Just Once a Great Lady (1957 film)
Just Once a Great Lady is a 1957 West German comedy film directed by Erik Ode and starring Gudula Blau, Grethe Weiser and Dietmar Schönherr. It is a remake of the 1934 film of the same title; the film's art direction is by Emil Hasler. Gudula Blau as Jeannette Heider Grethe Weiser as Elly, ihre Tante Dietmar Schönherr as Stefan Riehl Erich Winn as Philipp de Witt Gustl Weishappel as Freddy, sein Sekretär Walter Feuchtenberg as Zwingeli, Hoteldetektiv Kurd Pieritz as Sawitzky, Regisseur Hannelore Könemann as Lucia Murano Peter Jost as Schmöller, Manager Luigi Malipiero as Hoteldirektor Jupp Flohr as Guggemoos, Portier Elke Arendt as Frl. Wind, Sekretärin in Redaktion Margit Jung as Tankstellenmädchen Wolfgang Müller as Wolfgang Berger Henry Lorenzen as Lord Uppercut Martin Berliner as Lauterer, Aufnahmeleiter Horst Naumann as Kurt Jäger Olive Moorefield as Olive, Singer Barbara Saade as Tankstellenmädchen Heinz Schulz as Tankstellenwart Monika Peitsch as Sekretärin von Schmöller Bock, Hans-Michael & Bergfelder, Tim.
The Concise CineGraph. Encyclopedia of German Cinema. Berghahn Books, 2009. Just Once a Great Lady on IMDb
Morituri (1948 film)
Morituri is a 1948 German black-and-white drama film produced by Artur Brauner's CCC Film. The film starred Walter Richter, Winnie Markus and Lotte Koch, it features the onscreen debut of German actor Klaus Kinski as a Dutch concentration camp prisoner. As the end of the Second World War approaches and the Soviet Red Army is advancing, a group of concentration camp inmates is helped to escape by a Polish doctor, they hide in a wood where they meet other fugitives, who have been there for months in fear of being discovered. Out of fear of the German army patrols, they do not dare to leave the forest as the food supplies run low; the Polish doctor blows up a bridge. The soldiers come perilously close to the hidden fugitives, but in the last moment have to retreat before the approaching Red Army units. Walter Richter as Dr. Leon Bronek Winnie Markus as Maria Bronek Lotte Koch as Lydia Hilde Körber as Insane Woman Catja Görna as Stascha Sokol Josef Sieber as Eddy Carl-Heinz Schroth as Armand Siegmar Schneider as Gerhard Tenborg Peter Marx as Pjotr, Russian Alfred Cogho as Roy, Canadian Joseph Almas as Dr. Simon Ellinor Saul-Gerlach as Lucie, his daughter Ursula Bergmann as Ruth, his daughter Willy Prager as Father Simon Annemarie Hase as Mother Simon Karl Vibach as Georg, German Soldier Bob Kleinmann as Janek, 12 years Michael Günther as Wladek, 16 years Erich Dunskus as Sokol, Polish Farmer David Minster as The Invalid Franja Kamienietzka as Mrs Steppan Klaus Kinski as Dutch Prisoner Gabriele Heßmann as The Pregnant Woman The title comes from the Latin expression Ave Imperator, morituri te salutant.
Making this film was a personal project for Artur Brauner. The script is based on an idea of his and this was only the second film made by his company CCC Film. Exteriors were shot near Berlin in interiors at the Tempelhof Studios. Principal cinematography was from September 1947 to January 1948; the film was first shown on 28 August 1948 at the Venice Film Festival on the Lido di Venezia, Italy. It premiered in the Waterloo-Theater, Germany on 24 September 1948, it was released at the Neues Scala Kino in Berlin on 16 November 1948. The film was a commercial disaster, with audiences booing. A theater in Hamburg was vandalized, after which other theater owners, fearful of reprisal by Nazi sympathizers, refused to show the film, it was called Freiwild in Austria. Morituri was aired on German television station ZDF on 7 April 1991. In 2009 Artur Brauner donated the film to Yad Vashem along with 20 other Holocaust-related films he had produced. Morituri on IMDb Artur Brauner-Archiv at the Deutsches Filmmuseum, containing the production files for this film
Vittorio De Sica
Vittorio De Sica was an Italian director and actor, a leading figure in the neorealist movement. Four of the films he directed won Academy Awards: Sciuscià and Bicycle Thieves, while Yesterday and Tomorrow and Il giardino dei Finzi Contini won the Academy Award for Best Foreign Language Film. Indeed, the great critical success of Sciuscià and Bicycle Thieves helped establish the permanent Best Foreign Film Award; these two films are considered part of the canon of classic cinema. Bicycle Thieves was cited by Turner Classic Movies as one of the 15 most influential films in cinema history. De Sica was nominated for the 1957 Oscar for Best Supporting Actor for playing Major Rinaldi in American director Charles Vidor's 1957 adaptation of Ernest Hemingway's A Farewell to Arms, a movie, panned by critics and proved a box office flop. De Sica's acting was considered the highlight of the film. Born into poverty in Sora, Lazio, he began his career as a theatre actor in the early 1920s and joined Tatiana Pavlova's theatre company in 1923.
In 1933 he founded his own company with his wife Giuditta Sergio Tofano. The company performed light comedies, but they staged plays by Beaumarchais and worked with famous directors like Luchino Visconti, his meeting with Cesare Zavattini was a important event: together they created some of the most celebrated films of the neorealistic age, like Sciuscià and Bicycle Thieves, both of which De Sica directed. De Sica appeared in the British television series The Four Just Men, his passion for gambling was well known. Because of it, he lost large sums of money and accepted work that might not otherwise have interested him, he never kept his gambling a secret from anyone. In 1937 Vittorio De Sica married the actress Giuditta Rissone, who gave birth to their daughter, Emi. In 1942, on the set of Un garibaldino al convento, he met Spanish actress Maria Mercader, with whom he started a relationship. After divorcing Rissone in France in 1954, he married Mercader in 1959 in Mexico, but this union was not considered valid under Italian law.
In 1968 he married Mercader in Paris. Meanwhile, he had had two sons with her: Manuel, in 1949, a musician, Christian, in 1951, who would follow his father's path as an actor and director. Although divorced, De Sica never parted from his first family, he led a double family life, with double celebrations on holidays. It is said that, at Christmas and on New Year's Eve, he used to put back the clocks by two hours in Mercader's house so that he could make a toast at midnight with both families, his first wife agreed to keep up the facade of a marriage so as not to leave her daughter without a father. Vittorio De Sica died at 73 after a surgery at the Neuilly-sur-Seine hospital in Paris, he was a Roman Catholic. Vittorio De Sica was given the Interfilm Grand Prix in 1971 by the Berlin International Film Festival. Miracolo a Milano Cannes Film Festival Palme D'Or Winner Umberto D. Cannes Film Festival Official Selection Stazione Termini Cannes Film Festival Official Selection L'oro di Napoli Cannes Film Festival Official Selection Il Tetto Cannes Film Festival OCIC Award Winner Anna di Brooklyn Berlin International Film Festival Official Selection La Ciociara Cannes Film Festival Official Selection Matrimonio all'italiana Moscow International Film Festival Official Selection Il Giardino dei Finzi-Contini Berlin International Film Festival Golden Bear Winner Berlin International Film Festival Interfilm Award Winner – Otto Dibelius Film Award Nastro d'Argento for Best Director 1946 for Sciuscià Academy Award 1947 Honorary Award to the Italian production for Sciuscià, 1946 Academy Award 1949 Special Foreign Language Film Award for Bicycle Thieves BAFTA 1950 Best film Bicycle Thieves Academy Award 1965 Best Foreign Language film for Ieri, domani Academy Award 1972 Best Foreign Language film for Il giardino dei Finzi-Contini Note: on many sources, Fontana di Trevi by Carlo Campogalliani and La bonne soupe by Robert Thomas are included but de Sica does not appear in those films.
The Four Just Men, by Sapphire Films Vittorio De Sica on IMDb Vittorio De Sica director bio for The Garden of the Finzi-Continis Sony Pictures Entertainment website, retrieved 8 April 2006 Vittorio De Sica Review Wall Street Journal article, retrieved 9 March 2013
Géza von Radványi
Géza von Radványi was a Hungarian film director, cinematographer and writer. Born Géza Grosschmid, he took the name Radványi from his paternal grandmother, his brother was the writer Sándor Márai. Géza von Radványi made his debut in journalism before moving to cinema in 1941, he aimed to create a popular cinema in the 1950s and 1960s that would rival Hollywood studios, due to European coproductions. He began at the end of the 1940s, with Somewhere in Europe and Women Without Names, neorealist dramas with no concession to the ravages of war and the postwar period. During the 1950s, Radványi changed his style: L'Étrange Désir de monsieur Bard, with Michel Simon and Geneviève Page, above all, the success of his remake of Mädchen in Uniform with Lilli Palmer and the young rising star Romy Schneider, he made in the same decade Douze heures d'horloge, a thriller based on a script by Boileau and Narcejac, with Lino Ventura and Laurent Terzieff, as well as a slapstick comedy, An Angel on Wheels with Romy Schneider and Henri Vidal.
During the 1960s, he became both more ambitious and more bankable, making 70 mm coproductions like Uncle Tom's Cabin with Mylène Demongeot and Herbert Lom, Der Kongreß amüsiert sich with Lilli Palmer, Curd Jürgens, Paul Meurisse and Françoise Arnoul, both of which were rather unsuccessful. In contrast, he wrote the script for the successful film produced by Louis de Funès, L'homme orchestre, directed by Serge Korber, his 1961 film Das Riesenrad was entered into the 2nd Moscow International Film Festival. His 1965 film Uncle. Géza von Radványi ended his career with a modest production made in his home country, Circus Maximus. 1940: Sarajevo 1947: Valahol Európában, with Artúr Somlay and Miklós Gábor 1950: Women Without Names, with Simone Simon and Françoise Rosay 1953: L'Étrange Désir de monsieur Bard, with Michel Simon and Geneviève Page 1955: Mädchen ohne Grenzen, with Sonja Ziemann and Ivan Desny 1955: Ingrid – Die Geschichte eines Fotomodells, with Johanna Matz and Paul Hubschmid 1957: Das Schloß in Tirol, with Karlheinz Böhm 1958: Der Arzt von Stalingrad, with O. E. Hasse, Eva Bartok, Hannes Messemer and Mario Adorf 1958: Mädchen in Uniform, with Romy Schneider and Lilli Palmer 1959: Douze heures d'horloge, with Lino Ventura, Laurent Terzieff, Hannes Messemer, Eva Bartok and Gert Fröbe 1959: An Angel on Wheels, with Romy Schneider and Henri Vidal 1961: Und sowas nennt sich Leben, with Elke Sommer 1961: Das Riesenrad, with Maria Schell and O. W. Fischer 1961: Diesmal muß es Kaviar sein, with O. W. Fischer, Jean Richard, Eva Bartok and Senta Berger 1965: Uncle Tom's Cabin, with John Kitzmiller, Mylène Demongeot, Juliette Gréco, Herbert Lom and O. W. Fischer 1966: Congress of Love, with Curd Jürgens, Lilli Palmer, Hannes Messemer, Paul Meurisse and Françoise Arnoul 1980: Circus Maximus, with Ági Margittay and Antal Páger He published many crime novels under the pseudonym Géza Radvany: 16 Heures au Paradis, novel, Éditions de Trévise, Paris, 1974.
Troubles, novel, Éditions de Trévise, Paris, 1975. ISBN 2711202895 Les Otages de la nuit, novel, Éditions de Trévise, Paris, 1976. ISBN 2-7112-0314-X Chantage sur canapé, novel, Éditions de Trévise, Paris, 1978. ISBN 2-7112-0326-3 Drames de dames, novel, Éditions de Trévise, Paris, 1980. ISBN 2-7112-0400-6 René Barjavel: Géza von Radványi est non-seulement un des plus grands créateurs du cinéma mondial, mais avant, et au-dessus, cet être rare, presque invraisemblable: un homme fraternel. Article on Somewhere in Europe Géza von Radványi on IMDb
The Orplid Mystery
The Orplid Mystery or Epilogue is a 1950 West German thriller film directed by Helmut Käutner and starring Horst Caspar, Bettina Moissi and O. E. Hasse; the film did not perform well at the box office on its release. It was made at the Berlin studios of CCC Films; the film's sets were designed by the art director Emil Hasler. Horst Caspar as Reporter Peter Zabel Bettina Moissi as Malaienmädchen Leata O. E. Hasse as Chefredakteur Dr. Mannheim Hans Leibelt as Cheflektor Kurt Beckmann Irene von Meyendorff as Christiane Bruckmann alias Conchita Hilde Hildebrand as Mrs. Eleanor Hoopman Jeanette Schultze as Lore Bruckmann, Conchitas Schwester Fritz Kortner as Mr. P. L. Hoopman Peter van Eyck as Steward Stefan Lund Hans Christian Blech as Martin Jarzombeck, Bräutigam Carl Raddatz as Pianist Aldo Siano Arno Assmann as Tänzer Ermanno Rolf von Nauckhoff as Pastor Johannes Klappstein Paul Hörbiger as Musik-Clown'The Great Teatch' Arno Paulsen as Mr. Hill Hans Stiebner as Der Koch Horst Hächler as Klaus von Werth, Freund des Bräutigams Gustav Püttjer as Kapitän Feddersen Rolf Heydel as Hans Toysen, Lores Freund Reinhard Kolldehoff as Funker Horst Breitenfeld as Matrose Peter Marx as Maschinist Helmut Bautzmann as Matrose Rochus Langkau as Maschinist Claus Schulz as Schiffsjunge Camilla Spira as Pensionswirtin Blandine Ebinger as Sekretärin Auskunftsbüro Thea Thiele as Verkäuferin Traute Baumbach as Bardame Maria Besendahl as Schiffsjunge Helmuth Helsig as Drobitsch Erwin Biegel as Detektiv Harro ten Brook as Maler Phil Urban Adrian Hoven Curtis Kreuger Carl Kuhlmann Helmut Käutner as Meteorologe Willi Seemann as Funker 2 Ilse Werner Bergfelder, Tim.
International Adventures: German Popular Cinema and European Co-Productions in the 1960s. Berghahn Books, 2005. Davidson, John & Hake, Sabine. Framing the Fifties: Cinema in a Divided Germany. Berghahn Books, 2007; the Orplid Mystery on IMDb
Babi Yar is a ravine in the Ukrainian capital Kiev and a site of massacres carried out by German forces and local Ukrainian collaborators during their campaign against the Soviet Union in World War II. The first, best documented, of the massacres took place on 29–30 September 1941, killing 33,771 Jews; the decision to kill all the Jews in Kiev was made by the military governor, Major-General Kurt Eberhard, the Police Commander for Army Group South, SS-Obergruppenführer Friedrich Jeckeln, the Einsatzgruppe C Commander Otto Rasch. Sonderkommando 4a soldiers, along with the aid of the SD and SS Police Battalions backed by the Ukrainian Auxiliary Police carried out the orders; the massacre was the largest mass killing under the auspices of the Nazi regime and its collaborators during its campaign against the Soviet Union and has been called "the largest single massacre in the history of the Holocaust" to that particular date, surpassed only by the 1941 Odessa massacre of more than 50,000 Jews in October 1941 and by Aktion Erntefest of November 1943 in occupied Poland with 42,000–43,000 victims.
Victims of other massacres at the site included Soviet prisoners of war, Ukrainian nationalists and Roma. It is estimated that between 100,000 and 150,000 people were killed at Babi Yar during the German occupation; the Babi Yar ravine was first mentioned in historical accounts in 1401, in connection with its sale by "baba", the cantiniere, to the Dominican Monastery. The word "yar" is Turkic in origin and means "gully" or "ravine". In the course of several centuries the site had been used for various purposes including military camps and at least two cemeteries, among them an Orthodox Christian cemetery and a Jewish cemetery; the latter was closed in 1937. Axis forces German, occupied Kiev on 19 September 1941. Between 20 and 28 September, explosives planted by the Soviet NKVD caused extensive damage in the city. Two days on 26 September, Maj. Gen. Kurt Eberhard, the military governor, SS-Obergruppenführer Friedrich Jeckeln, the SS and Police Leader met at Rear Headquarters Army Group South. There, they made the decision to exterminate the Jews of Kiev, claiming that it was in retaliation for the explosions.
Present were SS-Standartenführer Paul Blobel, commander of Sonderkommando 4a, his superior, SS-Brigadeführer Dr. Otto Rasch, commander of Einsatzgruppe C; the mass-killing was to be carried out by units under the command of Rasch and Blobel, who were responsible for a number of atrocities in Soviet Ukraine during the summer and autumn of 1941. The implementation of the order was entrusted to Sonderkommando 4a, commanded by Blobel, under the general command of Friedrich Jeckeln; this unit consisted of SD and Sipo, the third company of the Special Duties Waffen-SS battalion, a platoon of the 9th Police Battalion. Police Battalion 45, commanded by Major Besser, conducted the massacre, supported by members of a Waffen-SS battalion. Contrary to the myth of the "clean Wehrmacht", the Sixth Army under the command of Field Marshal Walter von Reichenau worked together with the SS and SD to plan and execute the mass-murder of the Jews of Kiev. On 26 September 1941 the following order was posted: All Yids of the city of Kiev and its vicinity must appear on Monday, September 29, by 8 o'clock in the morning at the corner of Mel'nikova and Dokterivskaya streets.
Bring documents and valuables, warm clothing, etc. Any Yids who do not follow this order and are found elsewhere will be shot. Any civilians who enter the dwellings left by Yids and appropriate the things in them will be shot. On 29 and 30 September 1941, the Nazis and their collaborators murdered 33,771 Jewish civilians at Babi Yar; the order to kill the Jews of Kiev was given to Sonderkommando 4a, of Einsatzgruppe C, consisting of SD Sicherheitsdienst and Sicherheitspolizei men, the third company of the Special Duties Waffen-SS battalion, a platoon of the No. 9 police battalion. These units were reinforced by police battalions Nos. 45 and 305, by units of the Ukrainian auxiliary police, supported by local collaborators. The commander of the Einsatzkommando reported two days later: The difficulties resulting from such a large scale action—in particular concerning the seizure—were overcome in Kiev by requesting the Jewish population through wall posters to move. Although only a participation of 5,000 to 6,000 Jews had been expected at first, more than 30,000 Jews arrived who, until the moment of their execution, still believed in their resettlement, thanks to an clever organization.
According to the testimony of a truck driver named Hofer, victims were ordered to undress and were beaten if they resisted: I watched what happened when the Jews—men and children—arrived. The Ukrainians led them past a number of different places where one after the other they had to give up their luggage their coats and over-garments and underwear, they had to leave their valuables in a designated place. There was a special pile for each article of clothing, it all happened quickly and anyone who hesitated was kicked or pushed by the Ukrainians to keep them moving. The crowd was large enough that most of the victims could not have known what was happening until it was too late. All were driven down a corridor of soldiers, in groups of ten, shot. A truck driver described the scene. Once undressed, they were led into the
CCC Film is a German film production company founded in 1946 by Artur Brauner. A Polish Jew who survived the Nazi era by fleeing to the Soviet Union, he lost dozens of relatives to the Nazis, his primary interest was making films about the Nazi era, but after his first such film failed at the box office, throwing him into debt, he began producing entertainment films, the commercial success of which financed his Holocaust-related films, some of which became successful. In 2009, Brauner donated 21 Holocaust-related films to Yad Vashem. On September 16, 1946, Brauner founded CCC Film with Joseph Einstein, his brother-in-law, a black marketeer in Berlin, with a capital investment of 21,000 Reichsmarks in the American sector of postwar Germany, they had money, but no license from the American authorities, without which, it was impossible to produce anything. Two months Einstein quit the enterprise, leaving Brauner as sole owner; the first CCC-produced film was the 1947 King of Hearts, followed in 1948 by self-autobiographical Morituri, directed by Eugen York.
Morituri tells the story of a Polish refugee from a Nazi concentration camp. After a few theaters were damaged, the film was boycotted by other theaters and became a box office disaster, nearly ruining CCC Film and Brauner, causing him to begin producing "normal films" in order to pay off his debt, as he told Time magazine in 2003. Postwar German audiences, struggling with devastated cities and hunger, wanted escapist movies in the aftermath of World War II and Brauner filled that desire with a mixture of comedies, crime stories and the occasional drama. In 1949, Brauner received his license from the American authorities and CCC Film produced three successful films and moved to a former Nazi munitions and poison gas factory in Haselhorst, a locality in the Spandau district of Berlin. Brauner said, "Out of the poison-gas factory I wanted to make a dream factory."In the 1950s, CCC continued producing its proven mix of light-hearted fare and hired directors such as Carl Boese, Helmut Käutner, Robert Adolf Stemmle, Géza von Bolváry, Akos von Ratony, Kurt Neumann, Paul Martin and Erich Engel.
Actors and actresses such as Heinz Rühmann, Maria Schell, Gert Fröbe, Klaus Kinski, Curd Jürgens and Romy Schneider were featured, like Kinski, making his film debut. It became one of the largest producers of postwar German-language films and helped to establish Berlin as a center of German film and television production. CCC produced International Counterfeiters directed by Franz Cap in 1952. In 1955, the company produced The Plot to Assassinate Hitler, directed by Falk Harnack and co-written by Günther Weisenborn, about the failed July 20, 1944 attempt on Adolf Hitler's life. Other more challenging films from the 1950s were Die Ratten adapted from a play by Nobel Prize winner Gerhart Hauptmann. CCC began working on large productions. By the end of the 1950s, the company had built five additional film studios on its Haselhorst property, outfitting them with equipment for film and television production. At the end of the 1950s, CCC began a string of Karl May films and historical dramas and Brauner brought important directors back from exile, such as Fritz Lang, Robert Siodmak, William Dieterle and Gerd Oswald.
In 1959, the company produced The Indian Tomb, directed by Lang. The company began co-producing low-budget films by American B movie directors like Hugo Fregonese and Russ Meyer. Brauner tried to establish a London production base, but abandoned this after making two films, one of, Station Six-Sahara by Seth Holt. In the mid-1960s, the French New Wave introduced a new, more realistic and contemporary way of filmmaking. Brauner pursued just one such project, directed by Edwin Zbonek; the effort was neither an artistic success. CCC returned to its safe formula of entertainment ventures, such as Karl May films, a series of Doctor Mabuse films and movies with sequels, such as Der Schatz der Azteken and its sequel, Die Pyramide des Sonnengottes. Nonetheless, when German television station ZDF moved to Mainz and no longer used CCC facilities to produce their programs, Brauner was forced to reverse his company's expansion of just a few years earlier. In 1970, CCC Film co-produced The Garden of the Finzi Continis directed by Vittorio De Sica, which won the Academy Award for Best Foreign Language Film.
With his large studio space less in demand and his staff reduced from over 200 in the 1950s to 85, Brauner closed the studios and laid off his remaining employees in September 1970, afterwards working instead on occasional projects, such as Sie sind frei, Dr. Korczak in 1974, directed by Aleksander Ford, he continued to produce projects related to Nazi war crimes, such as Die Weiße Rose in 1983, directed by Michael Verhoeven. In 2003, he produced Babi Yar, directed by the American director Jeff Kanew, about the mass executions at Babi Yar, which included 12 members of Brauner's family. In 2006, Brauner produced The Last Train, directed by Joseph Vilsmaier and Dana Vávrová, about the last transport of Jews from Berlin to Auschwitz. In 2009, Brauner donated 21 of his Holocau