German postcard by Ross Verlag, no. 9274/1, 1935-1936. Photo: Ufa.

British-born, German actress and singer Lilian Harvey (1906-1968) was Ufa's biggest star of the 1930s. With Willy Fritsch, she formed the 'Dream Team of the European Cinema'. Their best film was the popular film Operetta Der Kongress tanzt/Congress Dances (Erik Charell, 1931).

From the mid-1920s on, charming Willy Fritsch (1901-1973) replaced Bruno Kastner and Harry Liedtke as the darling of female cinemagoers in Germany. Fritsch became the immensely popular ‘Sunny Boy’ of the Ufa operettas of the 1930s and 1940s, and with his frequent co-star Lilian Harvey he formed the 'dream team of the German cinema'.

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

Tags:   Lilian Harvey Lilian Harvey British German Actress European Film Star Willy Fritsch Willy Fritsch Actor Film Kino Cine Cinema Picture Screen Movie Movies Filmster Star Darsteller Schauspieler Vintage Postcard Ross Verlag Ufa Flowers Aeroplane

© All Rights Reserved

Dutch postcard by Gebr. Spanjersberg N.V., Rotterdam, no. 5027, Dutch licence holder for Ufa/Film-Foto, Berlin-Tempelhof. Photo: Lufthansa / Ufa.

Swedish film actress, party girl and sex symbol Anita Ekberg (1931-2015) was nicknamed The Iceberg. Miss Sweden 1950 was contracted by Howard Hughes, had a Hollywood career in the 1950s, but got her real breakthrough in Italy. She made film history as the sensual, voluptuous film goddess who dances in the Trevi Fountain in Fellini’s La Dolce Vita (1960). She was also unforgettable as a sexy billboard figure coming to life in Fellini's short film Le Tentazioni del Dottor Antonio/The Temptation of Doctor Antonio (1962).

Kerstin Anita Marianne Ekberg was born in Malmö, Sweden in 1931. She grew up with seven brothers and sisters. Having six brothers around surely developed a fiercely independent spirit. In her teens, she worked as a fashion model, and in 1951 she was elected Miss Sweden. That year she also made her film début in the film journal Terras fönster nr 5/Terra Journal No. 5 (Olle Ekelund, 1951). According to several sources, Ekberg then went to the US for the Miss Universe contest - despite not speaking English - where she didn't win but did get a modelling contract. However, Marlene Pilate (La Collectionneuse) recently researched the Miss Universe contests and concluded that Ekberg was not in a Miss Universe contest. However, Anita Ekberg won second place in the European Miss Casino beauty contest in February 1952 in Amsterdam. The winner was the English contestant, Judy Breen, and the Miss Nederland, Betty van Proosdij, who came in third place. Marlene describes her research in an amusing post on Ekberg. Film mogul Howard Hughes gave her a contract with RKO but it didn't lead anywhere. Anita herself later claimed that Hughes wanted to marry her. Instead the voluptuous, husky-voiced blonde started making films for Universal. Her American début was as a Venusian guard in Abbott and Costello Go to Mars (Charles Lamont, 1953). This was soon followed by The Golden Blade (Nathan Juran, 1953) starring Rock Hudson. These were small roles that only required her to look beautiful. She was given the nickname ‘The Iceberg’ - a play on her name and her cool, quite mysterious demeanour. While at Universal, Anita Ekberg quickly became one of Hollywood’s hot starlets. She caught the hearts of many famous men including Tyrone Power, Errol Flynn, Frank Sinatra and Gary Cooper. Legendary director and photographer Russ Meyer called her 'the most beautiful woman he ever photographed' and said that her 40D bust line was 'the most ample in A list Hollywood history, dwarfing rivals like Jayne Mansfield'. Soon she became a major pin-up girl for the new type of men's magazine such as Playboy that proliferated in the 1950s. Ekberg also knew how to play the Hollywood tabloids and gossip columnists, creating stunts that she hoped would translate into film roles. Famously, she admitted that an incident where her dress burst open in the lobby of London's Berkeley Hotel was pre-arranged with a photographer. Her two marriages also gave her a lot of attention from the press. She married and divorced British actor Anthony Steel (1956-1959) and actor Rik Van Nutter (1963-1975). And she reportedly had a three-year affair with the late Fiat chairman Gianni Agnelli. The press also loved her saucy quotes, like: “I'm very proud of my breasts, as every woman should be. It's not cellular obesity. It's womanliness.”

Anita Ekberg would get several offers from other studios than Universal. Bob Hope joked that her parents had received the Nobel Prize for architecture when he was touring with her and William Holden to entertain US troops in 1954. The tour led her to a contract with John Wayne's Batjac Productions. Wayne cast her in Blood Alley (William A. Wellman, 1955), a small role where Ekberg's features and appearance were Orientalized to play a Chinese woman. The role earned her a Golden Globe award. Paramount Pictures then cast her in the funny comedies Artists and Models (Frank Tashlin, 1955) and Hollywood or Bust (Frank Tashlin, 1956), both starring Dean Martin and Jerry Lewis. These films showed off her stunning body but also used her as a foil for many of the director's clever sight gags. In 1956, Ekberg went to Rome to make War and Peace (King Vidor, 1956) co-starring Audrey Hepburn. RKO gave Ekberg the female lead in Back from Eternity (John Farrow, 1956), co-starring with Robert Ryan and Rod Steiger. Ekberg was perfectly adequate in her cardboard role and suggested that with a good director and a worthwhile part, she might have something to offer. In the British production Zarak (Terence Young, 1956) starring Victor Mature and Michael Wilding, her sexy harem-girl dance raised many eyebrows and blood pressure. With Bob Hope, she made two minor comedies, Paris Holiday (Gerd Oswald, 1958) and Call Me Bwana (Gordon Douglas, 1963). One of her better films of this period was the film noir Screaming Mimi (Gerd Oswald, 1958). At IMDb, reviewer Lazarillo calls it one of "the missing links between American film noir and the suspense and horror films that would become so popular in continental Europe over the next two decades (i.e. the German 'Krimis', the Italian 'Giallo', the horror films of Bava and Argento). It's technically a late-period Film Noir, but rather than having the traditional pessimistic tone and hard-boiled, voice-over narrative, it is completely off-the-wall and chock-full of the suggested depravity and lurid psycho-babble that would characterize the later European films. Interestingly, it was based on the same Fredric Brown novel as Dario Argento's Bird with Crystal Plumage."

In 1960 Anita Ekberg found herself again in Rome for her greatest role. She played the unattainable ‘dream woman’ Sylvia opposite Marcello Mastroianni in Federico Fellini's La Dolce Vita/The Sweet Life (1960). La Dolce Vita was a sensational success, and Ekberg's uninhibited cavorting in Rome's Trevi Fountain remains one of the most memorable screen images ever captured. Thus began a period when Ekberg would work almost exclusively in Europe. La Dolce Vita was followed by another memorable role for Fellini in his segment La Tentazioni del Dottor Antonio/The Temptation of Doctor Antonio of the anthology film Boccaccio '70 (1962). She plays a gigantic voluptuous lady on a billboard poster, promoting drinking milk and attracting huge crowds. At night she comes to live and pesters the little censor, played by Peppino De Filippo. Fellini would later call her back for two more films: I Pagliacci/I Clowns (Federico Fellini, 1972), and Intervista (Federico Fellini, 1987). In 1964 she returned to Sweden to appear in Bo Widerberg's Kärlek 65/Love 65 (1965), but she cancelled her appearance and called the acclaimed director ‘an amateur’. In 1967 she co-starred with Shirley MacLaine in a segment of Vittorio de Sica’s Woman Times Seven (1967). For much of the 1960s though, she was trapped in substandard genre fare and lame comedies. During the 1970s the roles became less frequent. In 1982, at the age of 50 she posed for glamour photos but in 1987, twenty-seven years after La Dolce Vita, she made a marvellous comeback with Fellini's film autobiography, Intervista (Federico Fellini, 1987), where she played herself in a reunion scene with Mastroianni and watched film clips of herself during her heydays. In 1995 Empire magazine chose her as one of the 100 Sexiest Stars in film history (#98). While she remained active in films into the 1990s, the roles were hardly memorable. Exceptions came with her portrayal of an elderly restaurant owner who is killed in a gas explosion in Bámbola/Doll (Bigas Luna, 1996) featuring Valeria Marini, and her role as an ageing, flamboyant opera star who succumbs to the charms of the titular character in Le nain rouge/The Red Dwarf (Yvan Lemoine, 1998). Still blonde, but a bit heavier, Ekberg was able to project the requisite sensuality and diva-like behaviour resulting in a full-bodied performance that ranked among her best. Her last role in a TV series was in Il bello delle donne/The Beautiful One of the Women (2002) starring Stefania Sandrelli. Anita Ekberg has not lived in Sweden since the early 1950s and rarely visited the country. She has welcomed Swedish journalists into her house outside Rome, and in 2005 appeared in the popular radio program Sommar, talking about her life. She stated in an interview that she would never move back to Sweden until she died when she would be buried there. In 2015, Anita Ekberg died at the clinic San Raffaele in Rocca di Papa, Italy. Complications from a long-time illness caused her death. She was 83.

Sources: Hal Erickson (AllMovie), Marlene Pilaete (La Collectionneuse), Mattias Thuresson (IMDb), Java’s Bachelor Pad, TCM, Wikipedia, and IMDb.

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

Tags:   Anita Ekberg Anita Ekberg Swedish Scandinavian Actress European Film Star Blonde Starlet Cinema Film Kino Cine Screen Picture Movie Movies Filmster Star Vintage Postcard Gebr. Spanjersberg N.V. Spanjersberg Ufa/Film-Foto Ufa Lufthansa Aeroplane

© All Rights Reserved

American postcard.

Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'

Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue consisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime drama Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter? and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first films to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style and made some rock records. She went on to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.

Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the Sci-Fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sunbathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theatre. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date, Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. She released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication, she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.

Sources: Wikipedia and IMDb.

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

Tags:   Mamie Van Doren Mamie Van Doren American Actress Actrice Platinum Blonde Hollywood Film Star Film Cinema Kino Cine Picture Screen Movie Movies Glamour Allure Filmster Star Vintage Postcard Aeroplane

© All Rights Reserved

American postcard in the "C.T. American Art" series by Curteich, Chicago / Mid-Continet News Co. Oklahoma City, Okl., no. 8A339. Sent by mail in 1940.

Will Rogers (1879-1935) was an American entertainer, radio personality, film actor, and writer who was famous for his pithy and homespun humour and social commentary. He made 71 films (50 silent and 21 sound films) and wrote more than 4,000 newspaper columns. By the mid-1930s, Rogers was hugely popular in the United States for his leading political wit and was the highest-paid of Hollywood film stars. He died in 1935 with aviator Wiley Post when their small aeroplane crashed in northern Alaska.

William Penn Adair Rogers was born in 1879 on his parents' Dog Iron Ranch in Oologah in the Cherokee Nation of Indian Territory, near present-day Claremore, Oklahoma. Rogers is known as "Oklahoma's Favorite Son". His parents, Clement V. (Clem) Rogers and Mary America Schrimsher, were both mixed-race with Cherokee ancestry and considered themselves Cherokee. Clement, was an attorney and Cherokee judge and a leader in the Cherokee Nation. Rogers learned how to ride a horse and do rope tricks while growing up on a ranch in what would eventually become Oklahoma. In 1899, Rogers appeared at the St. Louis Fair as part of the Mulhall Rodeo. Near the end of 1901, when he was 22 years old, he and a friend left home hoping to work as gauchos in Argentina. They spent five months trying to make it as ranch owners in the Pampas but lost all their money. Rogers sailed for South Africa and there, he began his show business career as a trick roper with horse and lasso in 'Texas Jack's Wild West Circus'. When he quit the circus, he went to Australia. Texas Jack gave him a reference letter for the Wirth Brothers Circus there, and Rogers continued to perform as a rider and trick roper and worked on his pony act. He returned to the United States in 1904, appeared at the Saint Louis World's Fair, and began to try his roping skills on the vaudeville circuits. In 1905 he performed in a show at Madison Square Garden. The good reviews prompted his decision to stay in New York City and work in vaudeville. When a wild steer broke out of the arena and began to climb into the viewing stands. Rogers roped the steer to the delight of the crowd. The feat got front-page attention from the newspapers, giving him valuable publicity and an audience eager to see more. Willie Hammerstein saw his vaudeville act and signed Rogers to appear on the Victoria Roof—which was literally on a rooftop—with his pony.

In 1912, Will Rogers appeared in his first Broadway show, 'The Wall Street Girl' and demonstrated his roping skills between acts. He did the same in a few less successful shows in 1915, but he impressed producer Flo Ziegfeld enough to be hired later that year for the cast of 'Ziegfeld’s Midnight Frolic'. Upon discovering that audiences loved his Western drawl, he began to ad-lib patter in his previously silent act. To keep his act fresh, Rogers poked fun at prominent audience members and commented on the events of the day, especially political news. At one performance, with President Woodrow Wilson in the audience, Rogers improvised a "roast" of presidential policies that had Wilson, and the entire audience, in stitches. Gently kidding Democrats and Republicans alike, Rogers became a master of the political one-liner, such as “Every time Congress makes a joke it’s law, and every time they make a law it’s a joke.” From Midnight Frolic, Rogers moved to the prestigious Ziegfeld Follies on Broadway in 1916, a yearly production to which he frequently returned until 1925. In 1922 his weekly articles for the "New York Times" became so popular that they appeared in more than 500 U.S. newspapers daily. An editorial in The New York Times said that "Will Rogers in the Follies is carrying on the tradition of Aristophanes, and not unworthily." His column and his radio appearances increased his visibility and popularity. His earthy anecdotes and folksy style allowed him to poke fun at gangsters, prohibition, politicians, government programs, and a host of other controversial topics in a way that found general acclaim from a national audience with no one offended. His aphorisms, couched in humorous terms, were widely quoted, for example, "I am not a member of an organized political party. I am a Democrat." One of Rogers's most famous sayings was "I never met a man I didn't like".

In 1918 Will Rogers starred in his first film, Laughing Bill Hyde (Hobart Henley, 1918). A three-year contract with producer Samuel Goldwyn, at triple the Broadway salary, moved Rogers west. He bought a ranch in Pacific Palisades and set up his own production company. Though Rogers would never admit to being anything but an amateur actor, critics appreciated his natural charm and appealingly plain face. For the next few years, he appeared in silent features for Goldwyn, as well as several comedies he produced himself and a series of Hal Roach two-reelers that made light of Hollywood and Washington. Among the films he made for Roach in 1924 were three directed by Rob Wagner: Two Wagons Both Covered, Going to Congress, and Our Congressman. He wrote many of the title cards appearing in his films. Rogers also wrote books, articles, and a syndicated newspaper column; he frequently performed on radio and was a popular after-dinner speaker. In 1929 with the arrival of sound film, Rogers signed a movie contract with the Fox Film Corporation and made his first talking picture, the comedy They Had to See Paris (Frank Borzage, 1929) with Irene Rich. He played a wealthy American oil tycoon who travels to Paris with his family at his wife's request, despite the fact he hates the French. Sound films suited the talkative Rogers, and his popular films made him a bigger star than ever before. A success was A Connecticut Yankee (David Butler, 1931), based on Mark Twain’s humorous novel. His favourite director was John Ford, who directed him three times. He played a homespun farmer in State Fair (Henry King, 1933) with Janet Gaynor, an old-fashioned doctor in Dr. Bull (John Ford, 1933), a small-town banker in David Harum (James Cruze, 1934), and a rustic politician in Judge Priest (John Ford, 1934). He also acted in The County Chairman (John G. Blystone, 1935), Steamboat Round the Bend (John Ford, 1935), and In Old Kentucky (George Marshall, 1935). In politics, Rogers preferred to remain an observer, but he spent a few weeks in 1926 as honorary mayor of Beverly Hills until California legislation declared his position illegal (“I ain’t the first mayor that’s been kicked out,” he mused), and he was a supporter of Franklin Delano Roosevelt’s presidential candidacy. In 1935, at the height of his popularity, Rogers died in a plane crash near Point Barrow, Alaska. His last two films, Steamboat ’Round the Bend and In Old Kentucky, were released posthumously the same year. In 1935, Will Rogers died in the Arctic crash of a plane piloted by the world-renowned, one-eyed pioneer aviator, Wiley Post, near Point Barrow, Alaska. Post died as well. Will Rogers was buried in Claremore, Oklahoma, at the Will Rogers Memorial, now a popular tourist attraction. Since 1908 Rogers was married to Betty Blake Rogers and they had four children, Fred, Mary, Will Rogers Jr. and Jimmy Rogers. Will Rogers was portrayed by his son, Will Rogers Jr., in the film, The Story of Will Rogers (Michael Curtiz, 1952) with Jane Wyman as Betty.

Sources: Britannica, Wikipedia and IMDb.

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

Tags:   Will Rogers Will Rogers American Actor Hollywood Movie Star Film Cinema Cine Kino Picture Screen Movie Movies Filmster Star Vintage Postcard Aeroplane Curteich Mid-Continent News CT American Art

© All Rights Reserved

West-German postcard by Netter's Star Verlag, Berlin.

On Friday 3 September 2021, European Film Star Postcards presented a special La Collectionneuse post on Esther Williams... Check it out!

Tags:   Esther Williams Esther Williams American Actress Hollywood Movie Star Swimmer Movie Movies Film Cinema Cine Kino Picture Screen Star Filmster Film Star Vintage Postcard Postkarte Carte Postale Cartolina Tarjet Postal Briefkarte Postkaart Ansichtskarte Ansichtkaart Airplane Aeroplane Netter's Star Verlag

© All Rights Reserved