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19 November 2017

Evi Kent

Beautiful and sexy Evi Kent (1938) was an Austrian actress and singer who appeared in dozens of German-language films and TV shows of the 1950s, 1960s and 1970s.

Evi Kent
Dutch postcard by P. Moorlag, Heerlen, Sort 14/6. Photo: E. Schneider.

Wallflower


Evi Kent was born in Brünn, Austria (now Brno, Czech Republic) in 1938.

According to the IMDb, Evi Kent’s first appearances were in 1953 on German television, in the comedy Spiel mit dem Glück/Love Game (Peter A. Horn, 1953) and in the musical show Knallbonbons (Hanns Farenburg, 1953).

From early on she worked both as an actress and a singer. In Spiel mit dem Glück, the Trinidad born singer Mona Baptiste starred and Evi was billed fourth. In Knallbonbons some then well-known artists performed like Belgian singer-actress Angèle Durand and the dance group The Hiller Girls.

Evi’s appearances must have been successful, while in the following years some supporting roles followed in theatrical films like the comedy Mamitschka (Rolf Thiele, 1955) starring Rudolf Platte, Friederike von Barring (Rolf Thiele, 1956) starring Nadja Tiller, Mein Vater, der Schauspieler/My Father, the Actor (Robert Siodmak, 1956) with O.W. Fischer, and Jede Nacht in einem anderen Bett/Each Night in Another bed (Paul Verhoeven, 1957) with Gerhard Riedmann.

Among her hit songs was Papa Tanzt Mambo, a German cover of Perry Como's Papa Loves Mambo, which decades later re-appeared on compilations like 100 Goldene Schlager 1930-1955. In 1956 she also made a great German cover version of Teresa Brewer’s hit A Sweet Old Fashioned Girl: Mauerblümchen (Wallflower) - genuine German Rock and Roll.

That same year she also sang the cheeky and equally enjoyable Warum drehn' sich alle Männer nach mir um? (Why Do All the Men Turn Around for Me?). Both can be heard on YouTube (and thanks to Blackeyedjoe also here below).

Evi Kent
German postcard by Kunst und Bild, Berlin, no. I 493. Photo: Filmaufbau / Deutsche London / Lindner. Publicity still for Friederike von Barring (Rolf Thiele, 1956).

Evi Kent
German postcard by F.J. Rüdel, Filmpostkartenverlag, Hamburg-Bergedorf, no. 1773. Photo: Filmaufbau / Deutsche London / Lindner. Publicity still for Friederike von Barring (Rolf Thiele, 1956).

Fluffy and Forgettable


For four years Evi Kent did not appear in films, but in 1961 she played small parts in the Austrian comedy Unsere tollen Tanten/Our Mad Aunts (Rolf Olsen, 1961) with Günter Philipp and Vivi Bach, and the sequel Unsere tollen Nichten/Our Mad Nieces (Rolf Olsen, 1962).

During the early 1960s, she appeared mainly in small roles in Austrian films: in comedies and Schlager films. Some titles are Das haben die Mädchen gern/That’s What the Girls Like (Kurt Nachmann, 1962) with Ann Smyrner, and Tanze mit mir in den Morgen/Dance with Me Into the Morning (Peter Dörre, 1962) with Rex Gildo.

She also played the female lead in the adventure comedy Unter Wasser küßt man nicht/Under Water One Doesn’t Kiss (Erich Heindl, 1962) opposite Gunther Philipp. It would not become her breakthrough role, and in the following years her parts in films became smaller.

Those films included Rote Lippen soll man küssen/Red Lips Should Be Kissed (Franz Antel, 1963) starring Johanna Matz, Allotria in Zell am See/Larking about in Zell am See (Franz Marischka, 1963) and Jetzt dreht die Welt sich nur um dich/The World Turns Around Now (Wolfgang Liebeneiner, 1964), all fluffy and forgettable.

Evi found bigger roles in comedies on television, like next to Hannelore Auer in Eheinstitut Harmonie/Marriage Institute Harmony (Dieter Pröttel, 1964), in Mitternachtszauber/Midnight Magic (Ralph Lothar, 1964) with Beppo Brem, and in Der doppelte Moritz/Thre Double Moritz (Fred Kraus, 1966) starring popular comedian Willy Millowitsch.

She often performed as a singer on TV, like in the Silvester Show (Dieter Pröttel, 1964) and Es funkeln die Sterne - Eine musikalische Silvesterreise um die Welt/Stars Twinkle - A Musical Christmas Trip Around the World (Paul Martin, Dieter Wendrich, 1966).

The following years her appearances became rarer. On TV she was seen next to Georg Thomalla in an episode of Komische Geschichten mit Georg Thomalla/Funny Stories With Georg Thomalla, and in the musical Auf der grünen Wiese/At the Green Meadow (Edwin Zbonek, 1971).

In the cinema she was last seen in Blau blüht der Enzian/Blue Blossoms the Gentian (Franz Antel, 1973), a comedy set in the winter resort of Kitzbühel in Tyrol, Austria, starring TV host Ilja Richter. On television she was last seen in an episode of the Austrian TV series Alfred auf Reisen/Afred on Voyage (1982, Kurt Junek, Hemut Pfandler) featuring Alfred Böhm.

And from then on all traces of beautiful Evi Kent disappeared…

Evi Kent
German postcard by WS-Druck,Wanne-Eickel. Photo: Delos / Constantin/Gabriele.

Evi Kent
German autograph card. Photo: Sponner.


Evi Kent sings Warum drehn' sich alle Männer nach mir um? (1956). Source: Blackeyedjoe (YouTube).


Evi Kent sings Mauerblümchen (1956). Source: Blackeyedjoe (YouTube).

Sources: BlackeyedJoe (YouTube) and IMDb.

18 November 2017

Erika Remberg (1932-2017)

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

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

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

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

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

Turkish Production


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

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

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

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

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

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

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

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

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

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

Laila


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

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

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

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

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

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

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

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

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

Circus of Horrors


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

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

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

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

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

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

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

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

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

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

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

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


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


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


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

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

17 November 2017

Massilia

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

Jean Gabin
Jean Gabin. French collectors card by Massilia.

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

Fernandel
Fernandel. French collectors card by Massilia.

Jules Berry
Jules Berry. French collectors card by Massilia.

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

A Greek Colony


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

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

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

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

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

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

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

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

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

Elvire Popesco
Elvire Popesco. French collectors card by Massilia.

Different Poses


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

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

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

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

Marie Glory
Marie Glory. French card by Massilia.

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

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

Conchita Montenegro
Conchita Montenegro. French collectors card by Massilia.

Dita Parlo
Dita Parlo. French collectors card by Massilia.

Dolly Mollinger
Dolly Mollinger. French collectors card by Massilia.

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

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

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

Tino Rossi
Tino Rossi. French card by Massilia.

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

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

Maurice Chevalier
Maurice Chevalier. French collectors card by Massilia.

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

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