which James Cagney squeezes a grapefruit in her face, one of the most iconic scenes in cinema. In the 1931 film “The Front Page,” Mae Clarke played Molly Malloy, a good-hearted prostitute who believes in the innocence of a man sentenced to death. Her performance in this film helped cement her reputation as a versatile and talented actress. Clarke continued to work in film and television until the 1970s, but her career was marred by a serious car accident in 1933 that left her with a broken jaw. She died on April 29, 1992, in Los Angeles, California.

VIVIEN LEIGH - Card n. 22 FILM STARS (3RD SERIES) (1938) JOHN PLAYER & SONS. - Vivien Leigh è stata una delle attrici più celebri del ventesimo secolo, resa famosa soprattutto per il suo ruolo iconico di Scarlett O’Hara in "Via col vento" e di Blanche DuBois in "Un tram che si chiama Desiderio", per i quali ha vinto due premi Oscar. Nel film "Fire Over England" (1937), Vivien Leigh ha interpretato Cynthia, una delle dame di compagnia della regina Elisabetta I. Il suo personaggio, giovane, vivace e attraente, ha suscitato la gelosia della regina stessa. Cynthia è anche l'interesse amoroso del personaggio di Michael Ingolby, interpretato da Laurence Olivier. La performance di Leigh in questo film è stata cruciale per la sua carriera, poiché ha contribuito a convincere il produttore David O. Selznick a selezionarla per il ruolo di Scarlett O’Hara.
FIRE OVER ENGLAND - "Fire Over England" is a cinematic work that captures the essence of a turbulent era in English history, offering an intimate look at the political tensions and espionage maneuvers that characterized the Elizabethan period. The film stands out for its skillful blend of historical drama and adventure, taking the viewer on a journey through the corridors of power and the stormy waters of the Atlantic. William K. Howard's direction has been praised for his ability to create a vivid and engaging portrait of an era defined by religious conflicts and international rivalries. The narrative follows the exploits of Michael Ingolby, a brave and cunning hero whose mission is to penetrate the secrets of the Spanish court. His determination and ingenuity are palpable in every scene, and Olivier delivers a performance that captures the audacity and complexity of his character. Alongside him, Vivien Leigh shines in the role of Cynthia, whose beauty and spirit reflect the strength and independence of the queen she serves. Their on-screen chemistry is undeniable and marks the beginning of one of the most memorable collaborations in cinema history. The historical context of the film is rendered with great attention to detail, from the luxurious European courts to the warships sailing the seas, creating a sense of authenticity that immerses the viewer in the era. The threat of the Spanish Armada is felt throughout the film, a constant reminder of what is at stake for England and its queen. The tension rises as Ingolby gets closer to his goal, and the viewer is drawn into a web of intrigue and danger. Leigh's performance as Cynthia was crucial not only for the film but also for her career, as it demonstrated her versatility and talent as an actress. Her portrayal left a lasting impression on Selznick, leading her to secure one of the most iconic roles in cinema, that of Scarlett O'Hara in "Gone with the Wind." This role solidified her position as one of the great stars of her time, and her work in "Fire Over England" can be seen as a turning point that paved the way for that success. In conclusion, "Fire Over England" remains a significant film for its cultural and historical impact. It not only marked the beginning of a legendary partnership between Olivier and Leigh but also helped shape the genre of historical films, offering a compelling look at a crucial period in British history. Its legacy endures as a testament to the power of cinema to bring history to life, and it continues to be appreciated by critics and film lovers for its compelling narrative, stellar performances, and impeccable production.
LAURENCE OLIVIER - Card n. 34 FILM STARS (3RD SERIES) (1938) JOHN PLAYER & SONS. - Laurence Olivier è stato uno degli attori più celebrati del ventesimo secolo, famoso per le sue interpretazioni sia teatrali che cinematografiche, specialmente nei ruoli shakespeariani. Ha ricevuto numerosi riconoscimenti, inclusi quattro premi Oscar, lasciando un segno indelebile nel mondo del teatro e del cinema. Nel film "Fire Over England" (1937), Olivier dà vita al personaggio di Michael Ingolby, un giovane ufficiale della marina inglese il cui padre è stato ucciso dagli spagnoli. Michael si offre volontario per infiltrarsi alla corte di Filippo II di Spagna al fine di ottenere informazioni vitali sui piani dell'Armada spagnola. Il suo personaggio è rappresentato come coraggioso, leale e fermamente deciso a difendere l'Inghilterra dalla minaccia spagnola. La sua missione lo vede affrontare pericoli e complotti, mettendo alla prova la sua intelligenza e il suo valore.
FLORA ROBSON - Card no. 30 from the series CHARACTERS COME TO LIFE (GODFREY PHILLIPS LTD) (1938). - Flora Robson was a British actress known for her intense and charismatic performances, particularly in historical roles. Her career spanned many years, distinguishing herself both in film and theatre. In the film "Fire Over England" (1937), Flora Robson brought to life the character of Queen Elizabeth I. Her performance was widely praised for its ability to portray the strength and determination of the sovereign at a crucial moment in English history. In the context of the film, Elizabeth I finds herself facing the threat of the Spanish Armada, having to maneuver through conspiracies and betrayals to safeguard her kingdom. Robson was able to express both the authority and the vulnerability of the Queen, making her Elizabeth memorable and authentic. Her performance is considered one of the most emblematic in the history of British cinema, helping to consolidate her status as an icon in the landscape of theatre and cinema. Robson, with her mastery, took the audience on a journey through the pages of history, proving that talent and passion can transform acting into a sublime art.
RAYMOND MASSEY - Card n.25 della serie CHARACTERS COME TO LIFE (GODFREY PHILLIPS LTD) (1938). - Raymond Massey, attore canadese di straordinario talento, ha lasciato un'impronta indelebile nel mondo del cinema e del teatro con i suoi ruoli intensi e autorevoli. La sua carriera, ricca di successi, si è distinta per la varietà di personaggi storici e drammatici che ha saputo interpretare con maestria. Massey è stato un artista versatile, capace di adattarsi a diversi generi e stili, mantenendo sempre un livello di recitazione elevato. Nel film "Fire Over England" del 1937, Massey ha dato vita al personaggio di Filippo II di Spagna, incarnando l'antagonista principale della narrazione. La sua interpretazione ha catturato l'essenza di un sovrano determinato e inflessibile, opponendosi all'Inghilterra di Elisabetta I. Attraverso la sua performance, Massey ha trasmesso non solo la rigidità e l'ambizione del re spagnolo, ma anche la complessità emotiva di un uomo di potere, aggiungendo così profondità e sfumature al suo ruolo. La sua capacità di dare vita a personaggi potenti e complessi è stata una costante nella sua carriera. Massey ha esplorato le sfaccettature dell'animo umano, portando sullo schermo e sul palcoscenico figure storiche con un realismo e un'intensità che pochi altri hanno saputo eguagliare. Ogni sua interpretazione era un'opera d'arte, caratterizzata da una profonda comprensione del personaggio e da una dedizione assoluta al mestiere dell'attore. Oltre a "Fire Over England", Massey ha brillato in numerosi altri film, come "Abe Lincoln in Illinois" (1940), dove ha interpretato il presidente americano Abraham Lincoln, dimostrando ancora una volta la sua abilità nel rappresentare figure di grande autorità e umanità. La sua performance in questo film è stata acclamata dalla critica e ha rafforzato la sua reputazione come uno degli attori più rispettati del suo tempo. Massey ha continuato a lavorare fino agli ultimi anni della sua vita, lasciando un'eredità di ruoli memorabili che hanno ispirato generazioni di attori. La sua passione per l'arte della recitazione e la sua dedizione al perfezionamento del suo mestiere sono stati esemplari. Raymond Massey non è stato solo un attore; è stato un vero artista, un maestro della scena che ha saputo catturare l'immaginazione del pubblico e toccare il cuore di chi lo ha visto recitare. La sua eredità continua a vivere attraverso le sue indimenticabili interpretazioni, che rimangono un punto di riferimento per tutti coloro che amano il teatro e il cinema.
LESLIE BANKS - Card No. 2 from the series CHARACTERS COME TO LIFE (GODFREY PHILLIPS LTD) (1938). - Leslie Banks was a British actor known for his intense and sometimes menacing roles in films of the 1930s and 1940s. His prolific career spanned both film and theatre, and he is remembered for his ability to portray complex, multi-faceted characters. In the film "Fire Over England" (1937), Leslie Banks brought Robert Dudley, the Earl of Leicester to life. Leicester was a key advisor to Queen Elizabeth I and her former lover. The role played by Banks is crucial to the narrative, as he embodies the loyalty and wisdom needed to face the political and military challenges of the time. His performance gives the film greater depth, revealing both the strength and vulnerability of the character.
DONALD CALTHROP - Card n.16 della serie BRITISH BORN FILM STAR (ARDATH TOBACCO CO LTD) (1934). - Donald Calthrop, attore britannico di straordinario talento, è rimasto impresso nella memoria collettiva per la sua eccezionale capacità di dare vita a personaggi complessi e sfaccettati. La sua carriera, che si estende dal 1916 al 1940, è stata segnata da una serie di interpretazioni memorabili sia sul grande schermo che sul palcoscenico, testimoniando la sua versatilità e il suo impegno artistico. Con oltre sessanta film all'attivo, Calthrop ha lasciato un'impronta indelebile nel mondo del cinema, diventando un punto di riferimento per le generazioni future di attori. Nel film "Fire Over England" del 1937, Calthrop ha assunto il ruolo di Don Escobal, uno degli ufficiali spagnoli al centro della congiura contro l'Inghilterra elisabettiana. La sua interpretazione di Escobal è stata acclamata per la profondità e l'intensità con cui ha rappresentato il personaggio, arricchendo la narrazione con una tensione palpabile e un senso di intrigo che permea ogni scena in cui appare. La sua capacità di incarnare la malizia e l'astuzia di Escobal ha contribuito a creare un'atmosfera carica di suspense, rendendo il film un classico indimenticabile del genere storico. La presenza scenica di Calthrop, unita alla sua interpretazione intelligente e sfumata, ha reso i suoi personaggi memorabili e ha influenzato notevolmente la direzione artistica dei film in cui ha recitato. La sua dedizione all'arte della recitazione e la sua abilità nell'esplorare le complessità psicologiche dei suoi personaggi hanno fatto di lui un'icona del cinema britannico. Attraverso le sue performance, Calthrop ha esplorato temi universali come il potere, la lealtà e il tradimento, dimostrando che il cinema può essere uno strumento potente per riflettere sulla condizione umana. Oltre al suo lavoro sullo schermo, Calthrop ha avuto una carriera teatrale altrettanto impressionante, portando sul palco la stessa intensità e profondità che caratterizzavano le sue performance cinematografiche. La sua capacità di adattarsi a diversi stili e generi ha mostrato la sua eccezionale gamma come attore, e il suo contributo alle arti drammatiche è stato riconosciuto sia dal pubblico che dalla critica. La sua eredità continua a ispirare e a essere celebrata, non solo per le sue realizzazioni artistiche ma anche per il suo impatto sulla cultura cinematografica e teatrale. Donald Calthrop non è stato solo un attore; è stato un vero artista, il cui lavoro continua a risuonare e a influenzare l'industria dell'intrattenimento. La sua vita e la sua carriera rimangono un esempio luminoso di dedizione e passione per la recitazione, e il suo nome sarà sempre sinonimo di eccellenza nel mondo del teatro e del cinema.
FIRE OVER ENGLAND - Sticker #23 from the series SHOTS FROM THE FILM (JA PATTREIOUEX LTD) (1938). - “Fire Over England” is a film full of interesting trivia. For example, it is known for being the first collaboration between Laurence Olivier and Vivien Leigh. During filming, the two actors fell in love, starting one of Hollywood's most famous love stories. In addition, Vivien Leigh's performance in this film was so convincing that it helped land her the role of Scarlett O'Hara in “Gone with the Wind”. The film was directed by William K. Howard and produced by Alexander Korda, a major film producer of the time. The special effects, by Lawrence W. Butler, Edward Cohen and Ned Mann, were particularly notable for the naval battle scenes. Based on the 1936 novel of the same name by AEW Mason, the film stars Flora Robson as Queen Elizabeth I. Her performance was widely praised for embodying the Queen's strength and determination during a critical period in English history.
LAURENCE OLIVIER & VIVIEN LEIGH - Card No.10 from the FAMOUS LOVE SCENES series (GODFREY PHILLIPS LTD) (1938) - "Fire Over England" is a historical drama film directed by William K. Howard, set during the reign of Elizabeth I and centered on England's victory over the Spanish Armada. This film is notable for being the first collaboration between Vivien Leigh and Laurence Olivier, two of the greatest stars of British cinema. Vivien Leigh plays Cynthia Burleigh, the young and lively niece of Lord Burleigh, one of Queen Elizabeth I's chief advisors. Cynthia is one of the queen's ladies-in-waiting, and her beauty and vivacity arouse the queen's jealousy. Cynthia's character is central to the plot, as her love for Michael Ingolby, played by Laurence Olivier, is one of the film's main threads. Laurence Olivier plays Michael Ingolby, a young and courageous officer in the English navy. Michael is determined to defend England from the Spanish invasion, and his love for Cynthia further motivates him. The on-screen chemistry between Leigh and Olivier is palpable and contributed to the film's success. The performance of Vivien Leigh and Laurence Olivier in "Fire Over England" was pivotal for their careers and solidified their reputation as one of the most iconic couples in cinema. Their collaboration in this film paved the way for future collaborations and left a lasting mark on the history of cinema.

VIVIEN LEIGH - Card n.36 della serie SCREEN STARS stampata dalla ABDULLA & Co. Ltd. nel 1939Vivien Leigh, nata Vivian Mary Hartley il 5 novembre 1913 a Darjeeling, in India, è stata una delle attrici più affascinanti e talentuose del suo tempo. Con una carriera che ha attraversato tre decenni, Vivien Leigh ha lasciato un'impronta indelebile nel mondo del teatro e del cinema, diventando un'icona per le sue interpretazioni memorabili e la sua bellezza senza tempo. La sua educazione artistica iniziò in giovane età, quando fu mandata a studiare in Europa, per poi fare ritorno a Londra nel 1931. Fu proprio in questo periodo che Vivien scoprì la sua passione per la recitazione, ispirata dall'amica e futura attrice Maureen O'Sullivan. Dopo aver completato la sua formazione alla Royal Academy of Dramatic Art, Vivien iniziò a farsi notare per le sue doti recitative, ottenendo piccoli ruoli in film nel 1935 e progredendo fino al ruolo di eroina in "Fire Over England" nel 1937. Il suo talento non passò inosservato, e ben presto arrivò il ruolo che l'avrebbe resa immortale: Scarlett O'Hara in "Gone with the Wind" (1939). La sua interpretazione le valse il primo dei suoi due premi Oscar come Miglior Attrice. Il secondo Oscar arrivò nel 1952 per la sua performance come Blanche DuBois in "A Streetcar Named Desire", un ruolo che aveva già interpretato con successo sul palcoscenico del West End londinese nel 1949. Nonostante la sua fama come attrice cinematografica, Vivien Leigh era principalmente una performer teatrale. Ha interpretato una vasta gamma di personaggi, dalle eroine delle commedie di Noël Coward e George Bernard Shaw alle classiche figure shakespeariane come Ofelia, Cleopatra, Giulietta e Lady Macbeth. La sua carriera teatrale fu coronata da un Tony Award per il suo lavoro nella versione musicale di Broadway di "Tovarich" nel 1963. La vita personale di Vivien Leigh fu altrettanto affascinante quanto la sua carriera. Fu sposata due volte, prima con Herbert Leigh Holman e poi con l'attore Laurence Olivier, con cui formò una delle coppie più celebri del teatro e del cinema. Insieme, hanno recitato in numerose produzioni teatrali, spesso con Olivier alla regia, e in tre film. Nonostante il successo, la vita di Vivien Leigh fu segnata da sfide personali, tra cui la lotta contro il disturbo bipolare e la tubercolosi cronica, che fu diagnosticata a metà degli anni '40 e che alla fine portò alla sua prematura scomparsa all'età di 53 anni nel 1967. Vivien Leigh rimane una figura leggendaria, una donna che ha incarnato la grazia, la determinazione e il talento. La sua eredità continua a vivere attraverso le sue memorabili interpretazioni e la sua capacità di ispirare le generazioni future di attori e appassionati di cinema e teatro. Vivien Leigh non è stata solo un'attrice; è stata una forza della natura che ha brillato intensamente sia sul palcoscenico che sullo schermo, lasciando un segno indelebile nella storia dell'arte performativa.
DARK JOURNEY - “Dark Journey” è un film di spionaggio britannico del 1937 diretto da Victor Saville e interpretato da Conrad Veidt, Vivien Leigh e Joan Gardner. La trama si svolge durante la Prima Guerra Mondiale e segue le vicende di due agenti segreti di opposte fazioni che si incontrano e si innamorano nella neutrale Stoccolma. Il film è noto per la sua intrigante narrazione e per le intense performance dei protagonisti. Conrad Veidt interpreta il Barone Karl Von Marwitz, un ufficiale tedesco, mentre Vivien Leigh è Madeleine Goddard, una proprietaria di una boutique di moda che si rivela essere una spia francese. La storia si complica quando Madeleine, che lavora come doppio agente per i francesi, cerca di scoprire l’identità del nuovo capo del servizio segreto tedesco a Stoccolma. “Dark Journey” combina elementi di avventura, crimine e romance, creando un’atmosfera densa di tensione e mistero. Il film è stato lodato per la sua sceneggiatura, scritta da Lajos Bíró e Arthur Wimperis, e per la regia di Saville, che gestisce abilmente il ritmo e la suspense. Inoltre, le scenografie e i costumi contribuiscono a ricreare l’epoca della guerra con dettagli accurati e un’atmosfera autentica. Nonostante alcune critiche riguardo al ritmo lento e alla difficoltà nel distinguere le nazionalità dei personaggi a causa degli accenti, “Dark Journey” rimane un esempio significativo del cinema di spionaggio pre-bellico e un interessante studio dei personaggi coinvolti in giochi di doppia spionaggio durante un periodo storico tumultuoso. In sintesi, “Dark Journey” è un film che merita attenzione per la sua capacità di intrecciare la narrazione di spionaggio con una storia d’amore commovente, il tutto ambientato contro lo sfondo della Prima Guerra Mondiale.
CONRAD VEIDT - Card n.45 della serie FILM STAGE and RADIO STARS stampata dalla ARDATH TOBACCO CO LTD nel 1935Conrad Veidt, pseudonimo di Hans Walter Konrad Veidt, è stato un attore tedesco che ha lasciato un'impronta indelebile nella storia del cinema. Nato a Potsdam il 22 gennaio 1893, Veidt si è distinto per la sua capacità di incarnare personaggi complessi e memorabili, diventando una delle figure più emblematiche del cinema muto tedesco. La sua carriera iniziò nei primi anni del Novecento, quando lavorò a Berlino nella compagnia teatrale di Max Reinhardt. Il suo debutto cinematografico avvenne nel 1917 con il film "Der Weg des Todes", ma fu il ruolo di Cesare nel film "Il gabinetto del dottor Caligari" del 1920 a consacrarlo come stella internazionale. Questo film, una pietra miliare del cinema espressionista, ha mostrato la sua straordinaria capacità di trasmettere emozioni intense attraverso il linguaggio del corpo e dell'espressione facciale. Dopo aver raggiunto la fama in Germania, la vita di Veidt prese una svolta drammatica con l'ascesa del nazismo. A causa delle sue convinzioni politiche e del fatto che sua moglie era ebrea, decise di lasciare la Germania per trasferirsi nel Regno Unito. Qui, ottenne la cittadinanza britannica nel 1939 e continuò la sua carriera cinematografica, spesso interpretando ruoli di militare tedesco in film antinazisti come "La spia in nero" e "Contrabbando". Il suo trasferimento negli Stati Uniti all'inizio degli anni '40 segnò l'ultima fase della sua carriera. A Hollywood, Veidt continuò a lavorare in pellicole di rilievo, tra cui "Casablanca" del 1942, dove interpretò il ruolo del maggiore Strasser, uno dei suoi ultimi e più celebri personaggi. Purtroppo, la sua vita si concluse prematuramente l'anno successivo, il 3 aprile 1943, a causa di un infarto mentre giocava a golf. Conrad Veidt rimane una figura leggendaria, un artista che ha attraversato epoche turbolente, portando sullo schermo una gamma di personaggi che continuano a influenzare il mondo del cinema. La sua eredità artistica vive attraverso le sue interpretazioni, che rimangono testimonianze potenti della sua maestria e del suo spirito indomito.
JOAN GARDNER - Card n.39 della serie SCREEN STARS stampata dalla ABDULLA & Co. Ltd. nel 1939Joan Gardner è stata un'artista poliedrica che ha lasciato un'impronta indelebile nel mondo dell'intrattenimento, soprattutto come doppiatrice. Nata il 16 novembre 1926 a Chicago, Illinois, Gardner ha iniziato la sua carriera sul palcoscenico, ma è stata la sua voce unica a renderla famosa. Con una carriera che si estende dal 1948 al 1991, Gardner ha prestato la sua voce a numerosi personaggi animati, diventando una figura iconica per molte generazioni. Tra i suoi ruoli più noti, c'è quello di Spunky in "The Adventures of Spunky and Tadpole" e di Tanta Kringle nel classico natalizio "Santa Claus Is Comin' to Town". Ha anche lavorato come sceneggiatrice, autrice e compositrice, mostrando il suo talento versatile e la sua passione per l'arte. La sua vita personale è stata altrettanto ricca: sposata con il produttore Edward Janis dal 1960 fino alla sua morte, Gardner ha anche scritto sotto il nome di Joan Janis. La sua scomparsa il 10 dicembre 1992 ha lasciato un vuoto nel settore, ma il suo lavoro continua a vivere e a ispirare. Joan Gardner rappresenta un esempio di come la passione e il talento possano attraversare diverse forme di media, lasciando un'eredità che supera il confine del tempo. La sua voce ha dato vita a personaggi che hanno accompagnato l'infanzia di molti e continueranno a farlo per anni a venire. Grazie, Joan, per averci regalato momenti indimenticabili con la tua arte.
URSULA JEANS - Card n.45 della serie BRITISH BORN FILM STAR stampata dalla ARDATH TOBACCO CO LTD nel 1934Nel panorama del teatro e del cinema britannico, poche figure brillano con l'intensità e il talento di Ursula Jeans. Nata Ursula Jean McMinn il 5 maggio 1906 a Simla, nell'India britannica, Ursula Jeans si è trasferita a Londra dove ha ricevuto un'educazione formale e ha affinato il suo talento alla prestigiosa Royal Academy of Dramatic Art (RADA). La sua carriera iniziò nel 1922, quando fece il suo debutto teatrale al Criterion Theatre. Da lì, la sua passione per la recitazione l'ha portata a specializzarsi in opere classiche di Shakespeare e Shaw, esibendosi principalmente all'Old Vic e con la compagnia Sadler's Wells. Durante la Seconda Guerra Mondiale, Jeans ha lavorato sotto l'egida dell'Entertainments National Service Association (ENSA), insieme al suo secondo marito, l'attore Roger Livesey. Spesso si esibivano insieme sul palco e hanno goduto di un particolare successo nel West End con una commedia scritta appositamente per loro da J.B. Priestley: "Ever Since Paradise". Sul grande schermo, Ursula Jeans ha avuto ruoli memorabili, interpretando spesso mogli gentili e devote, come la signora Molly Wallis in "The Dam Busters" (1955). Tuttavia, è stata particolarmente efficace nei panni della moglie di un ufficiale, Lady Windham, in "North West Frontier" (1959), o come la vedova borghese Martha Dacre, che cerca di venire a patti con le conseguenze della guerra in "The Weaker Sex" (1948). La sua vita personale è stata altrettanto affascinante quanto la sua carriera. Il suo primo matrimonio con l'attore Robin Irvine terminò tragicamente con la sua morte nel 1933. Successivamente, sposò Roger Livesey nel 1937, e la loro unione durò fino alla morte di lei nel 1973. Ursula Jeans è deceduta a causa di un cancro, lasciando un'eredità artistica che continua a influenzare e ispirare. Ursula Jeans non è stata solo un'attrice di talento, ma anche una figura emblematica di forza e resilienza. La sua dedizione alla sua arte e il suo impegno nel portare storie significative sul palco e sullo schermo hanno lasciato un'impronta indelebile nel mondo dello spettacolo. La sua targa commemorativa condivisa con Roger Livesey nella chiesa degli attori di St Paul's a Covent Garden è un tributo alla loro vita insieme e al loro contributo all'arte drammatica. Ursula Jeans rimane un esempio luminoso di come la passione e il talento possano trascendere il tempo e le generazioni, ispirando coloro che seguono le loro orme artistiche. La sua storia è una testimonianza del potere trasformativo del teatro e del cinema, e del ruolo vitale che gli artisti giocano nel plasmare la nostra comprensione della società e dell'umanità.

GARY COOPER - Card n.47 of the STARS of the SCREEN series printed by GODFREY PHILLIPS LTD in 1934 - Gary Cooper, pseudonym of Frank James Cooper, was an icon of American cinema, known for his understated acting style and his strong stage presence. Born on May 7, 1901 in Helena, Montana, Cooper enjoyed a successful film career that saw him star in over 100 films. His role in "Meet John Doe" of 1941, directed by the famous Frank Capra, is one of the most significant. In this film, Cooper plays 'Long John' Willoughby, a former baseball player who has fallen on hard times who finds himself impersonating John Doe, a man invented by a journalist, played by Barbara Stanwyck, to stimulate public interest and raise social issues. Cooper's performance in "Meet John Doe" was acclaimed for his ability to capture the complexity of the character, a reluctant American hero who embodies the hopes and fears of the average citizen during a time of great uncertainty. His performance helped make the film an enduring classic, which continues to be appreciated for its thematic relevance and emotional depth.
MEET JOHN DOE - “Meet John Doe,” a 1941 film directed by the celebrated Frank Capra, is a comedy-drama that explores themes of politics and society through the story of an ordinary man who becomes an inadvertent hero. Starring Gary Cooper and Barbara Stanwyck, the film tells of a journalist, played by Stanwyck, who, to take revenge for her dismissal, publishes a fictitious letter from a certain "John Doe", who threatens to commit suicide due to social injustices. The letter goes viral, prompting the newspaper to rehire the journalist and create a political movement around this fictional figure. Cooper plays the drifter hired to impersonate John Doe, becoming a symbol of hope for ordinary people. The film is an incisive critique of media sensationalism and political manipulation, but it is also a story of redemption and community power. "Meet John Doe" is considered a cinematic classic, known for its humor, human warmth and deep emotional resonance.
BARBARA STANWYCK - Card n.15 of the Cinema Stars series printed by ROTHMANS in 1939 - Barbara Stanwyck, one of the undisputed icons of classic American cinema, left an indelible mark with her performance as Ann Mitchell in "Meet John Doe". In this 1941 film, directed by the master Frank Capra, Stanwyck plays an enterprising journalist who, in a stroke of genius (or madness, depending on your perspective), invents a letter from an unemployed man who threatens suicide in protest against social injustices. Her performance was so convincing that even today it is debated whether Ann Mitchell was a visionary or simply a woman desperate to keep her job in times of crisis. The film, which explores themes such as political corruption, populism and human dignity, saw Stanwyck bring to life one of the most complex and multi-faceted female characters of the era, demonstrating her extraordinary ability to play roles with strong emotional and social impact .
MEET JOHN DOE - "Courtesy of the Media History Digital Library" - Page 21 of the periodical CINE-MUNDIAL (1941) published by New York, Chalmers publishing company. (Cine-Mundial was the Spanish-language version of Moving Picture World).

HAROLD LLOYD - HAROLD LLOYD - Card n.15 - CINEMA STARS 1ST SERIES (W.D. & H.O. WILLS 1928) - Harold Lloyd was one of the greatest comedians of American silent cinema, famous for his acting skills and breathtaking acrobatics. Born in 1893, Lloyd began his career in vaudeville before moving to cinema, where he created the character of “Glasses” or “The Boy,” which became an icon of popular culture in the 1920s. Known for his impassive expression and the dangerous situations he got himself into, like the unforgettable clock scene in “Safety Last!”, Lloyd stood out for his ability to combine physical comedy and pathos. Although his popularity was overshadowed by that of Charlie Chaplin and Buster Keaton, Lloyd remains a key figure in the history of cinema, with over 200 films to his credit. Lloyd created humorous dramas based on a romantic plot, where each film was a story in itself, with a different Harold facing different concerns. This ability to create engaging and entertaining narratives, without ever losing touch with reality and authentic emotions, made Lloyd a unique artist, capable of leaving an indelible mark in the history of cinema. His legacy continues to influence comedians and filmmakers, proving that his talent and courage in the art of comedy are timeless.
SAFETY LAST! - “Safety Last!” is a masterpiece of silent cinema that enchanted audiences with its blend of romance and comedy. Directed by Fred C. Newmeyer and Sam Taylor, this 1923 film stars Harold Lloyd as the protagonist, a young man full of ambitions and dreams. The film’s most memorable scene, which shows Lloyd clinging to the hands of a clock on a skyscraper, has become an unforgettable icon of the silent film era. The success of “Safety Last!” was not limited to its release; the film has continued to receive praise over the years, solidifying Lloyd’s reputation as one of the great pioneers of cinema. The plot of “Safety Last!” is a situational comedy that follows the adventures of Harold, who moves to the city with the goal of making a fortune and marrying his beloved. His journey is dotted with hilarious and dangerous situations, culminating in the famous skyscraper climbing scene. This moment of tension and humor is a perfect example of the film’s ability to effectively combine action and comedy. The film is also known for its revolutionary special effects, which helped create some of the most exciting and dangerous scenes of the time. Lloyd, despite serious injuries sustained in a previous accident, personally performed many of the stunts, demonstrating extraordinary courage and dedication. His performance was so significant that, in 1994, “Safety Last!” was selected for preservation in the United States Library of Congress’s National Film Registry, recognizing it as a work of significant cultural, historical, and aesthetic value. Today, “Safety Last!” remains an enduring classic, a film that continues to delight audiences of all ages and is regularly included in film retrospectives. Its legacy endures as a testament to the ingenuity and innovation of the early years of cinema, and as a reminder of the talent and pioneering spirit of Harold Lloyd and his collaborators.
HAROLD LLOYD - Card no. 13 of the PERSONALITIES OF TO-DAY series printed by GODFREY PHILLIPS LTD in 1932. Imagine Harold Lloyd, the iconic silent film actor, with his unmistakable pair of round glasses, which look like two magnifying glasses that enhance his wide eyes unawares. His smile is a thin line, almost a grimace, which widens into an expression of contagious joy. His hands, always in movement, seem to dance in the air, while his feet, in constant precarious balance, take him on comic adventures on the edge of the absurd. His slight figure, impeccably dressed in a suit that seems too big for him, gives him an air of awkward elegance, a gentleman in a world of slapstick. And then there is his hat, a tilted fedora that seems to have a personality of its own, always in the right place at the right time, as if to underline the comedy of the situations in which he finds himself. Harold Lloyd, with his stage presence, transforms every scene into a masterpiece of timing and expression, a master of visual art who knew how to make people laugh without saying a word.
HANSOM CIGARETTES ADVERTISEMENT - Back first page of the album FILM KUNSTLER AUS ALLER WELT (1931)

JANET GAYNOR - JANET GAYNOR - Card no.25, DAS ORAMI-ALBUM, Janet Gaynor (pseudonym of Laura Augusta Gainor) was an American actress. Born on October 6, 1906, in Philadelphia, Pennsylvania, Gaynor began her career as an extra in short films and silent movies. In 1926, she signed a contract with Fox Film Corporation (later 20th Century-Fox) and became one of the biggest box office attractions of the time. In 1929, she was the first winner of the Academy Award for Best Actress for her performances in three films: “Seventh Heaven” (1927), “Street Angel” (1927), and “Sunrise” (1927). This was the only occasion where an actress won an Oscar for multiple film roles. Her career continued successfully in the era of sound films, and she achieved notable success in the original version of “A Star is Born” (1937), for which she received a second Oscar nomination for Best Actress. After retiring from acting in 1939, Gaynor married film costume designer Adrian, with whom she had a child. She briefly returned to acting in films and television in the 1950s and later became a skilled oil painter. In 1980, she made her Broadway debut in the theatrical adaptation of the 1971 film “Harold and Maude,” and appeared in the touring production of “On Golden Pond” in February 1982. In September 1984, injuries sustained in a car accident were officially declared the cause of her death.
A STAR IS BORN - “A Star is Born” (1937) is a romantic drama film produced by David O. Selznick and directed by William A. Wellman. The plot follows the story of Esther Victoria Blodgett, a young country girl who dreams of becoming a Hollywood star. Despite warnings from her aunt and father, Esther decides to follow her dream and travels to Hollywood. However, the casting agency has stopped accepting applications from aspiring actresses, and they tell her that her chances of becoming a star are one in a hundred thousand. Esther befriends Danny McGuire, an unemployed assistant director, and during a concert she meets Norman Maine, an accomplished actor but in decline due to alcoholism. Norman is impressed by Esther and offers her an audition. The film explores the relationship between the two characters as Esther begins her career and Norman faces his personal demons. The cast includes Janet Gaynor (in her only Technicolor film) and Fredric March (in his Technicolor debut). In 2018, a new version of “A Star is Born” was made starring Lady Gaga and Bradley Cooper, who also directed the film.
FREDRIC MARCH - FREDRIC MARCH - Card position 7, page no.5, SALEM GOLD-FILM-BILDER ALBUM 2 - Fredric March (full name: Ernest Frederick McIntyre Bickel) was an American actor, considered one of Hollywood's most celebrated stars in the 1930s and 1940s. His versatility as a performer earned him numerous accolades, including two Academy Awards, a Golden Globe, and two Tony Awards. March began his career in 1920, working as an extra in films shot in New York City. In 1926, he made his Broadway debut and by the end of the decade, he signed a film contract with Paramount Pictures. He received two Academy Awards for his performances in “Dr. Jekyll and Mr. Hyde” (1931) and “The Best Years of Our Lives” (1947). He was also nominated for other films, including “A Star is Born” (1937) and “Death of a Salesman” (1951). March became a female audience idol thanks to leading roles in films such as “Honor Among Lovers” (1931), “Merrily We Go to Hell” (1932), and “Design for Living” (1933). He collaborated with famous actresses of the time, such as Greta Garbo, Katharine Hepburn, and Carole Lombard. Besides cinema, March had a successful theater career. He won two Tony Awards for Best Actor in a Play, for his performances in “Years Ago” (1947) and “Long Day’s Journey into Night” (1956). He continued acting in films like “Inherit the Wind” (1960) and “Seven Days in May” (1964). His last role was in “The Iceman Cometh” (1973). March was married to actress Florence Eldridge from 1927 until his death in 1975 due to cancer.
ADOLPHE MENJOU - Card no. 273 , SALEM FILMBILDER ALBUM 2 - Adolphe Menjou (full name: Adolphe Jean Menjou) was an American actor. His career spanned both silent and sound films. After returning from World War I, Menjou gradually gained notoriety with minor roles in films such as “The Faith Healer” (1921) and supporting roles in major films such as “The Sheik” (1921) and “The Three Musketeers” (1921). ). In 1922, he began landing major or near-feature roles, working with Famous Players–Lasky and Paramount Pictures. He was voted Best Dressed Man in America nine times, cementing the image of a well-dressed, worldly man. In the film “A Star Is Born” (1937), Menjou plays Oliver Niles, a film producer and longtime friend of the protagonist Norman Maine (played by Fredric March). His character is involved in launching the career of aspiring actress Esther Blodgett (played by Janet Gaynor).
JANET GAYNOR & FREDRIC MARCH - Card n.36 "FILM FAVOURITES" printed by A. and M. WIX. LONDON - Janet Gaynor plays Esther Victoria Blodgett, a young country girl who dreams of becoming a Hollywood star. Despite warnings from her aunt and father, Esther decides to follow her dream and travels to Hollywood. However, the casting agency has stopped accepting applications from aspiring actresses, and they tell her that her chances of becoming a star are one in a hundred thousand. Esther befriends Danny McGuire, an unemployed assistant director, and during a concert she meets Norman Maine, an accomplished actor but in decline due to alcoholism. Norman is impressed by Esther and offers her an audition. The film explores the relationship between the two characters as Esther begins her career and Norman faces his personal demons. Fredric March, on the other hand, plays Norman Maine, the accomplished but declining actor. His career has been marked by alcoholism, and his meeting with Esther Victoria Blodgett (Janet Gaynor) will change both their lives. March delivers an intense and engaging performance as Norman, capturing the complexity of the character and his personal struggle.
"Courtesy of the Media History Digital Library" - Motion Picture Herald Periodical (Mar-Apr 1937) - David O. Selznick brings “A Star is Born” to the screen, a film that ranks among the great films and can hardly lack the class of great successes. This is due to its superb cast of famous names and a story that keeps audiences gripped from start to finish. In black and white, “A Star Is Born” would easily achieve its goal, but with the added pulse of technicolor, Selznick delivers a production that can count on great success in any location and with any audience. “A Star Is Born” seems to be a natural hit for top earners and should bring dividends to any theater. With a ready global audience, he is destined for a successful career anywhere. David O. Selznick again achieved an artistic and commercial triumph of the film.
"Courtesy of the Media History Digital Library" - Periodical Motion Picture Daily (Apr-Jun 1937)

WILLIAM POWELL - William Powell was an American actor, best known for his film career. Under contract with Metro-Goldwyn-Mayer, he starred in 14 films alongside Myrna Loy, including the Thin Man series, based on the characters of Nick and Nora Charles created by Dashiell Hammett. Powell was nominated three times for the Oscar for Best Actor: for The Thin Man (1934), My Man Godfrey (1936) and Life with Father (1947). Life with Father is a Technicolor comedy film, directed by Michael Curtiz and based on the autobiography and the homonymous theatrical success of Clarence Day. Powell plays Clarence Day Sr., the grumpy and authoritarian head of a large and lively family in New York at the end of the nineteenth century. The film is full of funny and touching situations, and shows Powell’s comic and dramatic talent. The film was a great success with the public and critics, and received four Oscar nominations, including one for Powell. Powell was born in Pittsburgh in 1892, from a wealthy family. He studied law at the University of Kansas, but after a week he moved to New York, where he attended the American Academy of Dramatic Arts. He began his career in Hollywood in 1922, playing Professor Moriarty in a production of Sherlock Holmes with John Barrymore. He starred in romantic and adventure films, and had a powerful and pleasant voice that allowed him to adapt to the sound cinema. Powell had three marriages: with the actress Eileen Wilson, from whom he had his only son, with the actress Carole Lombard, and with the actress Diana Lewis, with whom he remained until his death. He also had a relationship with the actress Jean Harlow, who died suddenly in 1937. Powell died in Palm Springs in 1984, at the age of 91. (CARD position 6 page 19 of ALBUM 1 “SALEM GOLD-FILM-BILDER”).
LIFE WITH FATHER - Life with Father is a family comedy based on the book of the same name by Clarence Day, which tells the story of a bourgeois New York family at the end of the 19th century. The father, played by William Powell, is an authoritarian and eccentric Wall Street broker, who tries to impose his order in the house, but often clashes with his wife Vinnie, played by Irene Dunne, who is sweeter and more religious. The couple's four sons are struggling with their first love experiences, school troubles and the sale of patent medicines. The film's main conflict arises when Vinnie discovers that her husband has never been baptized and insists that he do so, fearing for his soul. The father refuses, considering it ridiculous and embarrassing. The film is directed by Michael Curtiz, known for Casablanca and The Falcon, and boasts a cast of excellent actors, including Elizabeth Taylor in the role of Mary, the girlfriend of his eldest son Clarence Jr. The screenplay is signed by Donald Ogden Stewart , who had already worked with Powell and Dunne on The Way to the Impossible. The film is a funny and affectionate depiction of family life at the time, with brilliant dialogue and hilarious situations. The film was nominated for four Oscars, including best picture, but won none. However, it was a great success with audiences and critics, and remains one of the classics of American comedy.
IRENE DUNNE - Irene Dunne was an American actress and singer, famous for her comic and romantic roles. She starred in 42 films and received five Oscar nominations for Best Actress. Among her most famous films are The Awful Truth, My Favorite Wife, Love Affair and Life with Father (1947). Life with Father is a Technicolor comedy film, directed by Michael Curtiz and based on the autobiography and the homonymous theatrical success of Clarence Day. Dunne plays Vinnie Day, the wife of Clarence Day Sr., a grumpy and authoritarian head of a large and lively family in New York at the end of the nineteenth century. Dunne shows her comic skills and her chemistry with William Powell, with whom she had already starred in other films. Dunne was born in 1898 in Louisville, Kentucky, from a family of Irish origin. She studied music and singing, and debuted on Broadway in 1922. She began her career in Hollywood in 1930, playing dramatic and musical roles. She showed her versatility by acting in various genres, from sophisticated comedy to melodrama, from family comedy to western. She worked with directors such as Leo McCarey, George Stevens, John Ford and John Sturges. Dunne married only once, with the dentist Francis Griffin, from 1928 until his death in 1965. They adopted a daughter, Mary Frances. Dunne retired from cinema in 1952, but continued to work in television and radio. She was also a fervent Republican activist and a special delegate to the United Nations. She died in 1990, at the age of 91.
ZASU PITTS - ZaSu Pitts was an American actress, known for her participation in several dramatic films during the silent era, although she was able to skillfully adapt to the sound specializing in the comedy genre. Among her most famous films are Erich von Stroheim’s Greed, in which she played the tormented wife of a greedy dentist, and Life with Father (1947) where Pitts plays Cora Cartwright, the cousin of Vinnie Day, the wife of Clarence Day Sr., a grumpy and authoritarian head of a large and lively family in New York at the end of the nineteenth century. Pitts offers a funny performance as an eccentric and intrusive woman, who tries to arrange the marriage between the eldest son of the Day, Clarence Jr., and the daughter of a reverend. Pitts was born in Parsons, Kansas, in 1894, from a family of English origin. She studied acting in Santa Cruz, California, and debuted in Hollywood in 1917, thanks to the screenwriter Frances Marion, who cast her for the film A Little Princess, with Mary Pickford. She starred in romantic and adventure films, and had a characteristic and shrill voice that allowed her to adapt to the sound cinema. Pitts married twice: with the actor Tom Gallery, from 1920 to 1933, with whom she had two adopted children, and with the real estate agent John E. Woodall, from 1933 until his death in 1962. She also had a long friendship with the actress Thelma Todd, with whom she formed a comic duo in numerous short films. Pitts died in Los Angeles in 1963, at the age of 69.
WILLIAM POWELL - TURF CIGARETTES - FAMOUS FILM STARS - No. 17 - This card depicts the famous actor William Powell in the role of Clarence Day, the family man protagonist of the film Life with Father, a 1947 comedy based on the autobiographical novel of the same name by Clarence Day Jr The film tells the daily events of a bourgeois family in New York at the end of the 19th century, with the authoritarian and gruff father, the sweet and patient mother, and the four reckless children. The film was a great success with audiences and critics, and received four Oscar nominations, including Best Actor for William Powell. The card depicts Powell's smiling face on a petite body, drawn in a caricature style by an unknown artist.

STAN LAUREL & OLIVER HARDY - Laurel and Hardy were a British-American comedy duo, considered one of the greatest in the history of cinema. Stan Laurel (1890-1965) was English and Oliver Hardy (1892-1957) was American. They started their career as a duo in the silent film era, and then successfully transitioned to sound films. From the late 1920s to the mid-1950s, they were famous worldwide for their slapstick comedy, with Laurel playing the clumsy and innocent friend of Hardy, the pompous bully. Before becoming a team, they both had a well-established film career. Laurel had acted in over 50 films, and worked as a writer and director, while Hardy was in more than 250 productions. They both appeared in The Lucky Dog (1921), but they were not yet a pair. They appeared together for the first time in a short film in 1926, when they signed separate contracts with Hal Roach’s film studio. They officially became a team in 1927, when they appeared in the silent short Putting Pants on Philip. They stayed with Roach until 1940, and then appeared in eight B comedies for 20th Century Fox and Metro-Goldwyn-Mayer from 1941 to 1945. After finishing their film commitments at the end of 1944, they focused on stage performances, and embarked on a music hall tour in England, Ireland, Wales and Scotland. They made their last film in 1950, a French-Italian co-production called Atoll K. They appeared as a team in 107 films, including 32 silent shorts, 40 sound shorts and 23 feature films. They also made 12 guest or cameo appearances, including in the promotional film Galaxy of Stars in 1936. On December 1, 1954, they made their only American television appearance, when they were surprised and interviewed by Ralph Edwards on his live NBC-TV show This Is Your Life. From the 1930s, their works have been distributed in numerous theatrical re-releases, television revivals, home movies in 8-mm and 16-mm, feature-length compilations and home videos. In 2005, they were voted as the seventh best comedy duo of all time by a British poll of professional comedians. The official appreciation society of Laurel and Hardy is The Sons of the Desert, named after a fictional fraternal society in the film of the same name. (Last card page n.8 of the ALBUM “BUNTE FILM BILDER” of 1936 printed by CIGARETTEN-BILDERDIENST, DRESDA.)
THE FLYING TWO (1939) - The Flying Deuces is a comedy film about two American fishmongers who join the French Foreign Legion in Paris to forget a failed love. They end up in Morocco, where they face many troubles and adventures, involving a burning laundry, a prison escape, a camel, and a plane. The film ends with a twist: they are reincarnated as a horse and a donkey. The film is a remake of a 1931 short called Beau Hunks, in which Laurel and Hardy enlist for the same reason. The film was the duo's first to be produced by Boris Morros and RKO Radio Pictures, rather than Hal Roach and MGM. The film was shot partly in Los Angeles and partly in Morocco, where real French legionaries were used as extras. The film was one of the first to use coloring, rear projection and pencil painting techniques to create realistic effects. The film contains famous scenes such as singing Shine On, Harvest Moon, dressing up as Arabs and reincarnating as animals. The film was inspired by real episodes of the Foreign Legion and suggested by Harry Langdon, one of the screenwriters and a famous silent comedian.
JEAN PARKER - Jean Parker (born Lois May Green in 1915) was an American film and stage actress. She was discovered by Louis B. Mayer, the head of MGM, after winning a poster contest for the 1932 Olympics. She starred in several major films, including Little Women (1933), in which she played Elizabeth March, the younger sister of Jo (Katharine Hepburn). In the film The Flying Deuces (1939), Parker played Georgette, the daughter of a Paris hotelier, with whom Ollie (Oliver Hardy) falls in love. (First card of page n.16 of the ALBUM "BUNTE FILM BILDER ALBUM 7" of 1935)

BUSTER KEATON - Buster Keaton was one of the masters of classic silent cinema. His real name was Joseph Frank Keaton and he was born in 1895 in a family of vaudeville actors. As a child, he performed on stage with his parents, showing his acrobatic and comic talent. In 1917, he began his film career, working with the comedian Roscoe Arbuckle in a series of short films. In 1920, he founded his own production company and made some of his masterpieces, such as Sherlock Jr., The Navigator, The General and Steamboat Bill, Jr. He distinguished himself for his unique and inimitable style, characterized by an impassive and melancholic expression, which earned him the nickname of “The Great Stone Face”. He was also an innovator of the film language, using techniques such as editing, parody, slow motion and double exposure. In 1928, he moved to MGM, a large production company that limited his creative freedom and forced him to act in sound films, which were not suitable for his genre of comedy. He entered a phase of decline, worsened by personal problems, such as the divorce from his first wife Natalie Talmadge and alcoholism. In the Thirties and Forties, he continued to work as an actor, director and screenwriter, but without achieving the success of the past. Only in the Fifties, thanks to television and the rediscovery of his silent films, he returned to the spotlight and received numerous awards, including an honorary Oscar in 1960. He died in 1966, at the age of 70, leaving behind a huge and influential artistic legacy. Many directors and actors have cited him as a source of inspiration, among them Charlie Chaplin, Woody Allen, Jackie Chan and Johnny Depp. (Card Album BULGARIA-GOLD-FILM-BILDER 1933)
STEAMBOAT BILL, Jr. - Today we present you Steamboat Bill Jr., a silent film from 1928 directed by Charles Reisner and Buster Keaton, with the participation of Keaton himself in the main role. The film is an action comedy, full of gags and spectacular scenes, including the famous cyclone sequence, in which Keaton performs numerous acrobatics while the city is destroyed around him. The film is considered one of Keaton’s masterpieces and of silent cinema, and has been selected for preservation in the National Film Registry of the Library of Congress in the United States. The film tells the story of William Jr., a young student who returns home from college to meet his father, William Sr., nicknamed Steamboat Bill, the owner of an old riverboat. The father is disappointed by his son, whom he finds too weak and clumsy, and tries to make him more manly and skilled. William Jr. falls in love with Kitty, the daughter of his father’s rival, the rich John King, who owns a modern boat. The two fathers oppose their relationship and clash with each other. When a violent cyclone hits the city, William shows his courage and intelligence, saving his father, his girlfriend and the boat from various dangers. The film was shot partly on the Sacramento River, in California, and partly in Keaton’s studios. The film had a troubled production, due to legal, personal and creative problems of Keaton, who had to change the script, the cast and the original title. The film also had a difficult distribution, due to censorship and competition from sound cinema. Despite this, the film had a good success with the public and critics, and was re-evaluated over time as a work of great artistic and technical value. The film contains some of the most famous and funny scenes of Keaton’s filmography, such as the one in which William Jr. tries various hats to please his father, the one in which he tries to break his father out of prison, and the one in which William Jr. escapes the fall of the facade of a house, passing through a window. The film is also rich in curiosities and anecdotes, such as the fact that the film is inspired by a popular song from 1910, that the film was shot simultaneously with another film by Keaton, The Cameraman, and that this film has influenced other directors and actors, such as Jackie Chan and Woody Allen.

ERROL FLYNN - Errol Flynn was an American actor of Australian origin, famous for his roles as hero, seducer and scoundrel in Hollywood in the 1930s and 1940s. Born in 1909 in Tasmania, from a family of Irish and Scottish descent, he showed a passion for theater and acting from a young age. He debuted on stage in 1933, and in the same year he began his film career, which led him to work with the greatest German directors, such as Robert Wiene, Fritz Lang and F.W. Murnau. His most famous role was that of Robin Hood in The Adventures of Robin Hood (1938), considered one of the best films of all time. He died in 1959, of a heart attack, while playing golf. Errol Flynn was known for his reckless life and his reputation as a great seducer. He married three times, with Lili Damita, Nora Eddington and Patrice Wymore, and had four children, including Sean Flynn, who followed in his footsteps as an actor and adventurer. He had numerous love affairs, including those with Olivia de Havilland, Marlene Dietrich, Bette Davis and Marilyn Monroe. In 1942 he was accused by two minors of rape, but he was acquitted after two trials full of scandalous details and eagerly followed by the tabloid press. Errol Flynn starred in over 50 films, including many masterpieces of adventure cinema, such as Captain Blood (1935), The Charge of the Light Brigade (1936), The Prince and the Pauper (1937), Dodge City (1939), They Died with Their Boots On (1941), Objective, Burma! (1942), Northern Pursuit (1943), That Forsyte Woman (1949), Kim (1950), The Sun Also Rises (1957). He also worked in France, Britain and the United States, where he played villain roles, such as Major Strasser in Casablanca (1942), one of the most famous films in cinema history. His last film was Too Much, Too Soon (1958), in which he impersonated John Barrymore, a silent film actor whom Flynn resembled for his reckless life and his reputation as a great seducer. Errol Flynn was the subject of many controversies, both for his private life and for his alleged Nazi sympathies. Some came to suspect that the rape charges were staged to damage his producer Jack Warner, who refused to pay an adequate bribe to the new tenants of the Los Angeles City Hall. Others claimed that Flynn was a secret agent serving the Allies, and that he used his fame and his friendships to gather information on the Nazi regime. The truth is probably more complex and nuanced, and depends on the source you consult.
SANTA FE TRAIL - Santa Fe Trail is a western film from 1940 directed by Michael Curtiz and starring Errol Flynn, Olivia de Havilland and Ronald Reagan. The film tells the story of two young cavalry officers, Jeb Stuart (Flynn) and George Armstrong Custer (Reagan), who fall in love with the same woman, Kit Carson Holliday (de Havilland), and who get involved in the fight against the abolitionist John Brown (Raymond Massey), who with his band of fanatics spreads terror in Kansas and Virginia. The film is based on a screenplay by Robert Buckner and was premiered in Santa Fe, New Mexico. Santa Fe Trail is the third western film of Errol Flynn, after The Charge of the Light Brigade (1936) and The Adventures of Robin Hood (1938), and marks the seventh collaboration between the Flynn-de Havilland couple, one of the most popular and close-knit in Hollywood cinema. The film is also one of the first important roles of Ronald Reagan, who later became president of the United States. The film is rich in action, adventure, romance and humor, and features some memorable scenes, such as the escape of Stuart and Custer from an ambush by Brown, the horse race on the train tracks, and the finale with the assault on the fort of Harper’s Ferry. Santa Fe Trail, however, is not an accurate historical film, but rather a free interpretation of the facts, with many inaccuracies and anachronisms. The film has nothing to do with the famous commercial route Santa Fe Trail, which connected Missouri to New Mexico, but takes place mainly in Kansas and Virginia. The film presents a critical and negative view of John Brown, portrayed as a bloodthirsty fanatic and a traitor to the country, while exalting the values of the army and the cavalry. The film also ignores the issues related to slavery and the civil war, and focuses on the adventures and rivalries of the protagonists. Santa Fe Trail was one of the most successful films of 1940, and was appreciated by the public and the critics. The film was nominated for an Oscar for best original score, composed by Max Steiner. The film was also presented in theaters with the Vitasound sound, an experimental sound system developed by Warner Brothers in 1939, which provided a wider sound source and a greater dynamic range for music and effects than the standard soundtracks of the time. Vitasound used additional speakers on the left and right, which could be activated in parallel with the center speaker, and a variable gain amplifier, which could increase the playback volume up to 10 dB. Both the switching of the speakers and the gain of the amplifier were controlled by a control track recorded on the Vitasound film. The film Santa Fe Trail was one of the only two films presented with this system, along with The Fighting 69th, both from 1940. Santa Fe Trail is considered today a classic of the western genre, and an example of Hollywood entertainment cinema.
OLIVIA DE HAVILLAND - Olivia de Havilland was a British actress who became a naturalized American citizen, who starred in many films of the classic Hollywood cinema, winning two Oscars and two Golden Globes. She was also one of the last survivors of the so-called golden age of Hollywood, dying in 2020 at the age of 104. Olivia de Havilland was born in Tokyo in 1916, from English parents. She moved to California with her mother and younger sister, Joan Fontaine, who also became an actress. She began her theatrical and film career in the 1930s, becoming famous for her roles as a romantic and adventurous heroine, often alongside Errol Flynn, with whom she formed one of the most popular screen couples. Among her most famous films of this period, we remember Captain Blood (1935), The Charge of the Light Brigade (1936), The Adventures of Robin Hood (1938) and Gone with the Wind (1939), for which she received her first Oscar nomination as best supporting actress. In the 1940s, Olivia de Havilland emancipated herself from the roles of naive and established herself as one of the most appreciated dramatic actresses of American cinema. She won two Oscars as best actress for To Each His Own (1946) and The Heiress (1949), and was nominated two more times for The Story of Dr. Wassell (1944) and The Snake Pit (1948), in which she played a woman suffering from mental disorders. She also worked in Europe, where she made films such as My Cousin Rachel (1952) and That Lady (1955). In the 1950s and 1960s, Olivia de Havilland also devoted herself to theater and television, achieving success and recognition. Among her most notable works, there are Romeo and Juliet (1951), Candida (1952), Anastasia: The Mystery of Anna (1986), for which she won the Golden Globe as best supporting actress in a television series, and Roots: The Next Generations (1979), for which she was nominated for an Emmy Award. Her last film was The Last of Sheila (1973), a parody of silent cinema. Olivia de Havilland was also a pioneer in the defense of the rights of actors, winning a historic legal battle against Warner Bros, which allowed her to free herself from the contract that bound her to the production company and to choose her roles with more freedom. She was also one of the first women to chair the jury of the Cannes Film Festival, in 1965. She was awarded numerous honors, including the French Legion of Honor, the American National Medal of Arts and the title of Dame of the Order of the British Empire. Olivia de Havilland lived in Paris from 1953, where she died in 2020, at the age of 104. She was one of the last survivors of the so-called golden age of Hollywood, along with Kirk Douglas, who died in the same year at 103. She was also the older sister of Joan Fontaine, with whom she had a famous professional and personal rivalry, which lasted for a lifetime. Olivia de Havilland and Joan Fontaine are the only two sisters in cinema history to have both won an Oscar as best actress.

FAY WRAY - Fay Wray was a Canadian-born American actress, famous for her role as Ann Darrow in the 1933 film King Kong. She is considered one of the first “scream queens” of horror cinema, for her expressions of terror and her shrill screams. Fay Wray was born on a ranch near Cardston, Alberta, to a Mormon family. She moved to the United States as a child and began her film career at 16, appearing in several silent films. In 1926 she was chosen as one of the “WAMPAS Baby Stars”, a group of promising young actresses. She signed a contract with Paramount Pictures and starred in numerous films of various genres. In 1932 she left Paramount and signed with RKO Radio Pictures, for which she played her most famous role, that of Ann Darrow, the blonde actress who is kidnapped by the giant gorilla King Kong. The film was a huge success and established Fay Wray as one of the stars of cinema at the time. She continued to work in films of adventure, drama, comedy and horror, including The Most Dangerous Game (1932), Viva Villa! (1934) and The Maltese Falcon (1941). In 1942 she married screenwriter Robert Riskin and reduced her appearances on the big screen to devote herself to her family. She had three children, including Victoria Riskin, who became a television screenwriter and producer. After her husband’s death in 1955, Fay Wray resumed acting on television and in some films until the 1980s. In 1997 she turned down the role of Rose as an old woman in James Cameron’s Titanic. In 2004 she died of natural causes in New York, at the age of 96. She was buried at Hollywood Cemetery. Fay Wray was one of the first actresses to embody the charm and terror of fantasy cinema. Her image linked to King Kong entered the collective imagination and inspired many other performers of the horror genre. She was honored by directors such as Peter Jackson, who wanted to give her a small part in his remake of King Kong in 2005, and by singers such as Bob Dylan, who dedicated a song to her in his album Modern Times in 2006.
THE MOST DANGEROUS GAME - The Most Dangerous Game is a 1932 American horror film, directed by Ernest B. Schoedsack and Irving Pichel, starring Joel McCrea, Fay Wray and Leslie Banks. The film is an adaptation of the 1924 short story of the same name by Richard Connell. It is the first film version of the story. In Italy, the film was released with the title Pericolosa partita. The plot revolves around a big game hunter who finds himself shipwrecked on a remote island where a Russian count, also a hunting enthusiast, lives. The count Zaroff has developed a taste for a new prey… human beings. Zaroff offers hospitality to the hunter Robert Rainsford and two other survivors of a previous shipwreck, Eve and Martin Trowbridge, but hides his intentions of hunting them for sport. Rainsford discovers the truth when he sees the human heads displayed as trophies in the count’s room and refuses his offer to join him in hunting men. Zaroff gives him a hunting knife and some supplies and lets him roam free on the island until midnight, when he will start his hunt. Rainsford will have to use all his skill and cunning to survive and save Eve. The film is considered a classic of the horror genre and has had various remakes. The film was shot simultaneously with King Kong, using the same sets, actors and producers. The film had a budget of $219,869 and grossed $443,000. The film entered the public domain in the United States in 1960. The film received positive reviews from critics and audiences, who praised the tension, atmosphere, performances and soundtrack by Max Steiner.
JOEL McCREA - Joel McCrea was an American actor, famous for his roles in various film genres, including comedy, drama, romance, thriller, adventure and western, for which he became best known. He starred in over a hundred films, of which eighty as a lead, including Alfred Hitchcock’s spy film Foreign Correspondent (1940), Preston Sturges’ comedy classics Sullivan’s Travels (1941) and The Palm Beach Story (1942), the romantic film Bird of Paradise (1932), the adventure classic The Most Dangerous Game (1932), Gregory La Cava’s cheeky comedy Bed of Roses (1933), George Stevens’ romantic comedy The More the Merrier (1943), William Wyler’s films These Three, Come and Get It (both 1936) and Dead End (1937), Howard Hawks’ film Barbary Coast (1935) and numerous western films, including Wichita (1955) in the role of Wyatt Earp and Sam Peckinpah’s Ride the High Country (1962), alongside Randolph Scott. He starred in three films nominated for the Oscar for best picture: Dead End (1937), Foreign Correspondent (1940) and The More the Merrier (1943). Joel McCrea was born in South Pasadena, California, the son of Thomas McCrea, an executive of the L.A. Gas & Electric Company, and Louise Whipple. As a child he was interested in the films that were shot around him and had the opportunity to watch the filming of D. W. Griffith’s Intolerance and to be an extra in a serial with Ruth Roland. He graduated from Hollywood High School and then from Pomona College, where he studied acting and speech and performed regularly at the Pasadena Playhouse, where other future stars such as Randolph Scott, Robert Young and Victor Mature had their first experiences. He worked as a stuntman and an extra from 1927 to 1928, when he signed a contract with MGM. He was picked out of the crowd to play a major role in The Jazz Age (1929) and got his first lead role in the same year in The Silver Horde. He left MGM in 1930 and signed with RKO Radio Pictures, for which he played his most famous role, that of Ann Darrow, the blonde actress who is kidnapped by the giant gorilla King Kong. The film was a huge success and established Joel McCrea as one of the stars of cinema at the time. He continued to work in films of adventure, drama, comedy and horror, including The Most Dangerous Game (1932), Viva Villa! (1934) and The Maltese Falcon (1941). In 1942 he married actress Frances Dee, with whom he remained until his death and had three children, including Jody McCrea, who also became an actor. From 1946 to 1976 he devoted himself exclusively to western films, a genre that he loved particularly. He retired from the scene after shooting the western classic Ride the High Country (1962), in which he acted together with his friend Randolph Scott. He died in 1990 of natural causes in Woodland Hills, Los Angeles, at the age of 84. His ashes were scattered in the Pacific Ocean. Joel McCrea was one of the most versatile and popular actors of American cinema, able to switch effortlessly from one genre to another and to embody believable and likable characters. His screen presence and his skill in riding made him one of the great protagonists of western films. He was appreciated by directors such as Alfred Hitchcock, Preston Sturges and Sam Peckinpah, who considered him one of their favorite actors. He was also a simple and modest man, who loved ranch life and his family. He was awarded numerous prizes and honors for his career and his contribution to cinema.

LESLIE HOWARD - Leslie Howard was one of the greatest idols of cinema in the 1930s, known for his roles as an English gentleman in films such as Gone with the Wind, Pygmalion and The Petrified Forest. Howard was born in London in 1893 with the name of Leslie Howard Steiner, from a family of Hungarian Jewish origin. He became interested in theater from a young age, encouraged by his mother, and participated in several theatrical productions both in England and in the United States. In 1916 he married Ruth Evelyn Martin, from whom he had two children, Ronald and Leslie Ruth. Howard began his film career in 1914, participating in a film directed by his uncle Wilfred Noy. In 1919 he founded with his friend Adrian Brunel a film production company in London, the Minerva Films, which however had a short life. Howard devoted himself mainly to theater, achieving success both in London and on Broadway. In 1930 he returned to cinema with the film Outward Bound, which earned him an Oscar nomination for best actor. Since then, Howard alternated theater and cinema, starring in films of great success such as Berkeley Square (1933), Of Human Bondage (1934), The Prisoner of Zenda (1937), Intermezzo (1939) and Jamaica Inn (1939). Howard is best remembered for his role as Ashley Wilkes in Gone with the Wind (1939), the most famous film in the history of cinema. Howard accepted the role only to be able to produce and direct the film Pimpernel Smith (1941), a parody of the novel The Scarlet Pimpernel set in World War II. Howard was indeed a fervent patriot and supporter of the anti-Nazi cause, and used his talent and fame to contribute to British propaganda. Among his last films are The First of the Few (1942), in which he played the designer of the Spitfire fighter, and The Count of Monte Cristo (1942), in which he was the narrator. Howard died tragically on June 1, 1943, when the civilian plane on which he was traveling from Lisbon to London was shot down by German fighters in the Bay of Biscay. The circumstances of his death are still shrouded in mystery, and there are different theories about the reason for the attack. Some argue that the Germans mistook the plane for that of Winston Churchill, others that Howard was a spy or a British secret agent. Leslie Howard was one of the greatest actors of his time, capable of playing different characters with elegance and intelligence. His refined style and his distinctive voice made him an icon of classic cinema. Howard also proved to be an innovative and courageous director and producer, who used his cinema to express his ideas and values.
OF HUMAN BONDAGE - If you love dramatic and classic movies, you can’t miss Of Human Bondage, the 1934 film that made Bette Davis a star. The film is based on the 1915 novel of the same name by W. Somerset Maugham, one of the most famous English writers of the 20th century. The film tells the story of Philip Carey, a young crippled artist who falls in love with Mildred Rogers, a waitress who treats him with indifference and contempt. Philip becomes obsessed with Mildred and ruins his life for her, rejecting other opportunities of love and work. Mildred ends up becoming a prostitute and a drug addict, and dies in a hospital in misery. Philip manages to free himself from his emotional bondage and find happiness with his friend, Sally Athelny. Of Human Bondage is a film that will make you feel strong emotions and make you reflect on the choices we make in life. The film was nominated for an Oscar for best actress for Bette Davis, who gave a powerful and memorable performance as the cruel and manipulative Mildred. The film was praised by critics for its fidelity and sensitivity in adapting Maugham’s novel, which was able to convey the emotions and sufferings of the protagonists. The film also had a good success at the box office, despite its dark and dramatic theme. Of Human Bondage is a film that deserves a viewing for its historical and artistic value. The film entered the public domain in the United States in 1962, because the rights holders did not renew the registration of the copyright in the 28th year after publication.
BETTE DAVIS - Bette Davis was one of the greatest stars in the history of Hollywood cinema, known for her roles as strong, ambitious and unscrupulous women. Bette Davis was born in Lowell, Massachusetts, on April 5, 1908, with the name of Ruth Elizabeth Davis. From a young age she became passionate about theater and debuted on Broadway in 1929. In 1930 she moved to Hollywood, where she began her film career with Universal. Her first big success was Of Human Bondage (1934), in which she played a cruel and manipulative waitress. Since then, Bette Davis established herself as one of the most sought-after and appreciated actresses in American cinema, winning two Oscars for best actress: in 1936 for Dangerous (1935) and in 1939 for Jezebel (1938). Other famous films she starred in are: The Private Lives of Elizabeth and Essex (1939), Old Acquaintance (1943), Beyond the Forest (1949), All About Eve (1950), The Star (1952) and What Ever Happened to Baby Jane? (1962). Bette Davis was also a woman of strong personality and character, who did not hesitate to challenge the producers and refuse the roles that she did not like. She was the first woman to be elected president of the Academy of Motion Picture Arts and Sciences, but resigned after a few months due to conflicts with the Studio. She was also a fervent patriot and supporter of the anti-Nazi cause, and used her talent and fame to contribute to British propaganda during World War II. Bette Davis died on October 6, 1989 in Neuilly-sur-Seine, France, from breast cancer. In 1999 the American Film Institute ranked her second in the list of the greatest stars in the history of cinema.
FRANCES DEE - Frances Dee was an American actress, known for her roles as sweet and sensitive women in dramatic and romantic films. Frances Dee was born in Los Angeles in 1909, from a family of English origin. She became interested in theater from a young age and debuted on Broadway in 1929. In 1930 she began her film career with the film Monte Carlo, alongside Jack Buchanan. Her big break came from Maurice Chevalier, who chose her as his partner in Playboy of Paris, in 1930. Since then, Frances Dee starred in numerous successful films, including Little Women (1933), in which she played the part of Meg, alongside Katharine Hepburn, Of Human Bondage (1934), in which she played the part of Sally Athelny, alongside Leslie Howard and Bette Davis, and The Petrified Forest (1936), in which she played the part of Gabrielle Maple, alongside Leslie Howard and Humphrey Bogart. Frances Dee married in 1933 with actor Joel McCrea, with whom she starred in some films, including Four Faces West (1948). The marriage lasted until McCrea’s death, in 1990. The couple had three children, including Jody McCrea, who also became an actor. Frances Dee retired from cinema in 1954, after starring in the film Gypsy Colt. She died in 2004, at the age of 94. In the film Of Human Bondage, Frances Dee played the role of Sally Athelny, a young woman who helps the protagonist Philip Carey (Leslie Howard) to free himself from his obsession for Mildred Rogers (Bette Davis), a cruel and manipulative waitress who treats him with contempt. Sally is the daughter of Thorpe Athelny (Reginald Owen), a patient at the hospital where Philip works as a doctor. Sally falls in love with Philip and encourages him to resume his studies and forget Mildred. Sally represents the positive and salvific character of the film, in contrast with Mildred, who is the negative and destructive character. Frances Dee gave a delicate and convincing performance in the role of Sally, showing her ability to play sweet and sensitive characters.
"OF HUMAN BONDAGE" - Card n.9 of the SHOTS FROM FAMOUS FILMS series printed by GALLAHER LTD in 1935 - Leslie Howard together with Frances Dee in a scene from the film.

ADOLPHE MENJOU - Adolphe Menjou is an American actor of French origin, known for his elegant style and his mustache. Menjou was born in Pittsburgh in 1890 and began his career as a film actor in 1914. He became a star of silent cinema with films such as The Sheik (1921) and A Woman of Paris (1923), in which he played sophisticated and worldly characters. With the advent of sound, he continued to work successfully in various genres, from drama to comedy, from war to musical. He was nominated for an Oscar as best actor for The Front Page (1931), a satire on the world of journalism. Among his most famous films are Morocco (1930), with Marlene Dietrich, A Farewell to Arms (1932), with Gary Cooper and Helen Hayes, Forbidden (1932) and Stella Dallas (1935), with Barbara Stanwyck, Meet John Doe (1941) and Pride of the Yankees (1942), with Gary Cooper and James Stewart, For Whom the Bell Tolls (1943), with Gary Cooper and Ingrid Bergman, High Noon (1952), with Gary Cooper and Grace Kelly, and Paths of Glory (1957), with Kirk Douglas. Menjou died in 1963 from prostate cancer. Menjou distinguished himself for his natural and sober style of acting, which best expressed his characters of lonely, honest and brave heroes, but also vulnerable and romantic. Menjou embodied the ideal of the American man, capable of facing the challenges of life with determination and sense of duty. At the same time, he also gave life to cynical, ironic and malicious characters, exploiting his charm and intelligence. Menjou was influenced by Charlie Chaplin, who hired him for the film A Woman of Paris and taught him the difference between theatrical and cinematic acting. Menjou was also a master of sophisticated comedy, thanks to his collaboration with directors such as Ernst Lubitsch and Frank Capra. Menjou was appreciated by both the public and the critics, and is considered one of the greatest actors in the history of cinema.
A FAREWELL TO ARMS (1932) - Dear friends, today I propose you a film that is a masterpiece of classic American cinema, based on a famous novel by Ernest Hemingway. It is A Farewell to Arms, or Addio alle armi, directed in 1932 by Frank Borzage. The film tells the love story between an American lieutenant and an English nurse during the First World War, against the backdrop of the dramas and sufferings caused by the conflict. The protagonists are played by two great actors: Helen Hayes and Gary Cooper, who with his beauty and charisma has conquered the audience of the whole world. The film was awarded with two Oscars for cinematography and sound, and is considered a work of art for its emotional intensity and technical mastery. I invite you to watch this film, which will make you live one of the most beautiful and moving love stories in the history of cinema. The film is based on the novel of the same name by Ernest Hemingway, published in 1929 and inspired by his experiences as a volunteer in the Red Cross during the First World War. The novel was adapted for the theater by Laurence Stallings in 1930 and then for the cinema by Benjamin Glazer and Oliver H.P. Garrett in 1932. The film had two remakes: one in 1957 with Rock Hudson and Jennifer Jones, and one in 1966 with Chris Jones and Suzanne Pleshette. The film of 1932 is considered the best among the three film versions, thanks to the direction of Frank Borzage, one of the masters of romantic melodrama. Borzage was able to create a suggestive and engaging atmosphere, using light, color and camera movement to express the feelings of the characters. The film was shot partly in Italy, in places such as Lake Maggiore, Lake Como and the Alps. The film had a great success of public and critics, receiving four nominations at the Oscars in 1933: best film, best cinematography, best art direction and best sound. It won the awards for cinematography and sound, beating films such as Grand Hotel and Shanghai Express. The film was included in the National Film Registry of the Library of Congress of the United States in 1960 as a film “culturally, historically or aesthetically significant”. The two protagonists of the film are Helen Hayes and Gary Cooper, two Hollywood stars who gave life to a memorable couple. Helen Hayes was a famous theater actress, nicknamed the “First Lady of American Theater”. In the film she plays Catherine Barkley, an English nurse who falls in love with Lieutenant Frederic Henry, an American enlisted in the Italian army. Hayes demonstrated her acting skills in this dramatic and sensitive role, which earned her the nickname of “First Lady of American Cinema”. Gary Cooper was one of the most popular and admired actors of American cinema, known for his natural charm and his frank personality. In the film he plays Frederic Henry, a romantic hero who lives a passionate love with Catherine Barkley. Cooper proved his versatility in this emotional and intense role, which consecrated him as one of the greatest stars of cinema. Another actor worthy of note in the film is Adolphe Menjou, who plays Major Alessandro Rinaldi, an Italian military doctor and friend of Frederic Henry. Menjou was an American actor of French origin, known for his elegant style and his big mustaches. The character of Rinaldi is a womanizer and a cynic, who tries to console Henry after his wound and encourages him to court Catherine Barkley. However, Rinaldi becomes ill with syphilis and is transferred to a hospital away from the front. His fate remains uncertain at the end of the novel and the film. Menjou was nominated for an Oscar for his role in The Front Page in 1931, but did not win any award for his participation in A Farewell to Arms.
GARY COOPER - today we talk about one of the greatest actors in the history of cinema: Gary Cooper. Born in Montana in 1901, Cooper began his career as an extra and a stuntman in western films, thanks to his skill in riding. His first important role was in The Winning of Barbara Worth (1926), a film that made him noticed by the public and the critics. From then on, Cooper became one of the most popular and admired stars of Hollywood, starring in over a hundred films in various genres, from western to melodrama, from comedy to war. Cooper distinguished himself for his natural and sober style of acting, which best expressed his characters of lonely, honest and brave heroes, but also vulnerable and romantic. Cooper embodied the ideal of the American man, capable of facing the challenges of life with determination and sense of duty. Some of his most famous roles are the cowboy of The Virginian (1929), the soldier of Sergeant York (1942), the journalist of Meet John Doe (1941), the professor of Pride of the Yankees (1942), the guerrilla fighter of For Whom the Bell Tolls (1943) and the sheriff of High Noon (1952). Cooper worked with some of the greatest directors of his time, such as Frank Capra, Ernst Lubitsch, Howard Hawks, William Wyler, Alfred Hitchcock and Billy Wilder. Cooper also had the opportunity to act alongside beautiful actresses, such as Marlene Dietrich, Claudette Colbert, Ingrid Bergman, Audrey Hepburn and Grace Kelly. His private life was marked by numerous affairs and a troubled marriage with heiress Veronica Balfe. Cooper won two Oscars as best actor for Sergeant York and High Noon, and received an honorary Oscar shortly before his death, which occurred in 1961 from prostate cancer. His last film was The Naked Edge (1961), released posthumously. Cooper is considered one of the greatest actors of all time, and the American Film Institute ranked him 11th among the greatest stars in the history of cinema. I invite you to discover or rediscover his films, which are masterpieces of American cinema.
HELEN HAYES - Helen Hayes was one of the greatest actresses in the history of American theater, able to express with her voice and body the deepest and most varied emotions. She acted in over 80 plays, 40 movies and 50 TV shows, demonstrating her versatility and talent in every genre. She received numerous awards and honors, including four of the most prestigious in the entertainment world: the Emmy, the Grammy, the Oscar and the Tony. She also devoted part of her life to charity and to supporting the social causes that were close to her heart. Helen Hayes was an extraordinary woman, a source of inspiration for many artists and a true icon of American culture.
A FAREWELL TO ARMS (1932) - "Courtesy of the Media History Digital Library" - Motion Picture Herald Periodical (May-Jun 1938) - “The best film of 1932! Big at the box office… 'A Farewell to Arms' tripled in revenue from coast to coast, played extensively and drew full audiences everywhere. It made box office history for the industry and for Paramount. Critics also rated it positively: 'A beautiful and moving film', 'the best film of the year', 'a triumph for all concerned', 'a major cinematic work' and 'a masterpiece'. They spoke enthusiastically about it, emphasizing that it is a film not to be missed. In the heart of Hollywood, at the Academy Awards dinner, 'A Farewell to Arms' stole the show. To heartfelt applause, Helen Hayes received the award for Best Female Performance of the Year, and Frank Borzage was honored for Outstanding Achievement in Director.”

WALTER HUSTON - Walter Huston was a Canadian actor and singer, born in 1883 and died in 1950. He won the Oscar for best supporting actor for his role in the film The Treasure of the Sierra Madre, directed by his son John Huston. He was the founder of four generations of the Huston family, which gave birth to three Oscar winners: him, his son John and his granddaughter Anjelica. Walter Huston began his theatrical career in 1902, and debuted on Broadway in 1924. With the advent of sound cinema, he became one of the best character actors in Hollywood, playing both leading and supporting roles. Some of his most famous films are The Virginian (1929), Abraham Lincoln (1930), Rain (1932), American Madness (1932), Dodsworth (1936), Of Human Hearts (1938), The Light That Failed (1939), The Shanghai Gesture (1941), The Devil and Daniel Webster (1942) and Dragon Seed (1944). Walter Huston was a versatile and charismatic actor, who could switch from comedy to drama, from romantic to evil, from realistic to fantastic. He was also a good singer, who showed his vocal skills in some musical films, such as The Great Ziegfeld (1936) and Swing Time (1936). He was very loved by the public and the critics, and received four Oscar nominations in his career. Walter Huston was also a family man, who passed on his passion for cinema to his descendants. His son John Huston was one of the greatest American directors, who directed Walter in two films: The Treasure of the Sierra Madre (1948) and The Great Sinner (1949). His granddaughter Anjelica Huston was one of the most beautiful and talented actresses of the '80s and '90s, who won the Oscar for Prizzi’s Honor (1985). His grandson Danny Huston is an actor and director who has worked in films such as The Aviator (2004) and Wonder Woman (2017). His great-grandson Jack Huston is an actor who has starred in TV series such as Boardwalk Empire (2010-2014) and films such as Ben-Hur (2016). Walter Huston was one of the great actors of American cinema, who left an artistic and family legacy of great value.
ABRAHAM LINCOLN 1930 - Abraham Lincoln is a biographical film from 1930 directed by D. W. Griffith, one of the pioneers of American cinema. The film tells the life of the sixteenth president of the United States, from his birth to his presidency and his assassination. The film stars Walter Huston as Lincoln and Una Merkel as Ann Rutledge, his first love. The film is divided into two parts: the first part covers the years of Lincoln’s youth and education, as a merchant, woodcutter, lawyer and politician. We see his relationship with Ann Rutledge, her premature death and his marriage to Mary Todd. We also see his oratorical duel with Stephen A. Douglas and his election as president in 1860. The second part focuses on Lincoln’s presidency during the American Civil War, his commitment to preserve the unity of the nation and to abolish slavery. We see his difficulties in managing the war, his political and military decisions, his relationship with his collaborators and his family. We also see his Gettysburg address, his signing of the emancipation proclamation and his assassination at Ford’s Theatre by John Wilkes Booth. The film received positive reviews from critics at the time, who praised Huston’s performance and Griffith’s direction. Mordaunt Hall of The New York Times called it “a worthy and inspiring work” and included it in his list of the ten best films of 1930 . Some modern sources also consider it a masterpiece of pre-code cinema, which challenged the moral and social conventions of the time. The film also features some interesting curiosities: Walter Huston was much shorter than the real Abraham Lincoln, so he wore six-inch high shoes for most of the film. This is especially evident in long shots. Henry B. Walthall, who plays the minor role of an aide to Robert E. Lee, was the star of Griffith’s first masterpiece on the civil war, Birth of a Nation (1915). Griffith had already shot Lincoln’s assassination at Ford’s Theatre in Birth of a Nation (1915). James Bradbury Sr. (General Winfield Scott), Frank Campeau (General Philip Sheridan) and Robert Brower, who plays an uncredited role, are the only actors in the film who were alive during the American Civil War (1861-1865). They were born respectively on October 12, 1857, December 14, 1864 and July 14, 1850.
UNA MERKEL - Una Merkel was an American actress, born in 1903 and died in 1986. She was famous for her doll-like looks, her southern accent and her comedy. She starred in many films of the 1930s and 1940s, often playing the protagonist's best friend. Some of her best-known films are 42nd Street, Destry Rides Again and Summer and Smoke, for which she was nominated for an Academy Award for Best Supporting Actress. She began her career as Lillian Gish's stunt double in silent films, including Victor Sjöström's The Wind. He also worked on Broadway, winning a Tony Award in 1956 for the musical The Pajama Game. A Merkel also starred in the 1930 film Abraham Lincoln, directed by DW Griffith, one of the pioneers of American cinema. The film chronicles the life of the sixteenth president of the United States, from his birth to his presidency and his assassination. A Merkel plays Ann Rutledge, Lincoln's first love, who dies of typhoid fever before they can marry. Her death deeply marks Lincoln, who promises her to become a better man and to devote his life to the service of his country. Una Merkel's performance is delicate and moving, showing her ability to move from the comic to the dramatic. Una Merkel was a woman of talent and wit, who left her mark on American cinema.
ABRAHAM LINCOLN (1930) - "Courtesy of the Media History Digital Library" - Screenland Periodical (Nov 1930-Apr 1931) - The HONOR PAGE has been dedicated to many very talented actors, but rarely has it been as well deserved as this month's, which hands the palm of victory to Walter Huston with a low, deep, graceful bow! Huston gave us a great Abraham Lincoln, beautifully immersing Broadway manners in a complete realization of the Emancipator, never falling into banality or complacency. The surprising part is that Huston had never thought about playing Lincoln until Griffith gave him the role. But like a skilled craftsman taking on a new job, he took on the part and gave it his all! Huston represents the new order of things at Celluloidia. Acting is his job, and he knows it well!

MAY McAVOY - May McAvoy was an American actress who worked primarily during the silent film era. Born in New York on September 8, 1899, she made her debut in 1917 in the film Hate and starred in over forty films, including Ben-Hur, Lady Windermere's Fan and The Jazz Singer, the first film with synchronized sound, in which she played Mary Dale Al Jolson's girlfriend. She retired from the stage in 1929 after marrying banker Maurice Cleary, with whom she had a son. He returned to acting only occasionally in small uncredited roles in the 1940s and 1950s. His last film was the 1959 remake of Ben-Hur, in which he appeared in crowds in Jerusalem. He died in Los Angeles on April 26, 1984, aged 84
THE JAZZ SINGER 1927 - The Jazz Singer is a historical and revolutionary film, the first to use synchronized sound for songs and dialogues. It tells the story of a young Jew who defies the traditions of his family and his religion to follow his passion for jazz, becoming a star of the stage. The film is a hymn to freedom of expression and to music as a universal language, but also a family drama and a reflection on cultural roots. The protagonist is Al Jolson, a famous singer of the time, who performs such memorable songs as My Mammy, Toot Toot Tootsie and Blue Skies. The film is considered one of the best American films of all time and a masterpiece of musical cinema. The film used the Vitaphone system, a sound-on-disc technology developed by Warner Bros. that allowed recorded music and voice to be synchronized with moving images. The system was still imperfect and required numerous wax records and precise synchronization between the projector and the phonograph. For this reason, only some scenes in the film contained audible dialogues, while the rest were accompanied by captions as in silent films. The film was a success with audiences and critics and saved Warner Bros. from the financial crisis it was in.
AL JOLSON (FILM Album n°1 ) JOSETTI Germany - Al Jolson was a Russian-born American singer, actor and composer, known as “The World’s Greatest Entertainer”. He was born on May 26, 1886 in Seredžius, Lithuania, then part of the Russian Empire, and immigrated to the United States with his Jewish family in 1894. He began his theatrical career in New York, forming a vocal trio with his brothers Harry and Palmer. He distinguished himself for his jazz and blues singing style and for his habit of performing in blackface, a controversial practice that consisted of painting his face black to imitate African Americans. He became a Broadway star in the 1910s and 1920s, starring in musicals such as La Belle Paree, Sinbad and Big Boy. In 1927 he starred in The Jazz Singer, the first film with synchronized sound, in which he sang famous songs such as My Mammy, Toot Toot Tootsie and Blue Skies. He continued to act in other musical films in the 1930s, such as The Singing Fool, Hallelujah I’m a Bum and Wonder Bar. During World War II and the Korean War he dedicated himself to entertaining American troops abroad. His life was told in the biographical films The Jolson Story (1946) and Jolson Sings Again (1949), in which he was dubbed by Larry Parks. He died on October 23, 1950 in San Francisco, at the age of 64.
WARNER HOLLAND - Warner Oland (born Johan Verner Ölund on October 3, 1879 and died on August 6, 1938) was a Swedish-American actor. His career included theater on Broadway and numerous films. He is best remembered for playing several Chinese and Chinese-American characters: Dr. Fu Manchu, Henry Chang in Shanghai Express and, most notably, Lieutenant Charlie Chan of the Honolulu Police in 16 films. Oland emigrated to the United States with his family at the age of 13. After studying Shakespearean acting, he debuted in silent cinema in 1912. Thanks to his vaguely Asian appearance, he was much in demand for roles of villain and ethnicity. His success came in 1929, when he was chosen for the main role in the film The Mysterious Dr. Fu Manchu. In 1931, Oland played Charlie Chan for the first time, a Chinese-American detective based on the popular series of mystery novels by Earl Derr Biggers. His performance as the shrewd but seemingly mild investigator earned him critical acclaim and made him a star. Oland appeared in a total of 16 Charlie Chan films from 1931 to 1937. Oland died of pneumonia in Stockholm in 1938, while on tour in Europe. He is buried in the Southborough Rural Cemetery, in Massachusetts. Warner Oland had the role of Cantor Rabinowitz, the father of Jakie, the protagonist of the film The Jazz Singer. The film tells the story of a young Jew who wants to become a jazz singer, but comes into conflict with the traditions of his family and his religion. Oland plays a strict and proud father, who does not accept the artistic choices of his son and punishes him for singing in a club. (CARD position 5 page 19 of the ALBUM 1 “SALEM GOLD-FILM-BILDER”)
THE JAZZ SINGER 1927 - Ron Hutchinson and Vince Giordano are two cinema and music experts who created an audio commentary for the film, available on DVD from Warner Home Video. In the commentary, the two provide historical information, anecdotes and curiosities about the film, its songs, its actors and its cultural impact. The commentary is much appreciated by fans of the film and the musical genre.
AL JOLSON - Card page 8 of the ALBUM "VOM WERDEN DEUTSCHER FILMUNST DER TONFILM (1935) Germany
A PLANTATION ACT (1926) - A PLANTATION ACT (1926) - This is a sound short film from 1926, the first film in which Jolson acted. Al, with his face painted black, sings three of his hit songs: “When the Red, Red Robin (Comes Bob, Bob, Bobbin’ Along)”, “April Showers” and finally “Rock-a-Bye Your Baby with a Dixie Melody”. The film shows him as if he were in a live performance, with three curtain calls at the end. The film premiered on October 7, 1926 at the Colony Theatre in New York, where it concluded a program of short films that accompanied the second Warner Brothers Vitaphone feature film, “The Better 'Ole”. The short was long considered a lost film, and its unavailability fueled the erroneous belief that Jolson’s first sound film was the famous landmark film “The Jazz Singer”, which came out almost exactly a year later. A silent copy of “A Plantation Act” was finally found in the Library of Congress, mistakenly labeled as a preview of “The Jazz Singer”. A copy of the corresponding sound disc was also found, but it had been broken into four pieces and glued back together so badly that it could not be played. After a careful operation, the restoration technicians managed to make a usable copy from the disc and digitally remove the noises and clicks resulting from the damage. The restored film was included in a LaserDisc released in the 90s and as an extra content in the 3-disc DVD of 2007 of “The Jazz Singer”.
BLACKFACE - Cards Nr.21 Godfrey Phillips Cigarettes PERSONALITIES OF TO-DAY 1932 - (personal collection) - Blackface in the historical context of theater and performance had different meanings and implications compared to how it is perceived today. During the 19th century, blackface was a widespread theatrical makeup style that involved applying markedly unrealistic makeup to take on the stylized and stereotypical appearance of a black person. This practice was an integral part of Minstrel shows, traveling performances that were very popular in the United States, and later in Europe as well. White actors, to perform in blackface, would darken their skin with burnt cork and subsequently black greasepaint or shoe polish, exaggerating the size of the lips with makeup and often wearing wool wigs, gloves, tailcoats, or ragged clothes to complete the transformation. These shows were intended as a comic exaggeration and not as a faithful or respectful representation of black people. However, over time and with the evolution of society, awareness of racism and its manifestations has led to a critical reconsideration of blackface. The African American civil rights movement of the 1960s, led by figures such as Martin Luther King, denounced the racist and derogatory prejudices associated with blackface, leading to its gradual extinction in the United States. Today, blackface is universally recognized as offensive and racist, and its practice is condemned and banned from all theatrical and cinematic representations. The modern understanding of blackface is that it perpetuates harmful racial stereotypes and is based on a history of humiliation and exploitation of black people.

SHIRLEY TEMPLE - Shirley Temple was an American actress, singer, dancer and diplomat. She was a famous enfant prodige of cinema in the thirties, nicknamed "Goldilocks", and played characters of sweet and cute little girls, but also wise and intelligent. As an adult she pursued a career as an ambassador, using the married name Shirley Temple Black. She died in 2014 at the age of 85
THE LITTLE PRINCESS (1939) - The film is a musical comedy-drama directed by Walter Lang and William A. Seiter and based on the children’s novel by Frances Hodgson Burnett. The film is the first of Shirley Temple’s to be shot entirely in Technicolor and her last major success as a child actress. The film is set in Victorian London during the Second Boer War and tells the story of Sara Crewe (Shirley Temple), a wealthy and kind little girl who is left at a girls’ boarding school by her father, Captain Reginald Crewe (Ian Hunter), who goes to fight in Africa. Sara soon befriends Becky (Sybil Jason), the school’s maid, and clashes with the strict headmistress Miss Minchin (Mary Nash) and her snobbish pupil Lavinia (Marcia Mae Jones). When Sara’s father dies in battle and his assets are seized by the enemy, Sara loses all her privileges and is forced to work as a servant. However, Sara never loses hope and imagination and continues to believe that her father is alive. Meanwhile, the school’s neighbor, Ram Dass (Cesar Romero), an Indian servant of the wealthy Geoffrey Hamilton (Richard Greene), notices Sara’s plight and begins to make her secret gifts to ease her suffering. Hamilton is a friend of Sara’s father and is trying to find out his fate. One day, Hamilton finds Captain Crewe, wounded and amnesiac, in a military hospital and brings him to his home. Sara recognizes him from the school window and runs to him, restoring his memory. Sara is thus reunited with her father and adopted by Hamilton, who falls in love with her teacher Rose (Anita Louise). The story ends with Sara saying goodbye to her school friends and leaving with her father and her new guardians. The film is a very loose adaptation of the novel, which introduces several new characters and situations and changes the ending drastically. The film also has a lighter and more optimistic tone than the book, with several musical and comic moments. The film is enjoyable for the performances of Shirley Temple, who shows her talent as both an actress and a dancer, and the other actors, especially Cesar Romero, Arthur Treacher (who plays Miss Minchin’s good-natured brother) and Mary Nash (who conveys well the headmistress’s wickedness). The film is also remarkable for the Technicolor cinematography, which captures well the atmosphere of Victorian London and the period costumes. The film is considered one of Shirley Temple’s best and one of the classics of children’s cinema.
ANITA LOUISE - Anita Louise, born Anita Louise Fremault, was a famous child and teenage actress, who debuted on Broadway at six years old and in cinema at nine. Among her most famous films are A Midsummer Night’s Dream (1935), The Story of Louis Pasteur (1936) and Marie Antoinette (1938). In 1939 she played the role of Rose, the wicked stepsister of Shirley Temple, in the film The Little Princess, based on the novel by Frances Hodgson Burnett. In the forties her film career declined and she dedicated herself to television, where she had success with the series Frida, the story of a boy’s friendship with his horse. She married twice, first with the producer Buddy Adler and then with Henry Berger, and died in 1970 at the age of 55.
THE LITTLE PRINCESS (1939) - "Courtesy of the Media History Digital Library" - Periodical Box office digest (Dec 1938-Dec 1939)

CHARLES BOYER - Boyer began his stage and film career in France in the 1920s after studying philosophy at the Sorbonne and acting at the Paris Conservatoire. He made his Hollywood debut at the beginning of the sound era and worked with some of the biggest stars of the time, such as Marlene Dietrich, Greta Garbo, Ingrid Bergman and Lauren Bacall. He obtained US citizenship in 1942 and narrated a film about the French resistance during World War II. He has also acted on Broadway and on television, appearing as himself on the sitcom I Love Lucy. He had a quiet and reserved private life, far from Hollywood scandals. He married only once, to actress Pat Paterson, and suffered greatly from the death of their son Michael, who committed suicide in 1965. Two days after his wife's death from cancer in 1978, Boyer also took his life with an overdose of barbiturates. He is buried at Holy Cross Cemetery in Culver City, California
ALGIERS (1938) - Algiers is an American drama film directed by John Cromwell and starring Charles Boyer, Sigrid Gurie and Hedy Lamarr. The film tells the story of a famous French jewel thief who hides in the labyrinthine native quarter of Algiers known as the Casbah. Feeling trapped by his self-imposed exile, he is drawn out of hiding by a beautiful French tourist who reminds him of the happy times in Paris. Algiers was a sensation because it was the first Hollywood film with Hedy Lamarr, whose beauty became the main attraction for the movie audience. The film is also known as one of the sources of inspiration for the screenwriters of the 1942 film Casablanca, who wrote it thinking of Hedy Lamarr as the original female lead. Charles Boyer’s portrayal of Pepe le Moko inspired the Warner Bros. animated character Pepé Le Pew. The film entered the public domain in the United States in 1966 because the claimants did not renew its copyright registration in the 28th year after publication.
HEDY LAMARR - Lamarr was an Austrian naturalized American actress and inventor, who starred in many successful films in the thirties and forties, such as The Oil Rush, This Woman Is Mine and Samson and Delilah. She was considered one of the most beautiful women in the world and in cinema. Before going to Hollywood, she had caused a scandal with the film Ecstasy, in which she appeared totally naked. In addition to her film career, Lamarr was also a brilliant inventor, developing with composer George Antheil a spread spectrum transmission system for guiding torpedoes during World War II. This technology is the basis of wifi, bluetooth and gps. Lamarr received posthumous recognition for her contributions to science in 2014 when she was inducted into the US National Inventors Hall of Fame.
HEDY LAMARR AND CHARLES BOYER in "ALGIERS" - CARD no. 95 FILM FAVORITES printed by A. AND M. WIX in 1939. - Hedy Lamarr and Charles Boyer starred together in the 1938 film “Algiers,” which marked Lamarr's Hollywood debut and helped solidify her international fame. Her extraordinary beauty captured the attention of the public and left an indelible mark on cinema. Boyer, on the other hand, brought the character of Pepe le Moko to life, a role so memorable that it inspired the character of Pepé Le Pew from the Warner Bros. cartoons. The film “Algiers” had a significant influence on the culture popular and inspired other cinematic masterpieces, including “Casablanca.” Furthermore, “Algiers” became part of the public heritage in the United States in 1966, thus allowing for wider dissemination and accessibility. These elements highlight the historical and cultural importance of the film and the contributions of Lamarr and Boyer to the world of cinema.
ALGIERS (1938) - "Courtesy of the Media History Digital Library" - Motion Picture Periodical (Aug 1938-Jan 1939)