German postcard by Film-Foto-Verlag, no. A 3958/2, 1941-1944. Photo: Baumann.

Ernst von Klipstein (1908-1993) was a rangy, masculine German supporting actor and occasional lead. He performed on stage from 1925. Von Klipstein became a prominent actor during the Nazi era, mainly for Universum AG (Ufa) where he was often cast as an officer, chief engineer or other authority figure. After the war, he was much in demand for synchronising work, radio plays and as a guest star on TV.

Ernst Vollrath von Klipstein was born in 1908 in Posen, Prussia in the German Empire ( now Poznan, Wielkopolskie, Poland). He first studied law and theatre studies for six semesters. At the same time, he took acting lessons with Jacobi in Munich. In 1925 he made his stage debut as Leon in Franz Grillparzer's 'Weh dem, der lügt' at the Landestheater Darmstadt. This was followed by theatres in Regensburg, Meiningen, Bochum, Cologne, Kassel, Frankfurt am Main and Leipzig. He played, among others, Don Carlos, Max Piccolomini in Friedrich Schiller's 'Wallenstein', Cardinal Julian in Franz Werfel's 'Das Reich Gottes in Böhmen'(both in Bochum), Ferdinand in Schiller's 'Kabale und Liebe' (Intrigue and Love, in Frankfurt) and "Marchbanks" in George Bernard Shaw's 'Candida' (in Kassel). At the end of 1938 Ernst von Klipstein made his feature film debut in Gustav Ucicky's Aufruhr in Damaskus/Riot in Damascus. Until the end of the war, he played mostly striking supporting roles in numerous Ufa productions, which came close to the ideal of the country junker and the Prussian officer of the time. He played under the direction of Viktor Tourjansky in Der Gouverneur/The Governor (1939) and under the direction of Boleslaw Barlog in Unser kleiner Junge/Our Little Boy (1941). Alongside Heinrich George and Ilse Werner, he appeared in the historical comedy Hochzeit auf Bärenhof/Wedding in Barenhof (Carl Froelich, 1942) after Hermann Sudermann. He co-starred with Hans Söhnker and Anneliese Uhlig in the Propaganda film Blutsbrüderschaft/Blood Brotherhood (Philipp Lothar Mayring, 1941) as well as in two tendentious Nazi propaganda films by Karl Ritter, Stukas (1941) with Carl Raddatz and Besatzung Dora/Occupation Dora (1943), starring Hannes Stelzer. Von Klipstein was on the Gottbegnadeten list of the Reich Ministry for Popular Enlightenment and Propaganda in 1944.

After the 1940s, Ernst von Klipstein only appeared in a few film productions. The theatre formed the hub of his activity after the war for the time being. His rare appearances in post-war cinema include Skandal um Dr. Vlimmen/Dr. Vlimmen (Arthur Maria Rabenalt, 1956) starring Bernhard Wicki, the historical drama Die Barrings/The Barrings (Rolf Thiele, 1955) with Dieter Borsche and Nadja Tiller, the war drama Hunde, wollt ihr ewig leben/Stalingrad: Dogs, Do You Want to Live Forever? (Frank Wisbar, 1959) and the Johannes Mario Simmel adaptation Der Stoff aus dem die Träume sind/The Stuff That Dreams Are Made Of (Alfred Vohrer, 1972, starring Hannelore Elsner. Instead, he increasingly took part in lavish television productions such as the miniseries Bauern, Bonzen und Bomben/Farmers, Politics and Bombs (Egon Monk, 1973) an adaptation of Hans Fallada's novel, the historical series Der Winter, der ein Sommer war/The winter that was a summer (Fritz Umgelter, 1976) after the novel of the same name by Sandra Paretti, the family saga Die Pawlaks/The Pawlaks (Wolfgang Staudte, 1982) and the series Nirgendwo ist Poenichen/Nowhere is Poenichen (1980) after the bestseller by Christine Brückner. He also acted as Grandfather de Bonsac in the acclaimed series Tadellöser & Wolff (Eberhard Fechner, 1975), based on the novels by Walter Kempowski. Von Klipstein also took on numerous guest roles in television series and serials such as Tatort, Sonderdezernat K1, Der Landarzt, Großstadtrevier, Die fünfte Kolonne, Percy Stuart and Die Schwarzwaldklinik. He also worked extensively as a voice actor for German versions of international films between 1949 and 1991. He lent his distinctive voice to Gary Cooper in Along Came Jones (Stuart Heisler, 1945), Rex Harrison in The Rake’s Progress (Sidney Gilliat, 1945), Michael Redgrave in The Importance of Being Earnest (Anthony Asquith, 1952), and among others. Von Klipstein was also often engaged as a radio play narrator. Ernst von Klipstein was married four times, with Deli Maria Teichen, actress Lotte Koch, Elisabeth Biebl and finally with the actress Marianne Kehlau. He died in Hamburg in 1993 at the age of 85 and was buried at the Waldfriedhof in Hamburg-Volksdorf, as was his second wife Lotte Koch, whose name is not engraved on the gravestone.

Sources: Wikipedia (German and English) and IMDb.

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German postcard by Ross Verlag, no. A 3260/1, 1941-1944. Photo: Baumann / Terra.

Ludwig Schmitz (1996-1953) was a short, stocky character comedian, who often appeared as comic support in German films of the 1930s. In 1939 and 1940 he and Jupp Hussels impersonated the pair Tran und Helle, who had countless entrances in short films which were shown as a contribution to the Wochenschau. He fell foul of the regime in 1941 and did not make a comeback until 1950.

Ludwig Joseph Schmitz was born in 1884 in Cologne, North Rhine-Westphalia, Germany. He was the son of the master cap maker Joseph Schmitz and his wife Louise née Klubschewsky. Ludwig worked in his father's business and took acting lessons on the side. He started his stage career as a teenager. Around 1900, he got his first engagement at the Stadttheater Nordhausen. Later followed engagements in Mannheim, Düsseldorf, Münster and Munich, where he normally played funny roles. He was also used as comic support in German films of the 1930s. He made his film debut with the Nazi Propaganda film Um das Menschenrecht/For the Rights of Man (Hans Zöberlein, Ludwig Schmid-Wildy, 1934). In the following years, he played supporting parts in such entertainment films as Der ahnungslose Engel/The unsuspecting angel (Franz Seitz, 1935) starring Joe Stöckel and Lucie English and Urlaub auf Ehrenwort/Furlough on Parole (Karl Ritter, 1937). He was regarded as a typical representative of Cologne humour. At the same time, he continued his theatre career and got involved in the Wehrmacht request program. From 1937 Schmitz worked mainly at Berlin theatres. In the years 1939 and 1940, he and Jupp Hussels played the pair "Tran und Helle" in countless short films which were shown as a contribution to the Wochenschau.

Despite having joined both the SS in 1934 and the NSDAP in 1937, Ludwig Schmitz was imposed with a working prohibition in 1941 because of "unworthy behaviour". The only exception was his support role as Büttenredner in Veit Harlan's melodrama Opfergang/The Great Sacrifice (Veit Harlan, 1944) starring Carl Raddatz and Kristina Söderbaum. After the war, Ludwig Schmitz could not make a comeback until 1950. Then he went on from his earlier successes and entertained the public with his typical sense of humour. A big box office hit was the Heimatfilm Grün ist die Heide/The Heath Is Green ( Hans Deppe, 1951) starring Sonja Ziemann and Rudolf Prack. From then on, he often appeared in films, including Am Brunnen vor dem Tore/At the Well in front of the Gate (Hans Wolff, 1952) starring Sonja Ziemann, and Der keusche Josef/The chaste Joseph (Carl Boese, 1953) with Waltraut Haas. In 1954, Ludwig Schmitz died of a heart attack in Münster, North Rhine-Westphalia, Germany. He was 70. Schmitz was buried in the Lauheide forest cemetery near Telgte.

Sources: Wikipedia (German and English) and IMDb.

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

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German postcard by Film-Foto-Verlag, no. A 3488/1, 1941-1944. Photo: Baumann / Terra.

Ludwig Schmitz (1996-1953) was a short, stocky character comedian, who often appeared as comic support in German films of the 1930s. In 1939 and 1940 he and Jupp Hussels impersonated the pair Tran und Helle, who had countless entrances in short films which were shown as a contribution to the Wochenschau. He fell foul of the regime in 1941 and did not make a comeback until 1950.

Ludwig Joseph Schmitz was born in 1884 in Cologne, North Rhine-Westphalia, Germany. He was the son of the master cap maker Joseph Schmitz and his wife Louise née Klubschewsky. Ludwig worked in his father's business and took acting lessons on the side. He started his stage career as a teenager. Around 1900, he got his first engagement at the Stadttheater Nordhausen. Later followed engagements in Mannheim, Düsseldorf, Münster and Munich, where he normally played funny roles. He was also used as comic support in German films of the 1930s. He made his film debut with the Nazi Propaganda film Um das Menschenrecht/For the Rights of Man (Hans Zöberlein, Ludwig Schmid-Wildy, 1934). In the following years, he played supporting parts in such entertainment films as Der ahnungslose Engel/The unsuspecting angel (Franz Seitz, 1935) starring Joe Stöckel and Lucie English and Urlaub auf Ehrenwort/Furlough on Parole (Karl Ritter, 1937). He was regarded as a typical representative of Cologne humour. At the same time, he continued his theatre career and got involved in the Wehrmacht request program. From 1937 Schmitz worked mainly at Berlin theatres. In the years 1939 and 1940, he and Jupp Hussels played the pair "Tran und Helle" in countless short films which were shown as a contribution to the Wochenschau.

Despite having joined both the SS in 1934 and the NSDAP in 1937, Ludwig Schmitz was imposed with a working prohibition in 1941 because of "unworthy behaviour". The only exception was his support role as Büttenredner in Veit Harlan's melodrama Opfergang/The Great Sacrifice (Veit Harlan, 1944) starring Carl Raddatz and Kristina Söderbaum. After the war, Ludwig Schmitz could not make a comeback until 1950. Then he went on from his earlier successes and entertained the public with his typical sense of humour. A big box office hit was the Heimatfilm Grün ist die Heide/The Heath Is Green ( Hans Deppe, 1951) starring Sonja Ziemann and Rudolf Prack. From then on, he often appeared in films, including Am Brunnen vor dem Tore/At the Well in front of the Gate (Hans Wolff, 1952) starring Sonja Ziemann, and Der keusche Josef/The chaste Joseph (Carl Boese, 1953) with Waltraut Haas. In 1954, Ludwig Schmitz died of a heart attack in Münster, North Rhine-Westphalia, Germany. He was 70. Schmitz was buried in the Lauheide forest cemetery near Telgte.

Sources: Wikipedia (German and English) and IMDb.

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

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German postcard by Ross Verlag, no. A 3317/2, 1941-1944. Photo: Baumann / Terra. Camilla Horn in Friedemann Bach (Traugott Müller, Gustaf Gründgens, 1941).

Ethereally blonde Camilla Horn (1903-1996) was a German dancer and film star. Her breakthrough role was Gretchen in the silent film classic Faust (Friedrich Wilhelm Murnau, 1926). She also starred in some Hollywood films of the late 1920s and a few British and Italian productions.

Camilla Martha Horn was born in Frankfurt am Main, Germany, in 1903. She was the daughter of a civil servant. Horn was educated as a dressmaker and worked in Erfurt. She took dance lessons and made her stage debut as a dancer in a cabaret. Her film debut was in the Alexandre Dumas père adaptation Kean (Rudolph Biebrach, 1921). In the following years, she had a few appearances as an extra. In 1925, she worked as an extra in Madame wünscht keine Kinder/Madame Doesn't Want Any Children (Alexander Korda, 1925) with Marlene Dietrich, and in Tartüff/Tartuffe (Friedrich Wilhelm Murnau, 1925) she was a double for the female star, Lil Dagover. Camilla Horn's great chance came when director Friedrich Wilhelm Murnau prepared a film version of Goethe's 'Faust'. He had asked Hollywood star Lillian Gish to play Gretchen in the lavish Ufa production, but she insisted that the film should be shot by her favourite cinematographer, Charles Rosher. Therefore, Murnau decided to cast the newcomer he had met on the set of Tartüff (1925). The completely unknown Horn proved to be the ideal casting for the role and Faust (Friedrich Wilhelm Murnau, 1926) made her a star. She signed a four-year contract with the Ufa and acted in Jugendrausch/Youth Frenzy (Georg Asagaroff, Wladyslaw Starewicz, 1927) and Der fröhliche Weinberg/The Merry Weinberg (Jacob Fleck, Luise Fleck, 1927).

In 1928 Camilla Horn sailed for Hollywood where she became the mistress of producer Joseph Schenck and played in two United Artists productions. She starred in Tempest (Sam Taylor, 1928) and in Eternal Love (Ernst Lubitsch, 1929) both opposite John Barrymore. She returned to Europe, and made popular films like Die grosse Sehnsucht/The Great Desire (Steve Sekely, 1930), Hans in allen Gassen (Carl Froelich, 1930) with Hans Albers, Moral und Liebe/Morals and Love (Georg Jacoby, 1933), Die grosse Chance/The Big Chance (Victor Janson, 1934), Ein Walzer für dich/A Waltz for You (Georg Zoch, 1934), Der rote Reiter/The Red Rider (Rolf Randolf, 1935), Gauner im Frack/crook in Tails (Johannes Riemann, 1938) and Fahrendes Volk/Driving People (Jacques Feyder, 1938) again at the side to Hans Albers. She refused to follow the official line of the Nazis and was prosecuted for a monetary offence. During the war, she got only minor parts or she acted in Italian productions like Paura d'amare/Fear of Loving (Gaetano Amata, 1942). The German cinema of the post-war years offered Camilla Horn only rarely roles in films like Königin der Arena/Queen of the Arena (Rolf Meyer, 1952) and Vati macht Dummheiten/Daddy Does Dumb (Johannes Häussler, 1953). Late in life, she made a comeback in Schloss Königswald/Castle Königswald (Peter Schamoni, 1988), an hommage to former film stars like Camilla Horn and Marianne Hoppe, Carola Höhn, Marika Rökk and Rose Renée Roth. The all-star cast was awarded the Bavarian Film Award for Best Actress of 1988. Her last appearance was in the TV drama Die Spinnen/The Spiders (Pál Erdöss, 1989). Camilla Horn died in Gilching, Germany, in 1996.

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

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German postcard by Film-Foto-Verlag, no. A 3463/1, 1941-1944. Photo: Baumann / Ufa.

Sabine Peters (1913-1982) was a fresh-faced German theatre and film actress. During the 1930s, she played supporting and occasional leading roles in several mainstream romances and comedies for the Ufa. For Carl Froelich, she played a young student in two films but she had her breakthrough as the selfish and jealous daughter of Lil Dagover in Das Mädchen Irene/The Girl Irene (1936).

Sabine Peters was born in 1913 in Berlin. The merchant's daughter studied acting with Ilka Grüning. After her studies, she was accepted directly into the ensemble of Agnes Straub at the Berliner Theater am Kurfürstendamm, where she played ingénue roles until 1938. In that year she also made her film debut as one of the eight school girls in the musical drama Acht Mädels im Boot/Eight Girls in a Boat (Erich Waschneck, 1938) starring Karin Hardt and Theodor Loos. In the following year, she already played at the side of important actors of that time as Heinrich George, Hertha Thiele and Albert Lieven in the drama Reifende Jugend/Ripening Youth (Carl Froelich, 1933). She played one of three girls who start at an elite school in Lübeck. The film was inspired by the earlier German romantic drama and cult classic Madchen in Uniform/Girls in Uniform (Leontine Sagan, 1931) also with Thiele and with artistic direction from Carl Froelich, who also funded that film. The actor and director Fritz Kampers then engaged Peters for the Bavarian comedy Konjunkturritter/Knights of the Economy (Fritz Kampers, 1934) with the famous folk actor Weiß Ferdl.

Sabine Peters had her breakthrough with Geraldine Katt and Lil Dagover in the Ufa problem film Das Mädchen Irene/The Girl Irene (Reinhold Schünzel, 1936). She played Irene, a selfish and jealous young girl who tries to prevent the remarriage of her attractive mother by all means. Familiar with classical roles on the stage, she appeared with Heinrich George, Ida Wüst and Rotraut Richter in Der Biberpelz/The Beaver Coat (Jürgen von Alten, 1937), the film adaptation of Gerhart Hauptmann's stage comedy 'Der Biberpelz'. In 1938 followed the comedy Rätsel um Beate/Mystery around Beate (Johannes Meyer, 1938), again with Lil Dagover and also with Albrecht Schoenhals. She was again a student in the drama Die vier Gesellen/The Four Companions (Carl Froelich, 1938), starring Ingrid Bergman. The film was intended as a star vehicle to launch Bergman's career in Germany following her success in several Swedish films. Sabine Peters married the opera singer Willi Domgraf-Fassbaender. From this marriage came their daughter Brigitte Fassbaender, born in 1939, who later became an important mezzo-soprano. After 1945 Sabine Peters performed mainly at the theatre. Her last role was a small part in the television film Die Weber/The Weavers (Fritz Umgelter, 1980, an adaptation of the stage play by Gerhart Hauptmann. Sabine Peters passed away in 1982 in Munich.

Sources: Wikipedia (German and English) and IMDb.

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

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