West German postcard by Ufa/Film-Foto, Berlin-Tempelhof, no. FK 3987. Photo: Wesel / Kurt Ulrich Film / DFH. Hans Albers in Der Greifer/The Ripper (Eugen York, 1958).

Jovial, pleasantly plump Hans Albers (1891-1960) was a superstar of German cinema between 1930 and 1945. He was also one of the most famous German singers of the twentieth century. His song 'Auf der Reeperbahn nachts um halb eins' (On the Reeperbahn at half past midnight) is the unofficial anthem of Hamburg’s neighbourhood of St. Pauli, famous for its brothels, music and nightclubs.

Hans Philipp August Albers was born in the North German port city of Hamburg in 1891. He was the son of a butcher and grew up in the Hamburg district of St. Georg. He was seriously interested in acting by his late teens and took acting classes without the knowledge of his parents. He debuted as a stage actor in Bad Schwandau, followed by engagements in Frankfurt, Güstrow, Cologne and Hamburg. His first film part was in Jahreszeiten des Lebens/Seasons of Life (Franz Hofer, 1915). Albers interrupted his career to serve in World War I, where he was badly wounded. After the war ‘der blonde Hans’ started as a comedic actor in various Berlin theatres. He appeared on-stage to great acclaim with Max Reinhardt's Deutsches Theater. Albers' breakthrough performance was that of a waiter in Ferdinand Bruckner's play Verbrecher (Criminals). His film roles ranged from Demetrius in A Midsummer Night's Dream (1924) to the title character in Rasputins Liebesabenteuer/Rasputin (Martin Berger, 1928). In Weimar Berlin, he began a relationship with half-Jewish actress Hansi Burg in 1925. She was the daughter of his acting teacher Eugen Burg. In 1944 Eugen Burg would be killed in the concentration camp Theresienstadt. Albers stopped working in theatre to distance himself from the Hitler regime, but the Nazis forced him in 1935 to end his relationship with Hansi Burg, who in 1938 emigrated to England via Switzerland. They secretly remained a couple with him even managing to send her financial support. Burg returned to Germany and Albers in 1946. Hans and Hansi would live together until his death in 1960.

After roles in over one hundred silent films, Hans Albers starred in the first German talkie, the romance Die Nacht gehört uns/The Night Belongs to Us (Carl Froelich, 1929) with Charlotte Ander. He then played big-mouthed strong man Mazeppa alongside Emil Jannings and Marlene Dietrich in Der blaue Engel/The Blue Angel (Josef von Sternberg, 1930), the film which made Dietrich an international star. Albers himself shot to fame with Der Greifer/The Snatcher (Richard Eichberg, 1930) about three crooks who are planning a jewel robbery. Albers enhanced his star status with similar daredevil roles in the 1930s. He was probably at his best when teamed up with Heinz Rühmann, as in Bomben auf Monte Carlo/Bombs Over Monte Carlo (Hanns Schwarz, 1931) and Der Mann, der Sherlock Holmes war/The Man Who Was Sherlock Holmes (Karl Hartl, 1937). In the latter film Albers and Rühmann play two confidence tricksters who pretend to be the famous duo Holmes & Dr. Watson and the police, gangsters and girls believe them beyond any doubt. Another success was the comedy Quick (Robert Siodmak, 1932) in which he played a clown opposite Lilian Harvey.

Many of Hans Albers' songs from his films became huge hits and some even remain popular to this day. While Albers himself never supported the Nazi regime, he became the most popular actor of the Third Reich. Albers was paid a huge sum of money to star in Ufa's big-budgeted anniversary picture Münchhausen/The Adventures of Baron Munchausen (Josef von Baky, 1943) but was always careful not to give the impression that he was endorsing the National Socialist regime. Joseph Goebbels, Reich Minister of Propaganda in Nazi Germany had commissioned this lavish production as a commemoration of the 25th anniversary of Ufa, the government-run German film association. More importantly, it was also to be a rival of the great fantasy films which had come from the Allied nations, such as The Wizard of Oz (Victor Fleming, 1939) and The Thief of Bagdad (Ludwig Berger, Michael Powell, Tim Whelan, 1940). On IMDb, Ron Oliver writes: "In that, it succeeds brilliantly and needs no comparison to any other film." In 1943 Albers also starred in another classic, Große Freiheit Nr. 7/Great Freedom No. 7 (Helmut Käutner, 1943) with Ilse Werner. The film was banned by the censorship of the Third Reich because the story was considered too 'anti-heroic' and demoralizing how German sailors and women were portrayed. The film could only be shown outside Germany. IMDb reviewer Jan Onderwater comments: "From directing till script, from acting till (Agfa colour) photography this is a brilliant film, with everyone involved giving the best of their talents. What we see is a compelling drama, well balanced, psychologically well conceived and at the same time a film that is great fun to watch over and over again. In this film, there are only people and their lives who are not up to standard Nazi definition."

After World War II, Hans Albers matured into character parts to some public and critical acclaim, but he never again enjoyed the huge stardom of the 1930s and early 1940s. One of his better roles of this period was an ageing industry tycoon in Vor Sonnenuntergang/Before Sundown (Gottfried Reinhardt, 1956), which won the Golden Globe as Best Foreign Film of the Year. On IMDb reviewer Diger Jantzen notes: "Hans Albers' performance is heartbreaking from the start until the end and it is clearly one of his best serious performances ever." Albers' final film was the crime comedy Kein Engel ist so rein/No Angel Is That Pure (Wolfgang Becker, 1960) with Sabine Sinjen. Today he is probably more known for his music than his films, and his music is still widely-known in modern Germany, even among young people. Many of Albers' songs were humorous tales of drunken, womanizing sailors on shore leave, with double entendres such as "It hurts the first time, but with time, you get used to it" in reference to a girl falling in love for the first time. Albers' songs were often peppered with expressions in Low German, which is spoken in Northern Germany. His most famous song is by far 'Auf der Reeperbahn nachts um halb eins' (On the Reeperbahn at half past midnight) which has become the unofficial anthem of the colourful neighbourhood of St. Pauli. The Hans-Albers-Platz, one block south of the Reeperbahn, has a statue of Albers, by the German artist Jörg Immendorff. Outside of Northern Europe, however, Albers remains virtually unknown, although the image of an older man in a seaman's cap and raincoat playing accordion and singing may be recognised by many outside of Germany, even if they don't know that this image is based on Hans Albers. As a case in point, McDonald's used such an image in an American television ad campaign in 1986. In reality, Albers had no experience on the water, this being restricted to a one-day trip to Helgoland. Hans Albers died in Kempfenhausen, Bavaria, in 1960. After his death, the Wilhelmplatz, a square in St. Pauli, was named after him. In 1989, Hans Albers was the subject of a biographical docudrama, 'In Meinem Hertzen Schatz' (In My Heart's Treasure.)

Sources: Hal Erickson (AllMovie), Thomas Staedeli (Cyranos), Filmportal.de, Wikipedia and IMDb.

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

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Austrian postcard by Kellner-Fotokarten, Wien, no. 987. Photo: Constantin-Film / Berolina / Wesel. Margit Saad in Was die Schwalbe sang/What the swallow sang (Géza von Bolváry, 1956).

On 7 August 2023, German actress Margit Saad (1929) passed away in Munich, Germany at the age of 94. The mysterious, exotic beauty worked largely in German film and television. During the 1960s, she also made occasional English-language appearances.

Margit Daisy Saad was born in Munich, Bavaria in 1929. She was the daughter of the Lebanese language professor Fuad Jabbour Saad and German language teacher Agnes Saad, born Diepgen. Margit studied acting at the Otto-Falckenberg-Schule in Munich. To finance her studies, she worked as a model. She had her first stage engagement in Düsseldorf. Saad made her screen debut in the Austrian comedy Eva erbt das Paradies... ein Abenteuer im Salzkammergut/Eva Inherits Paradise (Franz Antel, 1951), starring Maria Andergast. She also appeared as a nun in the West German drama Hinter Klostermauern/The Unholy Intruders (Harald Reinl, 1952) starring Olga Tschechowa, Frits van Dongen (a.k.a. Philip Dorn) and Katharina Mayberg. She played leading roles in the romantic musical Südliche Nächte/Southern Nights (Robert A. Stemmle, 1953), the operetta Baron Tzigane/Gypsy Baron (Arthur Maria Rabenalt, 1954) with Georges Guétary, and the romantic comedy Drei Mädels vom Rhein/Three girls from the Rhine (Ernst Jacoby, 1955). In the Swedish-German coproduction Sommarflickan/Swedish Girl (Håkan Bergström, Thomas Engel, 1955), she had a part opposite Maj-Britt Nilsson and Karlheinz Böhm A popular success was the West German crime-comedy Peter Voss, der Millionendieb/Peter Voss, Thief of Millions (Wolfgang Becker, 1958) featuring O.W. Fischer. It was based on the 1913 novel Peter Voss, Thief of Millions by Ewald Gerhard Seeliger, which had been previously adapted into three films. In France, she appeared in Les dragueurs/The Dredgers (Jean-Pierre Mocky, 1959). Other films that year were Heiße Ware/Hot goods (Paul May, 1959) with Ivan Desny, and the teen musical Melodie und Rhythmus/Melody and Rhythms (John Olden, 1959) with teen idol Peter Kraus.

In 1960 Margit Saad starred in the British drama The Criminal (Joseph Losey, 1960) with Stanley Baker and Sam Wanamaker. Mario Gauci at IMDb: “While essentially character-driven, the film's seedy milieu and sadistic streak allows for a number of vivid sequences (though the race-track robbery itself is rather thrown away!) including the wild party held at Baker's flat on being released from prison (highlighting sexy Margit Saad who subsequently replaces Jill Bennett as Baker's moll), the equally chaotic prison riot, Baker's escape from the penitentiary (having been betrayed after the robbery and recaptured) and the inevitable showdown with the ruthless Wanamaker.” She followed it up with appearances in other British films such as The Rebel (Robert Day, 1961) with Tony Hancock and George Sanders, and the low-budget thriller Playback (Quentin Lawrence, 1962). The latter was one of a series of British films based on Edgar Wallace novels, released between 1960 and 1965. On TV she appeared opposite Roger Moore in an episode of The Saint, The Saint Sees It Through (Robert S. Baker, 1964). And in the cinema, she supported TV comedians Eric Morecambe and Ernie Wise in The Magnificent Two (Cliff Owen, 1967). In Germany, she co-starred with Stewart Granger in the Edgar Wallace crime film Das Geheimnis der drei Dschunken/Code Name Alpha (Ernst Hofbauer, 1965). In 1966, Saad appeared in an episode of the American television espionage series Blue Light, starring Robert Goulet and Christine Carère. It was edited together with three other episodes into the feature film I Deal in Danger (Walter Grauman, 1966), which includes her appearance. Later she also appeared in Grauman’s war film The Last Escape (Walter Grauman, 1969) starring Stuart Whitman. It was her last film, but she continued to appear incidentally on German TV. Saad also started to direct TV films, including the drama Die Geschichte vom guten alten Herrn und dem schönen Mädchen/The Story of the good old gentleman and the beautiful girl (1986) with Peter Pasetti. From 1957 till his death in 1988, Margit Saad was married to noted French opera director Jean-Pierre Ponnelle. They had one son, conductor Pierre-Dominique Ponnelle.

Sources: Mario Gauci (IMDb), British Film Institute, Wikipedia (English and German) and IMDb.

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

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Austrian postcard by Kellner-Fotokarten, Wien, no. 949. Photo: Constantin-Film / Berolina / Wesel. Margit Saad in Was die Schwalbe sang/What the swallow sang (Géza von Bolváry, 1956).

On 7 August 2023, German actress Margit Saad (1929) passed away in Munich, Germany at the age of 94. The mysterious, exotic beauty worked largely in German film and television. During the 1960s, she also made occasional English-language appearances.

Margit Daisy Saad was born in Munich, Bavaria in 1929. She was the daughter of the Lebanese language professor Fuad Jabbour Saad and German language teacher Agnes Saad, born Diepgen. Margit studied acting at the Otto-Falckenberg-Schule in Munich. To finance her studies, she worked as a model. She had her first stage engagement in Düsseldorf. Saad made her screen debut in the Austrian comedy Eva erbt das Paradies... ein Abenteuer im Salzkammergut/Eva Inherits Paradise (Franz Antel, 1951), starring Maria Andergast. She also appeared as a nun in the West German drama Hinter Klostermauern/The Unholy Intruders (Harald Reinl, 1952) starring Olga Tschechowa, Frits van Dongen (a.k.a. Philip Dorn) and Katharina Mayberg. She played leading roles in the romantic musical Südliche Nächte/Southern Nights (Robert A. Stemmle, 1953), the operetta Baron Tzigane/Gypsy Baron (Arthur Maria Rabenalt, 1954) with Georges Guétary, and the romantic comedy Drei Mädels vom Rhein/Three girls from the Rhine (Ernst Jacoby, 1955). In the Swedish-German coproduction Sommarflickan/Swedish Girl (Håkan Bergström, Thomas Engel, 1955), she had a part opposite Maj-Britt Nilsson and .Karlheinz Böhm A popular success was the West German crime-comedy Peter Voss, der Millionendieb/Peter Voss, Thief of Millions (Wolfgang Becker, 1958) featuring O.W. Fischer. It was based on the 1913 novel Peter Voss, Thief of Millions by Ewald Gerhard Seeliger, which had been previously adapted into three films. In France, she appeared in Les dragueurs/The Dredgers (Jean-Pierre Mocky, 1959). Other films that year were Heiße Ware/Hot goods (Paul May, 1959) with Ivan Desny, and the teen musical Melodie und Rhythmus/Melody and Rhythms (John Olden, 1959) with teen idol Peter Kraus.

In 1960 Margit Saad starred in the British drama The Criminal (Joseph Losey, 1960) with Stanley Baker and Sam Wanamaker. Mario Gauci at IMDb: “While essentially character-driven, the film's seedy milieu and sadistic streak allows for a number of vivid sequences (though the race-track robbery itself is rather thrown away!) including the wild party held at Baker's flat on being released from prison (highlighting sexy Margit Saad who subsequently replaces Jill Bennett as Baker's moll), the equally chaotic prison riot, Baker's escape from the penitentiary (having been betrayed after the robbery and recaptured) and the inevitable showdown with the ruthless Wanamaker.” She followed it up with appearances in other British films such as The Rebel (Robert Day, 1961) with Tony Hancock and George Sanders, and the low budget thriller Playback (Quentin Lawrence, 1962). The latter was one of a series of British films based on Edgar Wallace novels, released between 1960 and 1965. On TV she appeared opposite Roger Moore in an episode of The Saint, The Saint Sees It Through (Robert S. Baker, 1964). And in the cinema, she supported TV comedians Eric Morecambe and Ernie Wise in The Magnificent Two (Cliff Owen, 1967). In Germany, she co-starred with Stewart Granger in the Edgar Wallace crime film Das Geheimnis der drei Dschunken/Code Name Alpha (Ernst Hofbauer, 1965). In 1966, Saad appeared in an episode of the American television espionage series Blue Light, starring Robert Goulet and Christine Carère. It was edited together with three other episodes into the feature film I Deal in Danger (Walter Grauman, 1966), which includes her appearance. Later she also appeared in Grauman’s war film The Last Escape (Walter Grauman, 1969) starring Stuart Whitman. It was her last film, but she continued to appear incidentally on German TV. Saad also started to direct TV films, including the drama Die Geschichte vom guten alten Herrn und dem schonen Madchen/The story of the good old gentleman and the beautiful girl (1986) with Peter Pasetti. From 1957 till his death in 1988, Margit Saad was married to noted French opera director Jean-Pierre Ponnelle. They had one son, conductor Pierre-Dominique Ponnelle.

Sources: Mario Gauci (IMDb), British Film Institute, Wikipedia (English and German) and IMDb.

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

Tags:   Margit Saad Margit Saad German Actress European Film Star Stage Theater Theatre Film Cinema Cine Kino Picture Screen Movie Movies Filmster Star Vintage Postcard carte Postale Cartolina Tarjet Postal Postkarte Postkaart Briefkarte Briefkaart Ansichtskarte Ansichtkaart R.I.P. Kellner-Fotokarten Berolina Constantin-Filmverleih Constantin Wesel Was die Schwalbe sang 1956

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West German postcard by Kunst und Bild, Berlin-Charlottenburg. Photo: Gloria-Film / Wesel. Margit Saad and Eddie Constantine in Hoppla, jetzt kommt Eddie/Hoopla, Now Comes Eddie (Werner Klingler, 1958). Sent by mail in 1960.

On 7 August 2023, German actress Margit Saad (1929) passed away in Munich, Germany at the age of 94. The mysterious, exotic beauty worked largely in German film and television. During the 1960s, she also made occasional English-language appearances.

Margit Daisy Saad was born in Munich, Bavaria in 1929. She was the daughter of the Lebanese language professor Fuad Jabbour Saad and German language teacher Agnes Saad, born Diepgen. Margit studied acting at the Otto-Falckenberg-Schule in Munich. To finance her studies, she worked as a model. She had her first stage engagement in Düsseldorf. Saad made her screen debut in the Austrian comedy Eva erbt das Paradies... ein Abenteuer im Salzkammergut/Eva Inherits Paradise (Franz Antel, 1951), starring Maria Andergast. She also appeared as a nun in the West German drama Hinter Klostermauern/The Unholy Intruders (Harald Reinl, 1952) starring Olga Tschechowa, Frits van Dongen (a.k.a. Philip Dorn) and Katharina Mayberg. She played leading roles in the romantic musical Südliche Nächte/Southern Nights (Robert A. Stemmle, 1953), the operetta Baron Tzigane/Gypsy Baron (Arthur Maria Rabenalt, 1954) with Georges Guétary, and the romantic comedy Drei Mädels vom Rhein/Three girls from the Rhine (Ernst Jacoby, 1955). In the Swedish-German coproduction Sommarflickan/Swedish Girl (Håkan Bergström, Thomas Engel, 1955), she had a part opposite Maj-Britt Nilsson and .Karlheinz Böhm A popular success was the West German crime-comedy Peter Voss, der Millionendieb/Peter Voss, Thief of Millions (Wolfgang Becker, 1958) featuring O.W. Fischer. It was based on the 1913 novel Peter Voss, Thief of Millions by Ewald Gerhard Seeliger, which had been previously adapted into three films. In France, she appeared in Les dragueurs/The Dredgers (Jean-Pierre Mocky, 1959). Other films that year were Heiße Ware/Hot goods (Paul May, 1959) with Ivan Desny, and the teen musical Melodie und Rhythmus/Melody and Rhythms (John Olden, 1959) with teen idol Peter Kraus.

In 1960 Margit Saad starred in the British drama The Criminal (Joseph Losey, 1960) with Stanley Baker and Sam Wanamaker. Mario Gauci at IMDb: “While essentially character-driven, the film's seedy milieu and sadistic streak allows for a number of vivid sequences (though the race-track robbery itself is rather thrown away!) including the wild party held at Baker's flat on being released from prison (highlighting sexy Margit Saad who subsequently replaces Jill Bennett as Baker's moll), the equally chaotic prison riot, Baker's escape from the penitentiary (having been betrayed after the robbery and recaptured) and the inevitable showdown with the ruthless Wanamaker.” She followed it up with appearances in other British films such as The Rebel (Robert Day, 1961) with Tony Hancock and George Sanders, and the low budget thriller Playback (Quentin Lawrence, 1962). The latter was one of a series of British films based on Edgar Wallace novels, released between 1960 and 1965. On TV she appeared opposite Roger Moore in an episode of The Saint, The Saint Sees It Through (Robert S. Baker, 1964). And in the cinema, she supported TV comedians Eric Morecambe and Ernie Wise in The Magnificent Two (Cliff Owen, 1967). In Germany, she co-starred with Stewart Granger in the Edgar Wallace crime film Das Geheimnis der drei Dschunken/Code Name Alpha (Ernst Hofbauer, 1965). In 1966, Saad appeared in an episode of the American television espionage series Blue Light, starring Robert Goulet and Christine Carère. It was edited together with three other episodes into the feature film I Deal in Danger (Walter Grauman, 1966), which includes her appearance. Later she also appeared in Grauman’s war film The Last Escape (Walter Grauman, 1969) starring Stuart Whitman. It was her last film, but she continued to appear incidentally on German TV. Saad also started to direct TV films, including the drama Die Geschichte vom guten alten Herrn und dem schonen Madchen/The story of the good old gentleman and the beautiful girl (1986) with Peter Pasetti. From 1957 till his death in 1988, Margit Saad was married to noted French opera director Jean-Pierre Ponnelle. They had one son, conductor Pierre-Dominique Ponnelle.

Sources: Mario Gauci (IMDb), British Film Institute, Wikipedia (English and German) and IMDb.

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

Tags:   Margit Saad Margit Saad German Actress Europan Film Star Stage Theater Theatre Film Cinema Cine Kino Picture Screen Movie Movies Filmster Star Vintage Postcard carte Postale Cartolina Tarjet Postal Postkarte Postkaart Briefkarte Briefkaart Ansichtskarte Ansichtkaart R.I.P. Kunst und Bild Gloria Film Wesel Eddie Constantine Eddie Constantine

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West German postcard by Kunst und Bild, Berlin, no. I 462. Photo: Berolina / Constantin / Wesel. Hilde von Stolz in Charley's Tante/Charley's Aunt (Hans Quest, 1955).

Hilde von Stolz (1903-1973) was a blonde Austrian leading lady and supporting actress in Ufa films of the 1930s and 1940s.

Hilde von Stolz was born in 1903 in Schäßburg/Segesvár, Hungary, Austria-Hungary, now Sighisoara, Romania. She was the daughter of an officer. Hilde was trained for acting at the Max-Reinhardt-Seminar in Vienna and began her career at the Viennese Kammerspiele. She subsequently performed at various theatres in Vienna and at the Theater am Schiffbauerdamm in Berlin. Her film debut was in the silent film Der Schulmeister vom Lichtenthal (1928) under the pseudonym "Helen Steels". That same year, she moved to Berlin. In her second film role, she played the lead role opposite Reinhold Schünzel in the comedy Don Juan in der Mädchenschule/Don Juan in a Girls' School (Reinhold Schünzel, 1928). She used the pseudonym Helen Steels till 1933. At the Ufa, she established herself as a major film actress although she had to be satisfied with major supporting roles in well-known films such as Zu neuen Ufern/To New Shores (Detlef Sierck, 1937) with Zarah Leander and Kleiner Mann - ganz gross! (1938). She was often cast as ingénues, femmes fatales, elegant ladies, dancers or actresses.

Hilde von Stolz followed the political events in Germany critically and finally helped Jews to leave Germany. When she decided to leave Germany herself the outbreak of World War II nullified her plans and she had to stay in Germany. She continued her career during wartime and appeared among others as the wife of Duke Karl Alexander in the controversial propaganda film Jud Süss/Süss, the Jew (Veit Harlan, 1940) but also in films like the biopic Diesel (Gerhard Lamprecht, 1942) starring Willy Birgel and Münchhausen (Josef von Báky, 1942) starring Hans Albers. Diesel portrays the life of Rudolf Diesel, the German inventor of the diesel engine. It was one of a series of prestigious biopics made in Nazi Germany portraying genius inventors or artists struggling against the societies in which they live. After the war, she only appeared in a few more films. Her last films include the melodrama Ehe im Schatten/Marriage in the Shadows (Kurt Maetzig, 1947) released by DEFA, the comedy Charleys Tante/Charley's Aunt (Hans Quest, 1955) with Heinz Rühmann and Die Trapp-Familie/The Trapp Family (Wolfgang Liebeneiner, 1956) starring Ruth Leuwerik. Die Trapp-Familie became one of the most successful German films of the 1950s and was the inspiration for the even more fictionalised Broadway musical 'The Sound of Music' (1959), and its highly successful 1965 film version. Her final screen appearance was in the TV movie Ein Mann Gottes (Oswald Döpke, 1967). Hilde von Stolz died in 1973 in West Berlin, West Germany. She was buried in the family vault.

Sources: Wikipedia (English and German) and IMDb.

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

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