8/23/2019 Mariele Millowitsch Nackt
Mariele Millowitsch Infoseite. August 1, 2018 HEUTE. Prinz) zu einem Abendessen mit 'erotischem Dessert' verabredet, unter der augenzwinkernden Bedingung, sie springe dann nackt aus der Torte, ist das in etwa so sexy wie eine Wurzelbehandlung. Aber was soll's, man ist eben nicht mehr jung und nimmt, was man kriegt.
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German postcard by Krüger, nr. 903/321. The photo is made by the master of the pin-up pics, Bernard of Hollywood.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
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German postcard by Rüdel Verlag (Franz Josef Rüdel Filmpostkartenverlag, Hamburg-Bergedorf), nr. 3213. Photo: Erwin Schneider.
German actor Matthias Fuchs (1939-2001) was well known as the young Ethelbert in the popular Immenhof film series in the 1950’s. Later he evolved into one of the most respected character actors of the German theater, and worked on film and TV with director Rainer Werner Fassbinder.
Matthias Fuchs was born in Hannover, Germany, in 1939. He became known in the role of Ethelbert in the Heimat comedies about the Immenhof farm, at the side of Angelika Meissner and Heidi Brühl. He made his film debut in the first part of the series, Die Mädels vom Immenhof/The Girls from Immenhof (1955, Wolfgang Schleif) and also appeared in the sequels Hochzeit auf Immenhof/Wedding at Immenhof (1956, Volker von Collande) and Ferien auf Immenhof/Holiday at Immenhof (1957, Hermann Leitner). Other films in which he appeared were Der erste Frühlingstag/The First day of Spring (1956, Helmut Weiss) with Luise Ullrich, the historically unaccurate war film U47 - Kapitänleutnant Prien/ U-47 Lt. Commander Prien (1958, Harald Reinl), the comedy-fantasy Der Engel, der seine Harfe versetzte/The Angel Who Pawned Her Harp (1959, Kurt Hoffmann) and the Thomas Mann adaptation Buddenbrooks - 2. Teil/Buddenbrooks, part 2 (1959, Alfred Weidenmann) starring Liselotte Pulver.
After attending drama school Matthias Fuchs evolved into one of the most respected character actors of the German theater. Throughout his life he was closely associated with the Deutsches Schauspielhaus in Hamburg. Famous became his work with director Peter Zadek. During the 1960’s and 1970’s he also appeared in TV films and he played supporting parts in films like Das Mädchen und der Staatsanwalt/The Girl and the District Attorney (1962, Jürgen Goslar) with Elke Sommer, The Cardinal (1963, Otto Preminger), and Mutter Küsters' Fahrt zum Himmel/Mother Kusters Goes to Heaven (1975, Rainer Werner Fassbinder) with Brigitte Mira. He also appeared in Aus einem deutschen Leben/Death Is My Trade (1977, Theodor Kotulla), a disturbing biography of Rudolph Höss, the commandant of Auschwitz II-Birkenau, played by Götz George.
Matthias Fuchs worked several times with director Rainer Werner Fassbinder, including the TVMini-series Berlin Alexanderplatz (1980) and the second chapter of Fassbinder's BRD Trilogy, Lola (1981) starring Barbara Sukowa. Other interesting films were Die flambierte Frau/A Woman in Flames (1983, Robert van Ackeren) starring Gudrun Landgrebe, Decoder (1983, Muscha), and the Sci-Fi film Das Arche Noah Prinzip/The Noah’s Ark Principle (1984, Roland Emmerich). The latter was the most expensive (about 1.2 million DM) student film ever made in Germany. On TV he guest-starred in popular Krimi series like Der Fahnder/ The Investigator (1988), Der Alte/The Old Fox (1989) and Derrick (1990). He regularly appeared in films such as the comedy Rotwang muß weg!/Rotwang Must Go (1994, Hans-Christoph Blumenberg), a spoof of Jurassic Park with Udo Kier, and the creepy thriller Der Totmacher/Deathmaker (1995, Romuald Karmakar) starring Götz George. Also interesting is Beim nächsten Kuß knall ich ihn nieder (1996), a biography of German film director Reinhold Schünzel, who had to emigrate from Germany in the 1930s, and went to Hollywood. After the death of Peter Pasetti, Fuchs represented from 1995 until his death in 2001, the role of the narrator in 39 episodes of the radio drama series, Die drei????/the three???? (Episode 65 to 103). He was a narrator of television documentaries and the animation series Max und Moritz/Max and Moritz (1999, Veit Vollmer). Matthias Fuchs died of lung cancer in 2001 in Hamburg, Germany. His final film was Prüfstand VII/Test Stand VII (2002, Robert Bramkamp) with Robert Forster.
Sources: Wikipedia, and IMDb.
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German postcard by WS-Druck, Wanne-Eickel, no. 298. Photo: H.D. / Bavaria / Schorcht.
German actor Christian Doermer (1935) has appeared in 83 films and television shows since 1954. His breakthrough was as Horst Buchholz’ brother in the successful teen drama Die Halbstarken/Teenage Wolfpack (1956).
Christian-Michael Doermer was born in Rostock, Germany in 1935. He was the son of Dr. Hartmut Doermer and the actress Ruth von Zerboni. He studied sociology and economics in Frankfurt and Marburg. His mother led the acting school Zerboni in Munich and through her interference he made his acting debut in Geliebtes Fräulein Doktor/Beloved Miss Doctor (Hans H. König, 1954) with Edith Mill. In 1956 he made his stage debut at the Deutschen Schauspielhaus in Hamburg. His first bigger film role was in the crime film Viele kamen vorbei/Many Passed By (Peter Pewas, 1956). Then he had his breakthrough in the classic Die Halbstarken/Teenage Wolfpack (Georg Tressler, 1956) as the ambivalent younger brother of Horst Buchholz. Volker Scheunert at IMDb: “There was hardly a realistic view of (West-)German society during the years of the ‘Economic Miracle’. Young author Will Tremper did not like that sentimental stuff. Obviously influenced by Hollywood teen dramas he and director Georg Tressler in 1956 realized Germany's first look on juvenile delinquency, a film that is now regarded a classic of German post-war cinema. This one is hard, raw and realistic, omitting any false sentimentality or romanticism.” In 1957, Doermer appeared in the German war film Der Stern von Afrika/The Star of Africa (Alfred Weidenmann, 1957) portraying the combat career of Luftwaffe World War II fighter pilot Hans-Joachim Marseille (Joachim Hansen). Marseille was killed in a plane crash after over 150 kills in North Africa. The film was very successful at the German box office, although the critics predominantly gave it a fair rating. He appeared in another teen drama Die Frühreifen/The precocious (Josef von Báky, 1957) with Heidi Brühl and Christian Wolff, but mostly played supporting parts in such comedies as Ohne Mutter geht es nicht/Without Mother It Does Not Work (Erik Ode, 1958) with Ewald Balser and Adelheid Seeck.
Christian Doermer reunited with Will Tremper for the thriller Flucht nach Berlin/Escape to Berlin (Will Tremper, 1961). He played a disappointed young SED official who settles in West Berlin with his girlfriend (Susanne Korda). For this role he won a Filmband im Gold award as Best Young Actor. On TV he could be seen in the very popular crime series Das Halstuch/The scarf (Hans Quest, 1962) based on a Francis Durbridge novel and starring Heinz Drache. Doermer then played the lead role in Das Brot der frühen Jahre/The Bread of Those Early Years (Herbert Vesely, 1962), based on the novel by Heinrich Böll. It was entered into the 1962 Cannes Film Festival. That year, he also appeared in L'amour à vingt ans/Love at Twenty (1962) a French-produced omnibus project of Pierre Roustang, consisting of five segments directed by five directors from five different countries. He appeared in the charming, but somewhat sentimental German episode directed by Marcel Ophüls about an unwed mother (Barbara Frey) who contrives to trap the father of her baby. As the only actor, he signed the Oberhausen Manifesto, a declaration by a group of 26 young German filmmakers at the International Short Film Festival Oberhausen in 1962. The manifesto was a call to arms to establish a ‘new German feature film’ and among the signatories were the directors Alexander Kluge and Edgar Reitz. The signatories to the manifesto became known as the Oberhausen Group and are seen as important forerunners of the New German Cinema that began later in the decade. The Oberhausen Group were awarded the Deutscher Filmpreis in 1982. In 1963 Doermer founded his own film company Cine Dokument Film. In the following decades, he realized several films for which he was the writer, producer, director and actor.
Christian Doermer starred in the drama Schonzeit für Füchse/No Shooting Time for Foxes (Peter Schamoni, 1966), which won the Special Jury Prize at the 16th Berlin International Film Festival. That year, he could also be seen in a supporting part in the thriller Die Rechnung – eiskalt serviert/Tip Not Included (Helmut Ashley, 1966). It was the third film in the Jerry Cotton series with George Nader as the G-man. Doermer also made some films in Great Britain. In the action-thriller The Syndicate (1968) he is among a group of prospectors who plan to mine a Kenyan savanna for its rich, and as yet untapped uranium. The group slowly deteriorates under threat of double cross and jealousy. He had a big part in the drama Joanna (Michael Sarne, 1968). He played an aspiring painter/art teacher, who has a fling with the title figure, Joanna (Geneviève Waïte), a provincial girl studying art in London. The film was listed to compete in Cannes, but the festival was cancelled due to the events of May 1968. Doermer also appeared as a German soldier in Sir Richard Attenborough’s film musical Oh! What a Lovely War (1969), telling the story of WWI through its popular songs. In the early 1970s, Doermer stopped with acting and focused himself on his production company. As a writer, producer and director, he made several TV documentaries about India, Africa and Asia. After his complex feature film about General Paul von Lettow-Vorbeck, Lettow-Vorbeck: Der deutsch-ostafrikanische Imperativ/Lettow-Vorbeck: The German-East Africa Imperative (Christian Doermer, 1984) became a flop, Doermer turned to acting again, mostly for television, such as in Väter und Söhne - Eine deutsche Tragödie/ Fathers and Sons (Bernhard Sinkel, 1986) with Julie Christie. In 1989 he founded with Hans Clarin, Günther Maria Halmer, and the actresses Mona Freiberg and Cornelia Froboess, the production company Ensemble am Chiemsee that works primarily for private television and local media. Later acting work included parts in the TV films Wambo (Jo Baier, 2000), about the murder of Bavarian actor Walter Sedlmayer, and Stauffenberg (Jo Baier, 2004) about the unsuccessful Valkyrie Operation against Hitler in 1944 of General Stauffenberg (Sebastian Koch). Most recently, he was seen in Gierig/Greedy (Ralf Huettner, 2011), an episode of the TV series Kommissarin Lucas. Since 1961, Christian Doermer is married to Lore Schmidt-Polex and they have three children.
Sources: Volker Scheunert (IMDb), Stephanie d’Heil (Steffi-Line.de), Cinedokumentfilm.de (German), Filmportal.de (German), Wikipedia (German and English) and IMDb
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German postcard by F.J. Rüdel, Filmpostkartenverlag, Hamburg-Bergedorf, no. 704.
Blond, handsome actor Helmuth Schneider (1920 - 1972) appeared in more than 50 films and also worked as an assistant director. He worked in Germany, but also in Latin America, Italy and France.
Helmuth (often Helmut) Schneider was born in Munich, Germany in 1920. Her studied medicine in Munich in 1938, and attended the drama school of the Deutsches Theater in Berlin. In 1942 he made his stage debut in the comedy Sophienlund. He had to quit his engagement at the Deutsches Theater for the war effort. He was wounded in France. Schneider made his film debut for the UFA with a small part in the musical drama Träumerei/Daydream (1944, Harald Braun) about the love story of Clara Wieck Schumann (Hilde Krahl) and Robert Schumann (Mathias Wieman). In 1946, he left Germany and stayed in Latin America where he worked in the film business under the name Alexandre Carlos. In 1952, he was back in Germany and and played at the Deutsches Theater in Göttingen. In the cinema, he co-starred with Edith Mill in the romantic drama Zwei Menschen/Two People (1952, Paul May). It made both stars of the heimat film. The following years he was the handsome hunter or forrester in several forgettable German rural romances, such as Der Fischer vom Heiligensee, Drei Birken auf der Heide (1956) and Jägerblut (1957). In 1959, he starred as Kara Ben Nemsi in the Karl May adventure Der Löwe von Babylon/The Lion of Babylon (1959, Johannes Kai, Ramón Torrado) with Georg Thomalla and Theo Lingen.
In the 1960’s, when the German film industry experienced a downturn, Helmuth Schneider worked for television, such as for the crime series Stahlnetz (1960-1963), the German version of Dragnet. He moved to Rome, which was the new centre of the European cinema. He had a supporting part in the adventure film Captain Sindbad (1963, Byron Haskin) starring Guy Williams and Heidi Brühl, and the war film The Secret Invasion (1964, Roger Corman) with Stewart Granger and Raf Vallone. In France he appeared as an unsympathetic Nazi officer in war dramas like Le facteur s'en va-t-en guerre/The Postman Goes to War (1966, Claude Bernard-Aubert) starring Charles Aznavour, and Paris brûle-t-il?/Is Paris Burning? (1966, René Clément) starring Jean-Paul Belmondo and Charles Boyer. He played such a role also in the war comedy La grande vadrouille/Don't Look Now, We've Been Shot At (1966, Gérard Oury) with Bourvil and Louis de Funès. He also had a part in the fifth and final episode of the Angélique series with Michèle Mercier, Angélique et le sultan/Angélique and the Sultan (1967, Bernard Borderie). In Italy he made a spaghetti western, Ciakmull - L'uomo della vendetta/The Unholy Four (1970, Enzo Barboni) Hal Erickson at AllMovie: “It's one of those spaghetti westerns in which the heroes and heavies are virtually indistinguishable. Though the outlaw leader (played by George Eastman credited by his birth name Luigi Montefiore) is evil incarnate, he isn't much worse than the four mercenaries hunting him down. Stalwart John Ford-regular Woody Strode is given plenty of screen time, and he makes the most of it. Director Enzo Barboni was billed as E. B. Clucher in the American prints.”Schneider also played in another war film Gott mit uns/The Fifth Day of Peace (1970, Giuliano Montaldo) starring Franco Nero. His final film was À la guerre comme à la guerre/War is war (1972, Bernard Borderie), a historical war comedy starring Leonard Whiting and Curd Jürgens. Helmuth Schneider died in a traffic accident in Rio de Janeiro, Brazil in 1972. He was 51.
Sources: Hal Erickson (AllMovie), Peter Hoffmann (Biografie.de) (German), Tom B. (Westerns…all Italiana). Wikipedia (German) and IMDb.
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German postcard by Krüger.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star Postcards
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German postcard by Kunst und Bild, Berlin-Charlottenburg, no. A 1698.
Austrian singer and actor Willy Hagara (1927) was a popular film and TV star from the mid 1950’s till the mid 1960’s. The discrete and elegant Schlager star had five Top 10 hits, including the evergreen Casetta in Canada (1958). The singer’s career did not survive the Beat wave, but in 1969 an inheritance made him a millionaire.
Wilhelm ‘Willy’ Hagara was born in Vienna, Austria in 1927. He was initially trained as a postal clerk and practiced this profession as well. In 1946, he won a popular song contest in the Wiener Konzerthaus. He focused all his activities to this new career, and took singing and acting lessons. During this time he was successful with folk songs and as the singer of the band of John Fehring, who later became the leader of the ORF Big Band Orchestra. Hagara was a classic band singer who performed one of his songs in an early Schlager show for the German ARD television, Schlager-Expreß/Schlager Express (1953). Finally in 1955 came his breakthrough with the song Eine Kutsche voller Mädels/A coach full of girls (1955). Willy Hagara moved to Frankfurt in Germany and he became something like the German Perry Como, whose songs in German versions he often would sing. Two years later he appeared in his first film, the musical comedy Weißer Holunder/White Elder (1957, Paul May) with Germaine Damar. It was followed by a string of light entertainment films: Liebe, Mädchen und Soldaten/Love, girls and soldiers (1958, Franz Antel), Mein ganzes Herz ist voll Musik/My whole heart is filled with music (1959, Helmut Weiss), Der Haustyrann/The domestic tyrant (1959, Hans Deppe) starring Heinz Erhardt, Laß mich am Sonntag nicht allein/Let me not be alone on Sunday (1959, Arthur Maria Rabenalt) with Heidi Brühl, and Paprika/Pepper (1959, Kurt Wilhelm).
Cinema attendance in Germany and Austria had spectacularly grown in the 1950’s, but at the end of the decade it first stagnated and then went into freefall in the 1960’s. The once so popular Schlager films became outdated. In 1961 Willy Hagara appeared in his last Schlager film, Ramona (1961, Paul Martin) with Senta Berger. At the time, television was developing into a mass medium that could compete with the cinema. In 1962 there were already 7 million TV sets in West-Germany. Hagara moved over to the small screen and appeared in such musical TV comedies as Mitternachtszauber/Midnight Magic (1964, Ralph Lotar) with Werner Fuetterer, and Vom Ersten das Beste/From the first the best (1965, Ekkehard Böhmer) with Hannelore Auer. These TV productions were in the same genre as the films he had made in the 1950’s for the cinema. Until the mid-1960 's he starred in numerous TV films and sold many records. In total he had five Top 10 hits, including the evergreen Casetta in Canada. His song Du spielst 'ne tolle Rolle (You play 'ne great role) became in the version of Nat King Cole a top ten hit in the US. But the Beat wave finished his singing career. His later TV-films included Ein Mädchen von heute/A girl of today (1966, Dieter Finnern) with Karin Baal. In 1969 he got a million inheritance: his father, the merchant Franz Hagara, left him with a villa and several lease lands in Vienna. He did not retire, but he bridged the 1970’s with performances during galas. Incidentally he appeared as a guest in such TV shows as Hit-Journal (1973, H.B. Theopold), Tango-Tango (1976, Horst Eppinger) and Ein kleines Glück auf allen Wegen/A small fortune on all routes (1980, Ekkehard Böhmer). After the death of his wife in 1986, Willy Hagara retired from the show business. His last public appearance was in a show from Schloss Schönbrunn in Vienna in 2002 on the occasion of his 75th birthday.
Sources: Wälz Studer (Memoryradio.de) (German), Wikipedia (English and German), and IMDb.
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Gut Rothensande im Juni 2007, Stallungen im Innenhof des Gutes. Bekannt aus den Immenhoffilmen mit Heidi Brühl in den 50er Jahren.
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German postcard by Terra-Color, no. F 123.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star Postcards. Already more than 4 million views!
Bezoek van de Duitse zangeres/actrice Heidi Brühl aan Nederland, waar haar film 'Immer will ich dir gehören' draait. Dansend met Riem de Wolff van de Blue Diamonds, 2de van links Herman van Keeken, in het Kurhaus in Scheveningen,15 april 1961
Foto Ben van Meerendonk / AHF, collectie IISG, Amsterdam
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German postcard by Kolibri-Verlag G.m.b.H., Minden/Westf., no. 842. Photo: Carlton / Seitz / Union-Film / Huster. Publicity still for Bei der blonden Kathrein/At the blond Katherine (Hans Quest, 1959).
German actress Angelika Meissner (1940) was a child star of German cinema in the 1950s. She became known with the three popular Immenhof films.
Angelika Meissner, a.k.a. Angelika Voelkner and Angelika Meissner-Voelkner, was born in, 1940 in Berlin. Her father was composer Peter Heinz Voelkner. Her mother, Hildegard Voelkner, nee Meissner, was the head of the advertising department at UFA. In 1949, Angelika played her first film role in the drama Nachtwache/Keepers of the Night (Harald Braun, 1949) as the little daughter of Hans Nielsen. In her second film Der fallende Stern/The Falling Star (1950), she epitomised Elisabeth Hollreiser, traumatised by the post-war turmoil, as a ten-year-old girl. Maria Wimmer played the adult Elisabeth. In the Dieter Borsche film Vater braucht eine Frau/Father Needs a Wife (Harald Braun, 1952), she played the cute Ulla who searches with her siblings in newspaper advertisements a new wife for her widowed father. Finally, she also finds her in Susanne (Ruth Leuwerik). In these early films, she appeared as Angelika Voelkner. Later, in Die Mädels vom Immenhof she is credited as Angelika Meissner-Voelkner, while in vacation at Immenhof she is credited as Angelika Meissner. The name change was a consequence of the divorce of the parents, and Angelika and her brother both adopted the birth name of their mother.
Angelika Meissner became known in the role of Barbara (nicknamed Dick) in Die Mädels vom Immenhof/The Girls from Immenhof (Wolfgang Schleif, 1955) with Heidi Brühl as her sister Dalli and Margarete Haagen as Grandma Jantzen. The film on a farm with Icelandic horses became a blockbuster. Meissner also appeared in the sequels, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956) and Ferien auf Immenhof/Holiday at Immenhof (Hermann Leitner, 1957).With Matthias Fuchs, Ethelbert in the Immenhof films, she met again, now as a pretty teenager, in the film Der erste Frühlingstag/The first spring day (Helmut Weiss, 1956). She was one of the charming and lively daughters of Heinz Erhardt in his film Witwer mit 5 Töchtern/Widower with five daughters (Erich Engels, 1957). The others were played by Susanne Cramer, Vera Tschechowa, Elke Aberle and Christine Kaufmann. In her last film, the Heimatfilm Hubertusjagd/ Hubertus Hunt (Hermann Kugelstadt, 1959), she appeared once more with Raidar Müller, Ralf from the Immenhof-films. Then she abruptly ended her acting career, retired to private life. Wikipedia cites Micaela Jary, who writes in her book Traumfabriken made in Germany. Die Geschichte des deutschen Nachkriegsfilms 1945–1960 (Dream factories made in Germany. The story of the German post-war film 1945-1960) hat Meissner's mother, in anticipation of future salaries, was deeply in debt to her daughter and was ‘film obsessed’. Angelika Meissner could not withstand the resulting pressure and separated. In 1963, she only played one more role in a German TV film. She studied architecture and moved to Canada, where she occasionally worked as an architect. In German speaking countries, even after sixty tears, Angelika Meissner is not forgotten and her Immenhof films are still popular among old and new fans.
Sources: Stephanie D’heil (Steffi-Line – German), Wikipedia (German) and IMDb.
German postcard by Kunst und Bild, Berlin, no. F 10. Photo: A. Grimm / CCC / Deutsche London. Publicity still for Der erste Frühlingstag/The first day of spring (Helmut Weiss, 1956).
German actress Angelika Meissner (1940) was a child star of German cinema in the 1950s. She became known with the three popular Immenhof films.
Angelika Meissner, a.k.a. Angelika Voelkner and Angelika Meissner-Voelkner, was born in, 1940 in Berlin. Her father was composer Peter Heinz Voelkner. Her mother, Hildegard Voelkner, nee Meissner, was the head of the advertising department at UFA. In 1949, Angelika played her first film role in the drama Nachtwache/Keepers of the Night (Harald Braun, 1949) as the little daughter of Hans Nielsen. In her second film Der fallende Stern/The Falling Star (1950), she epitomised Elisabeth Hollreiser, traumatised by the post-war turmoil, as a ten-year-old girl. Maria Wimmer played the adult Elisabeth. In the Dieter Borsche film Vater braucht eine Frau/Father Needs a Wife (Harald Braun, 1952), she played the cute Ulla who searches with her siblings in newspaper advertisements a new wife for her widowed father. Finally, she also finds her in Susanne (Ruth Leuwerik). In these early films, she appeared as Angelika Voelkner. Later, in Die Mädels vom Immenhof she is credited as Angelika Meissner-Voelkner, while in vacation at Immenhof she is credited as Angelika Meissner. The name change was a consequence of the divorce of the parents, and Angelika and her brother both adopted the birth name of their mother.
Angelika Meissner became known in the role of Barbara (nicknamed Dick) in Die Mädels vom Immenhof/The Girls from Immenhof (Wolfgang Schleif, 1955) with Heidi Brühl as her sister Dalli and Margarete Haagen as Grandma Jantzen. The film on a farm with Icelandic horses became a blockbuster. Meissner also appeared in the sequels, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956) and Ferien auf Immenhof/Holiday at Immenhof (Hermann Leitner, 1957).With Matthias Fuchs, Ethelbert in the Immenhof films, she met again, now as a pretty teenager, in the film Der erste Frühlingstag/The first spring day (Helmut Weiss, 1956). She was one of the charming and lively daughters of Heinz Erhardt in his film Witwer mit 5 Töchtern/Widower with five daughters (Erich Engels, 1957). The others were played by Susanne Cramer, Vera Tschechowa, Elke Aberle and Christine Kaufmann. In her last film, the Heimatfilm Hubertusjagd/ Hubertus Hunt (Hermann Kugelstadt, 1959), she appeared once more with Raidar Müller, Ralf from the Immenhof-films. Then she abruptly ended her acting career, retired to private life. Wikipedia cites Micaela Jary, who writes in her book Traumfabriken made in Germany. Die Geschichte des deutschen Nachkriegsfilms 1945–1960 (Dream factories made in Germany. The story of the German post-war film 1945-1960) hat Meissner's mother, in anticipation of future salaries, was deeply in debt to her daughter and was ‘film obsessed’. Angelika Meissner could not withstand the resulting pressure and separated. In 1963, she only played one more role in a German TV film. She studied architecture and moved to Canada, where she occasionally worked as an architect. In German speaking countries, even after sixty tears, Angelika Meissner is not forgotten and her Immenhof films are still popular among old and new fans.
Sources: Stephanie D’heil (Steffi-Line – German), Wikipedia (German) and IMDb.
German postcard by Kolibri-Verlag G.m.b.H., Minden/Westf., no. 689. Photo: Kolibri / Lothar Winkler
German actress Angelika Meissner (1940) was a child star of German cinema in the 1950s. She became known with the three popular Immenhof films.
Angelika Meissner, a.k.a. Angelika Voelkner and Angelika Meissner-Voelkner, was born in, 1940 in Berlin. Her father was composer Peter Heinz Voelkner. Her mother, Hildegard Voelkner, nee Meissner, was the head of the advertising department at UFA. In 1949, Angelika played her first film role in the drama Nachtwache/Keepers of the Night (Harald Braun, 1949) as the little daughter of Hans Nielsen. In her second film Der fallende Stern/The Falling Star (1950), she epitomised Elisabeth Hollreiser, traumatised by the post-war turmoil, as a ten-year-old girl. Maria Wimmer played the adult Elisabeth. In the Dieter Borsche film Vater braucht eine Frau/Father Needs a Wife (Harald Braun, 1952), she played the cute Ulla who searches with her siblings in newspaper advertisements a new wife for her widowed father. Finally, she also finds her in Susanne (Ruth Leuwerik). In these early films, she appeared as Angelika Voelkner. Later, in Die Mädels vom Immenhof she is credited as Angelika Meissner-Voelkner, while in vacation at Immenhof she is credited as Angelika Meissner. The name change was a consequence of the divorce of the parents, and Angelika and her brother both adopted the birth name of their mother.
Angelika Meissner became known in the role of Barbara (nicknamed Dick) in Die Mädels vom Immenhof/The Girls from Immenhof (Wolfgang Schleif, 1955) with Heidi Brühl as her sister Dalli and Margarete Haagen as Grandma Jantzen. The film on a farm with Icelandic horses became a blockbuster. Meissner also appeared in the sequels, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956) and Ferien auf Immenhof/Holiday at Immenhof (Hermann Leitner, 1957).With Matthias Fuchs, Ethelbert in the Immenhof films, she met again, now as a pretty teenager, in the film Der erste Frühlingstag/The first spring day (Helmut Weiss, 1956). She was one of the charming and lively daughters of Heinz Erhardt in his film Witwer mit 5 Töchtern/Widower with five daughters (Erich Engels, 1957). The others were played by Susanne Cramer, Vera Tschechowa, Elke Aberle and Christine Kaufmann. In her last film, the Heimatfilm Hubertusjagd/ Hubertus Hunt (Hermann Kugelstadt, 1959), she appeared once more with Raidar Müller, Ralf from the Immenhof-films. Then she abruptly ended her acting career, retired to private life. Wikipedia cites Micaela Jary, who writes in her book Traumfabriken made in Germany. Die Geschichte des deutschen Nachkriegsfilms 1945–1960 (Dream factories made in Germany. The story of the German post-war film 1945-1960) hat Meissner's mother, in anticipation of future salaries, was deeply in debt to her daughter and was ‘film obsessed’. Angelika Meissner could not withstand the resulting pressure and separated. In 1963, she only played one more role in a German TV film. She studied architecture and moved to Canada, where she occasionally worked as an architect. In German speaking countries, even after sixty tears, Angelika Meissner is not forgotten and her Immenhof films are still popular among old and new fans.
Sources: Stephanie D’heil (Steffi-Line – German), Wikipedia (German) and IMDb.
German postcard by Kolibri-Verlag, Minden/Westf., no. 2648. Photo: Deutsche Film Hansa / Lilo. Publicity still for Witwer mit 5 Töchtern/Widower with 5 Daughters (Erich Engels, 1957).
German actress Angelika Meissner (1940) was a child star of German cinema in the 1950s. She became known with the three popular Immenhof films.
Angelika Meissner, a.k.a. Angelika Voelkner and Angelika Meissner-Voelkner, was born in, 1940 in Berlin. Her father was composer Peter Heinz Voelkner. Her mother, Hildegard Voelkner, nee Meissner, was the head of the advertising department at UFA. In 1949, Angelika played her first film role in the drama Nachtwache/Keepers of the Night (Harald Braun, 1949) as the little daughter of Hans Nielsen. In her second film Der fallende Stern/The Falling Star (1950), she epitomised Elisabeth Hollreiser, traumatised by the post-war turmoil, as a ten-year-old girl. Maria Wimmer played the adult Elisabeth. In the Dieter Borsche film Vater braucht eine Frau/Father Needs a Wife (Harald Braun, 1952), she played the cute Ulla who searches with her siblings in newspaper advertisements a new wife for her widowed father. Finally, she also finds her in Susanne (Ruth Leuwerik). In these early films, she appeared as Angelika Voelkner. Later, in Die Mädels vom Immenhof she is credited as Angelika Meissner-Voelkner, while in vacation at Immenhof she is credited as Angelika Meissner. The name change was a consequence of the divorce of the parents, and Angelika and her brother both adopted the birth name of their mother.
Angelika Meissner became known in the role of Barbara (nicknamed Dick) in Die Mädels vom Immenhof/The Girls from Immenhof (Wolfgang Schleif, 1955) with Heidi Brühl as her sister Dalli and Margarete Haagen as Grandma Jantzen. The film on a farm with Icelandic horses became a blockbuster. Meissner also appeared in the sequels, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956) and Ferien auf Immenhof/Holiday at Immenhof (Hermann Leitner, 1957).With Matthias Fuchs, Ethelbert in the Immenhof films, she met again, now as a pretty teenager, in the film Der erste Frühlingstag/The first spring day (Helmut Weiss, 1956). She was one of the charming and lively daughters of Heinz Erhardt in his film Witwer mit 5 Töchtern/Widower with five daughters (Erich Engels, 1957). The others were played by Susanne Cramer, Vera Tschechowa, Elke Aberle and Christine Kaufmann. In her last film, the Heimatfilm Hubertusjagd/ Hubertus Hunt (Hermann Kugelstadt, 1959), she appeared once more with Raidar Müller, Ralf from the Immenhof-films. Then she abruptly ended her acting career, retired to private life. Wikipedia cites Micaela Jary, who writes in her book Traumfabriken made in Germany. Die Geschichte des deutschen Nachkriegsfilms 1945–1960 (Dream factories made in Germany. The story of the German post-war film 1945-1960) hat Meissner's mother, in anticipation of future salaries, was deeply in debt to her daughter and was ‘film obsessed’. Angelika Meissner could not withstand the resulting pressure and separated. In 1963, she only played one more role in a German TV film. She studied architecture and moved to Canada, where she occasionally worked as an architect. In German speaking countries, even after sixty tears, Angelika Meissner is not forgotten and her Immenhof films are still popular among old and new fans.
Sources: Stephanie D’heil (Steffi-Line – German), Wikipedia (German) and IMDb.
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German postcard by WS-Druck, Wanne-Eickel, no. F 154.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star PostcardsAlready over 3 million views! Or follow us at Tumblr or Pinterest.
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German postcard by Rüdel-Verlag, Hamburg-Bergedorf., no. 2080. Photo: Deutsche Film Hansa / Lilo. Publicity still for Witwer mit 5 Töchtern/Widower with 5 Daughters (Erich Engels, 1957).
German actress Angelika Meissner (1940) was a child star of German cinema in the 1950s. She became known with the three popular Immenhof films.
Angelika Meissner, a.k.a. Angelika Voelkner and Angelika Meissner-Voelkner, was born in, 1940 in Berlin. Her father was composer Peter Heinz Voelkner. Her mother, Hildegard Voelkner, nee Meissner, was the head of the advertising department at UFA. In 1949, Angelika played her first film role in the drama Nachtwache/Keepers of the Night (Harald Braun, 1949) as the little daughter of Hans Nielsen. In her second film Der fallende Stern/The Falling Star (1950), she epitomised Elisabeth Hollreiser, traumatised by the post-war turmoil, as a ten-year-old girl. Maria Wimmer played the adult Elisabeth. In the Dieter Borsche film Vater braucht eine Frau/Father Needs a Wife (Harald Braun, 1952), she played the cute Ulla who searches with her siblings in newspaper advertisements a new wife for her widowed father. Finally, she also finds her in Susanne (Ruth Leuwerik). In these early films, she appeared as Angelika Voelkner. Later, in Die Mädels vom Immenhof she is credited as Angelika Meissner-Voelkner, while in vacation at Immenhof she is credited as Angelika Meissner. The name change was a consequence of the divorce of the parents, and Angelika and her brother both adopted the birth name of their mother.
Angelika Meissner became known in the role of Barbara (nicknamed Dick) in Die Mädels vom Immenhof/The Girls from Immenhof (Wolfgang Schleif, 1955) with Heidi Brühl as her sister Dalli and Margarete Haagen as Grandma Jantzen. The film on a farm with Icelandic horses became a blockbuster. Meissner also appeared in the sequels, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956) and Ferien auf Immenhof/Holiday at Immenhof (Hermann Leitner, 1957).With Matthias Fuchs, Ethelbert in the Immenhof films, she met again, now as a pretty teenager, in the film Der erste Frühlingstag/The first spring day (Helmut Weiss, 1956). She was one of the charming and lively daughters of Heinz Erhardt in his film Witwer mit 5 Töchtern/Widower with five daughters (Erich Engels, 1957). The others were played by Susanne Cramer, Vera Tschechowa, Elke Aberle and Christine Kaufmann. In her last film, the Heimatfilm Hubertusjagd/ Hubertus Hunt (Hermann Kugelstadt, 1959), she appeared once more with Raidar Müller, Ralf from the Immenhof-films. Then she abruptly ended her acting career, retired to private life. Wikipedia cites Micaela Jary, who writes in her book Traumfabriken made in Germany. Die Geschichte des deutschen Nachkriegsfilms 1945–1960 (Dream factories made in Germany. The story of the German post-war film 1945-1960) hat Meissner's mother, in anticipation of future salaries, was deeply in debt to her daughter and was ‘film obsessed’. Angelika Meissner could not withstand the resulting pressure and separated. In 1963, she only played one more role in a German TV film. She studied architecture and moved to Canada, where she occasionally worked as an architect. In German speaking countries, even after sixty tears, Angelika Meissner is not forgotten and her Immenhof films are still popular among old and new fans.
Sources: Stephanie D’heil (Steffi-Line – German), Wikipedia (German) and IMDb.
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German postcard by Rüdel-Verlag, Hamburg-Begedorf, no. 3484. Photo: Polydor / Schellen.
Willy Millowitsch (1909-1999) was a popular German stage and TV actor and the director of the Volkstheater Millowitsch in Cologne. From 1949 on, he appeared in many West-German and Austrian films.
Willy Millowitsch was born in Cologne in the Rhineland region in Germany, in 1909. His parents were Peter and Käthe Millowitsch and came from a long family tradition of engagement with the theatre which can be traced back to 1792. It was not until 1895 however, that Millowitsch's grandfather stopped using puppets and resorted to real actors instead. Millowitsch was interested in theatre at an early age, and took to the stage for the first time in 1922 at just 13. According to IMDb, he had intended to become an engineer, but he quit school without a degree to pursue his acting career full-time. At first, he worked under the auspices of his father who had to give up his theatre after the inflation hit. This forced them to go on tour in and around Cologne until they got a permanent theatre in 1936, the now famous Volkstheater Millowitsch, which Willy took over from his father in 1940. In 1933, he had his first film appearances in two short film comedies, So leben wir alle Tage/That’s how we always live (Hasso Preiß, 1933) and Wenn Männer kochen/When men cook (Hasso Preiß, 1933). In 1939 he married his first wife Lini Lüttgen, but they got divorced soon after. During World War II, the theatre was damaged, but not severely, and by October 1945 it was fully restored, owing to the support of mayor and later German chancellor, Konrad Adenauer, who proclaimed that the people need something to laugh about again. Consequently, in the time from 1945 to 1949 there were daily performances in the theatre. It was during this time that he met his second wife, Gerda Millowitsch, formerly Feldhoff. They remained married till his death.
In 1949, when the post-war theatre euphoria died down, Willy Millowitsch focused on his film and television career. In 1949 he played a supporting part in the West-German crime film Gesucht wird Majora/Search for Majora (Hermann Pfeiffer, 1949) starring Lotte Koch. Next, he appeared in the drama Madonna in Ketten/Madonna in Chains (Gerhard Lamprecht, 1949), starring Lotte Koch, Karin Hardt and Elisabeth Flickenschildt. He also appeared in one of the last Harry Piel adventure films, Der Tiger Akbar/Tiger’s Claw (Harry Piel, 1951). Many more films were to follow. He did not content himself just transferring from one medium to the other, but brought the theatre with him. In 1953 the Kölsch (Cologne dialect) play Der Etappenhase (The stage hare) was broadcast on the TV channel WDR, the first live broadcast of a theatrical performance with real audience in German television history. Despite bitter criticism of the entry of low 'folk culture' into television by the director of the NDR channel, Adolf Grimme, it was an instant success. This remains one of Millowitsch's most popular plays and has been performed more than 1,000 times. Der Etappenhase was so popular that just six weeks later it was broadcast again, live from the Volkstheater. In 1957, it was made into a film, Der Etappenhase (Wolfgang Becker, 1957), but with Beppo Brem in the leading role and Millowitsch in a supporting part. Millowitsch continued to put on television plays that were instant successes, gaining national popularity. It is in great part Millowitsch's achievement to have popularised Kölsch throughout Germany. People were now associating the Rhinelander with a relaxed lifestyle and genial humour. Theatres from other dialectal areas scrambled to catch up with him and soon the dialect theatre became an important part of the German television landscape. With the success of these plays on television, interest in theatre gradually increased and by the 1960s flocks of people took to the theatre again to witness performance of Millowitsch's popular plays first hand. Until the beginning of the 1960s Millowitsch had to rent out his theatre now and again, but with the arrival of the new crowds Millowitsch could afford to concentrate his career on theatre from then on. He renovated the theatre in 1967 and the Volkstheater once again became a focal point of local culture, and many young dialect artists started their careers there.
In the early 1960s, Willy Millowitsch had also moved on from supporting to starring parts in films. He was the title figure in the West German comedy Der wahre Jakob/The True Jacob (Rudolf Schündler, 1960) and his co-stars were Renate Ewert and Jane Tilden. The film was a remake of the popular German comedy Der wahre Jakob/True Jacob (Hans Steihoff, 1931), starring Ralph Arthur Roberts. Next Millowitsch starred in Willy, der Privatdetektiv/Willy the Private Detective (Rudolf Schündler, 1960) with Renate Mannhardt and Rudolf Platte, Der Hochtourist/The high-season tourist (Ulrich Erfurth, 1961) with Claude Farell, and Robert und Bertram/Robert und Bertram (Hans Deppe, 1961) opposite Vico Torriani and Trude Herr. The latter comedy was inspired by the characters in Gustav Raeder's 1856 play Robert and Bertram, updated to the modern era. Two vagabonds, Robert and Bertram, are hired by a shoe company to walk 500 kilometres to test their new product. He also appeared in the film operettas Die Fledermaus/The Bat (Géza von Cziffra, 1962), starring Peter Alexander, Marianne Koch and Marika Rökk, and Der Zigeunerbaron/The Gypsy Baron (Kurt Wilhelm, 1962) with Carlos Thompson and Heidi Brühl. Throughout the 1970s, Willy Millowitsch stuck mostly to the folk theatre. With his son Peter Millowitsch, he appeared in the Roy Black vehicle Alter Kahn und junge Liebe/Old Barge, Young Love (Werner Jacobs, 1973). At the end of the 1980s he returned to television and took the title role in a detective series as Kommissar Klefisch, whom he played until 1996. He played a small part in the Hollywood comedy National Lampoon's European Vacation (Amy Heckerling, 1985) with Chevy Chase. His single line was 'Wer zum Teufel waren die Leute?' (Who the devil were those people?). Aside from his theatrical merits, he also wrote classic popular folk songs, such as Schnaps, das war sein letztes Wort and Wir sind alle kleine Sünderlein. He also embraced political causes and in 1992 he participated in the important anti-Nazi campaign, Arsch huh, Zäng ussenander! (Kölsch, meaning: Move your butts and pipe up!), which culminated in a major concert by local acts attended by 100,000 people at Cologne's Chlodwigplatz. In 1989, the city of Cologne conferred honorary citizenship on to Millowitsch, which is a very exclusive honour in Germany. In 1995, he retired from performing for health reasons. He celebrated his 90th birthday on 8 January 1999, with 18,000 fans at a sold-out event at the Köln arena and told people all he wanted for his birthday was to stay healthy. However, Willy Millowitsch died of heart failure on 20 September that year. Two of his four children, Peter Millowitsch, who is now the director of the Volkstheater, and Mariele Millowitsch have continued the family tradition and have both become successful actors. The city of Cologne has named a square near the Millowitsch theatre Willy-Millowitsch-Platz in his honour.
Sources: Wikipedia (English and German), and IMDb.
German postcard by Kolibri-Verlag G.m.b.H., Minden/Westf., no. 361. Photo: CCC / Krau. Publicity still for Die Frühreifen/The precocious (Josef von Báky, 1957).
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
Handsome Christian Wolff (1938) was the young lover of many German films of the late 1950s. He started out in the controversial 'gay' film Anders als Du und Ich/The Third Sex (1957) and later became a popular TV star in the long running family series Forsthaus Falkenau (1989-2006).
For more postcards, a bio and clips check out our blog European Film Star PostcardsAlready over 3 million views! Or follow us at Tumblr or Pinterest.
German postcard by Netter's Starverlag, Berlin. Photo: publicity still for the play Der Fronthahn/The Front Rooster.
Willy Millowitsch (1909-1999) was a popular German stage and TV actor and the director of the Volkstheater Millowitsch in Cologne. From 1949 on, he appeared in many West-German and Austrian films.
Willy Millowitsch was born in Cologne in the Rhineland region in Germany, in 1909. His parents were Peter and Käthe Millowitsch and came from a long family tradition of engagement with the theatre which can be traced back to 1792. It was not until 1895 however, that Millowitsch's grandfather stopped using puppets and resorted to real actors instead. Millowitsch was interested in theatre at an early age, and took to the stage for the first time in 1922 at just 13. According to IMDb, he had intended to become an engineer, but he quit school without a degree to pursue his acting career full-time. At first, he worked under the auspices of his father who had to give up his theatre after the inflation hit. This forced them to go on tour in and around Cologne until they got a permanent theatre in 1936, the now famous Volkstheater Millowitsch, which Willy took over from his father in 1940. In 1933, he had his first film appearances in two short film comedies, So leben wir alle Tage/That’s how we always live (Hasso Preiß, 1933) and Wenn Männer kochen/When men cook (Hasso Preiß, 1933). In 1939 he married his first wife Lini Lüttgen, but they got divorced soon after. During World War II, the theatre was damaged, but not severely, and by October 1945 it was fully restored, owing to the support of mayor and later German chancellor, Konrad Adenauer, who proclaimed that the people need something to laugh about again. Consequently, in the time from 1945 to 1949 there were daily performances in the theatre. It was during this time that he met his second wife, Gerda Millowitsch, formerly Feldhoff. They remained married till his death.
In 1949, when the post-war theatre euphoria died down, Willy Millowitsch focused on his film and television career. In 1949 he played a supporting part in the West-German crime film Gesucht wird Majora/Search for Majora (Hermann Pfeiffer, 1949) starring Lotte Koch. Next, he appeared in the drama Madonna in Ketten/Madonna in Chains (Gerhard Lamprecht, 1949), starring Lotte Koch, Karin Hardt and Elisabeth Flickenschildt. He also appeared in one of the last Harry Piel adventure films, Der Tiger Akbar/Tiger’s Claw (Harry Piel, 1951). Many more films were to follow. He did not content himself just transferring from one medium to the other, but brought the theatre with him. In 1953 the Kölsch (Cologne dialect) play Der Etappenhase (The stage hare) was broadcast on the TV channel WDR, the first live broadcast of a theatrical performance with real audience in German television history. Despite bitter criticism of the entry of low 'folk culture' into television by the director of the NDR channel, Adolf Grimme, it was an instant success. This remains one of Millowitsch's most popular plays and has been performed more than 1,000 times. Der Etappenhase was so popular that just six weeks later it was broadcast again, live from the Volkstheater. In 1957, it was made into a film, Der Etappenhase (Wolfgang Becker, 1957), but with Beppo Brem in the leading role and Millowitsch in a supporting part. Millowitsch continued to put on television plays that were instant successes, gaining national popularity. It is in great part Millowitsch's achievement to have popularised Kölsch throughout Germany. People were now associating the Rhinelander with a relaxed lifestyle and genial humour. Theatres from other dialectal areas scrambled to catch up with him and soon the dialect theatre became an important part of the German television landscape. With the success of these plays on television, interest in theatre gradually increased and by the 1960s flocks of people took to the theatre again to witness performance of Millowitsch's popular plays first hand. Until the beginning of the 1960s Millowitsch had to rent out his theatre now and again, but with the arrival of the new crowds Millowitsch could afford to concentrate his career on theatre from then on. He renovated the theatre in 1967 and the Volkstheater once again became a focal point of local culture, and many young dialect artists started their careers there.
In the early 1960s, Willy Millowitsch had also moved on from supporting to starring parts in films. He was the title figure in the West German comedy Der wahre Jakob/The True Jacob (Rudolf Schündler, 1960) and his co-stars were Renate Ewert and Jane Tilden. The film was a remake of the popular German comedy Der wahre Jakob/True Jacob (Hans Steihoff, 1931), starring Ralph Arthur Roberts. Next Millowitsch starred in Willy, der Privatdetektiv/Willy the Private Detective (Rudolf Schündler, 1960) with Renate Mannhardt and Rudolf Platte, Der Hochtourist/The high-season tourist (Ulrich Erfurth, 1961) with Claude Farell, and Robert und Bertram/Robert und Bertram (Hans Deppe, 1961) opposite Vico Torriani and Trude Herr. The latter comedy was inspired by the characters in Gustav Raeder's 1856 play Robert and Bertram, updated to the modern era. Two vagabonds, Robert and Bertram, are hired by a shoe company to walk 500 kilometres to test their new product. He also appeared in the film operettas Die Fledermaus/The Bat (Géza von Cziffra, 1962), starring Peter Alexander, Marianne Koch and Marika Rökk, and Der Zigeunerbaron/The Gypsy Baron (Kurt Wilhelm, 1962) with Carlos Thompson and Heidi Brühl. Throughout the 1970s, Willy Millowitsch stuck mostly to the folk theatre. With his son Peter Millowitsch, he appeared in the Roy Black vehicle Alter Kahn und junge Liebe/Old Barge, Young Love (Werner Jacobs, 1973). At the end of the 1980s he returned to television and took the title role in a detective series as Kommissar Klefisch, whom he played until 1996. He played a small part in the Hollywood comedy National Lampoon's European Vacation (Amy Heckerling, 1985) with Chevy Chase. His single line was 'Wer zum Teufel waren die Leute?' (Who the devil were those people?). Aside from his theatrical merits, he also wrote classic popular folk songs, such as Schnaps, das war sein letztes Wort and Wir sind alle kleine Sünderlein. He also embraced political causes and in 1992 he participated in the important anti-Nazi campaign, Arsch huh, Zäng ussenander! (Kölsch, meaning: Move your butts and pipe up!), which culminated in a major concert by local acts attended by 100,000 people at Cologne's Chlodwigplatz. In 1989, the city of Cologne conferred honorary citizenship on to Millowitsch, which is a very exclusive honour in Germany. In 1995, he retired from performing for health reasons. He celebrated his 90th birthday on 8 January 1999, with 18,000 fans at a sold-out event at the Köln arena and told people all he wanted for his birthday was to stay healthy. However, Willy Millowitsch died of heart failure on 20 September that year. Two of his four children, Peter Millowitsch, who is now the director of the Volkstheater, and Mariele Millowitsch have continued the family tradition and have both become successful actors. The city of Cologne has named a square near the Millowitsch theatre Willy-Millowitsch-Platz in his honour.
Sources: Wikipedia (English and German), and IMDb.
Pope (Gregory Walcott) continued interference earns him a beating from Hemlock (Clint Eastwood).
Hemlock (Clint Eastwood) travels to Switzerland with Bowman (George Kennedy), the 'ground man' or supervisor of the climb and meets the other members of the climbing party at the Hotel Bellevue des Alpes at Kleine Scheidegg.
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besser bekannt als Gut Immenhof
Die Mädels vom Immenhof ist die Verfilmung des Buches Dick und Dalli und die Ponies von Ursula Bruns Mitte der 50 Jahre mit u.a. Heidi Brühl als Dalli.
Wir wollen niemals auseinandergehen ... (Heidi Brühl)
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Scan - Photo: Bernard of Hollywood
Printed in Western Germany
Krüger
902/323
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German postcard by Krüger, no. 902/330. Photo: Bernard of Hollywood.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star PostcardsAlready over 3 million views! Or follow us at Tumblr or Pinterest.
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Encore! Another card of Heidi Brühl. See also this and that postcard of sexy Heidi.
This is a Dutch postcard.
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Dutch postcard, nr. 14.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was the Doris Day of Germany.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
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Duitse zangeres en actrice Heidi Brühl (links) bezoekt Amsterdam in verband met de première ‘Immer will ich dir gehören!’, verwelkomd door haar fanclub, Hotel de l'Europe, Nieuwe Doelenstraat, Amsterdam, 15 april 1961
Foto Ben van Meerendonk / AHF, collectie IISG, Amsterdam
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besser bekannt als Gut Immenhof
Die Mädels vom Immenhof ist die Verfilmung des Buches Dick und Dalli und die Ponies von Ursula Bruns Mitte der 50 Jahre mit u.a. Heidi Brühl als Dalli.
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This is a wonderfully terrible movie from 1963.
Captain Sindbad (note the spelling) is a 1963 film directed by Byron Haskin. It stars Guy Williams (Disney's Zorro) and Heidi Brühl.[1]
Part of its plot is similar to the Russian legend of the evil Katschei. The villain, El Kerim, literally keeps his heart locked up in a chest inside a huge tower. Whoever wishes to kill him must climb that tower, overcome perils, and destroy the heart. Because of this, El Kerim is literally invulnerable to any person who does not know the secret of his heart.
Deutschland 1973. Regie: Wolfgang Schleif
Darsteller: Heidi Brühl, Horst Janson, Olga Tschechowa, Franz Schafheitlin, Jutta Speidel
Deutschland 1973. Regie: Wolfgang Schleif
Darsteller: Heidi Brühl, Horst Janson, Olga Tschechowa, Franz Schafheitlin, Jutta Speidel
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'Wir wollen niemals auseinandergeh'n,
wir wollen immer zueinandersteh'n.
Mag auf der grossen Welt auch noch soviel gescheh'n,
wir wollen niemals auseinandergeh'n.
Uns're Welt bleibt so schön,
wir wollen niemals auseinandergeh'n.'
Dieser Refrain des Schlagers von Heidi Brühl aus den Sechzigerjahren, ist mir sofort in den Sinn gekommen, als ich die zwei zusammengewachsenen Sonnenblumen sah.
Sie gehören wirklich zusammen!
Einen wunderschönen Sommertag wünsche ich euch allen!
Deutschland 1974. Regie: Wolfgang Schleif
Darsteller: Heidi Brühl, Horst Janson, Franz Schafheitlin, Olga Tschechowa
Dutch postcard by NS, no. 12.
Legendary Belgian singer-songwriter Jacques Brel (1929-1978) was one of the most important and influential representatives of the French chanson. At the height of his success, in 1966, he chose to stop singing to devote himself to theatre and cinema. Brel has sold over 25 million records worldwide. There have been at least 400 recorded versions of his song, Ne me quitte pas/ If You Go Away, in over 15 different languages by performers like Marlene Dietrich, Rod McKuen, Nana Mouskouri, Nina Simone and Sting. Terry Jacks' version of Le Moribond , Seasons in the Sun became a global pop hit in 1974. Brel’s boundless enthusiasm toward life, his inexhaustible energy and his respect for ordinary people remain unforgettable.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star PostcardsAlready over 3 million views! Or follow us at Tumblr or Pinterest.
Dutch postcard by N.V. v.h. Weenenk & Snel, Baarn, no. 761. Photo: Gofilex. Publicity still for Immer will ich dich gehören/
Always I will be yours (Arno Assmann, 1960) with Peter Weck.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star PostcardsAlready over 3 million views! Or follow us at Tumblr or Pinterest.
✅ This image from Marco Verch (trendingtopics) is available under Creative Commons 2.0. Please link to the original photo and the license. ? License for use outside of the Creative Commons is available by request.
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German postcard by Krüger, nr. 903/321. The photo is made by the master of the pin-up pics, Bernard of Hollywood.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
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German postcard by Rüdel Verlag (Franz Josef Rüdel Filmpostkartenverlag, Hamburg-Bergedorf), nr. 3213. Photo: Erwin Schneider.
German actor Matthias Fuchs (1939-2001) was well known as the young Ethelbert in the popular Immenhof film series in the 1950’s. Later he evolved into one of the most respected character actors of the German theater, and worked on film and TV with director Rainer Werner Fassbinder.
Matthias Fuchs was born in Hannover, Germany, in 1939. He became known in the role of Ethelbert in the Heimat comedies about the Immenhof farm, at the side of Angelika Meissner and Heidi Brühl. He made his film debut in the first part of the series, Die Mädels vom Immenhof/The Girls from Immenhof (1955, Wolfgang Schleif) and also appeared in the sequels Hochzeit auf Immenhof/Wedding at Immenhof (1956, Volker von Collande) and Ferien auf Immenhof/Holiday at Immenhof (1957, Hermann Leitner). Other films in which he appeared were Der erste Frühlingstag/The First day of Spring (1956, Helmut Weiss) with Luise Ullrich, the historically unaccurate war film U47 - Kapitänleutnant Prien/ U-47 Lt. Commander Prien (1958, Harald Reinl), the comedy-fantasy Der Engel, der seine Harfe versetzte/The Angel Who Pawned Her Harp (1959, Kurt Hoffmann) and the Thomas Mann adaptation Buddenbrooks - 2. Teil/Buddenbrooks, part 2 (1959, Alfred Weidenmann) starring Liselotte Pulver.
After attending drama school Matthias Fuchs evolved into one of the most respected character actors of the German theater. Throughout his life he was closely associated with the Deutsches Schauspielhaus in Hamburg. Famous became his work with director Peter Zadek. During the 1960’s and 1970’s he also appeared in TV films and he played supporting parts in films like Das Mädchen und der Staatsanwalt/The Girl and the District Attorney (1962, Jürgen Goslar) with Elke Sommer, The Cardinal (1963, Otto Preminger), and Mutter Küsters' Fahrt zum Himmel/Mother Kusters Goes to Heaven (1975, Rainer Werner Fassbinder) with Brigitte Mira. He also appeared in Aus einem deutschen Leben/Death Is My Trade (1977, Theodor Kotulla), a disturbing biography of Rudolph Höss, the commandant of Auschwitz II-Birkenau, played by Götz George.
Matthias Fuchs worked several times with director Rainer Werner Fassbinder, including the TVMini-series Berlin Alexanderplatz (1980) and the second chapter of Fassbinder's BRD Trilogy, Lola (1981) starring Barbara Sukowa. Other interesting films were Die flambierte Frau/A Woman in Flames (1983, Robert van Ackeren) starring Gudrun Landgrebe, Decoder (1983, Muscha), and the Sci-Fi film Das Arche Noah Prinzip/The Noah’s Ark Principle (1984, Roland Emmerich). The latter was the most expensive (about 1.2 million DM) student film ever made in Germany. On TV he guest-starred in popular Krimi series like Der Fahnder/ The Investigator (1988), Der Alte/The Old Fox (1989) and Derrick (1990). He regularly appeared in films such as the comedy Rotwang muß weg!/Rotwang Must Go (1994, Hans-Christoph Blumenberg), a spoof of Jurassic Park with Udo Kier, and the creepy thriller Der Totmacher/Deathmaker (1995, Romuald Karmakar) starring Götz George. Also interesting is Beim nächsten Kuß knall ich ihn nieder (1996), a biography of German film director Reinhold Schünzel, who had to emigrate from Germany in the 1930s, and went to Hollywood. After the death of Peter Pasetti, Fuchs represented from 1995 until his death in 2001, the role of the narrator in 39 episodes of the radio drama series, Die drei????/the three???? (Episode 65 to 103). He was a narrator of television documentaries and the animation series Max und Moritz/Max and Moritz (1999, Veit Vollmer). Matthias Fuchs died of lung cancer in 2001 in Hamburg, Germany. His final film was Prüfstand VII/Test Stand VII (2002, Robert Bramkamp) with Robert Forster.
Sources: Wikipedia, and IMDb.
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German postcard by WS-Druck, Wanne-Eickel, no. 298. Photo: H.D. / Bavaria / Schorcht.
German actor Christian Doermer (1935) has appeared in 83 films and television shows since 1954. His breakthrough was as Horst Buchholz’ brother in the successful teen drama Die Halbstarken/Teenage Wolfpack (1956).
Christian-Michael Doermer was born in Rostock, Germany in 1935. He was the son of Dr. Hartmut Doermer and the actress Ruth von Zerboni. He studied sociology and economics in Frankfurt and Marburg. His mother led the acting school Zerboni in Munich and through her interference he made his acting debut in Geliebtes Fräulein Doktor/Beloved Miss Doctor (Hans H. König, 1954) with Edith Mill. In 1956 he made his stage debut at the Deutschen Schauspielhaus in Hamburg. His first bigger film role was in the crime film Viele kamen vorbei/Many Passed By (Peter Pewas, 1956). Then he had his breakthrough in the classic Die Halbstarken/Teenage Wolfpack (Georg Tressler, 1956) as the ambivalent younger brother of Horst Buchholz. Volker Scheunert at IMDb: “There was hardly a realistic view of (West-)German society during the years of the ‘Economic Miracle’. Young author Will Tremper did not like that sentimental stuff. Obviously influenced by Hollywood teen dramas he and director Georg Tressler in 1956 realized Germany's first look on juvenile delinquency, a film that is now regarded a classic of German post-war cinema. This one is hard, raw and realistic, omitting any false sentimentality or romanticism.” In 1957, Doermer appeared in the German war film Der Stern von Afrika/The Star of Africa (Alfred Weidenmann, 1957) portraying the combat career of Luftwaffe World War II fighter pilot Hans-Joachim Marseille (Joachim Hansen). Marseille was killed in a plane crash after over 150 kills in North Africa. The film was very successful at the German box office, although the critics predominantly gave it a fair rating. He appeared in another teen drama Die Frühreifen/The precocious (Josef von Báky, 1957) with Heidi Brühl and Christian Wolff, but mostly played supporting parts in such comedies as Ohne Mutter geht es nicht/Without Mother It Does Not Work (Erik Ode, 1958) with Ewald Balser and Adelheid Seeck.
Christian Doermer reunited with Will Tremper for the thriller Flucht nach Berlin/Escape to Berlin (Will Tremper, 1961). He played a disappointed young SED official who settles in West Berlin with his girlfriend (Susanne Korda). For this role he won a Filmband im Gold award as Best Young Actor. On TV he could be seen in the very popular crime series Das Halstuch/The scarf (Hans Quest, 1962) based on a Francis Durbridge novel and starring Heinz Drache. Doermer then played the lead role in Das Brot der frühen Jahre/The Bread of Those Early Years (Herbert Vesely, 1962), based on the novel by Heinrich Böll. It was entered into the 1962 Cannes Film Festival. That year, he also appeared in L'amour à vingt ans/Love at Twenty (1962) a French-produced omnibus project of Pierre Roustang, consisting of five segments directed by five directors from five different countries. He appeared in the charming, but somewhat sentimental German episode directed by Marcel Ophüls about an unwed mother (Barbara Frey) who contrives to trap the father of her baby. As the only actor, he signed the Oberhausen Manifesto, a declaration by a group of 26 young German filmmakers at the International Short Film Festival Oberhausen in 1962. The manifesto was a call to arms to establish a ‘new German feature film’ and among the signatories were the directors Alexander Kluge and Edgar Reitz. The signatories to the manifesto became known as the Oberhausen Group and are seen as important forerunners of the New German Cinema that began later in the decade. The Oberhausen Group were awarded the Deutscher Filmpreis in 1982. In 1963 Doermer founded his own film company Cine Dokument Film. In the following decades, he realized several films for which he was the writer, producer, director and actor.
Christian Doermer starred in the drama Schonzeit für Füchse/No Shooting Time for Foxes (Peter Schamoni, 1966), which won the Special Jury Prize at the 16th Berlin International Film Festival. That year, he could also be seen in a supporting part in the thriller Die Rechnung – eiskalt serviert/Tip Not Included (Helmut Ashley, 1966). It was the third film in the Jerry Cotton series with George Nader as the G-man. Doermer also made some films in Great Britain. In the action-thriller The Syndicate (1968) he is among a group of prospectors who plan to mine a Kenyan savanna for its rich, and as yet untapped uranium. The group slowly deteriorates under threat of double cross and jealousy. He had a big part in the drama Joanna (Michael Sarne, 1968). He played an aspiring painter/art teacher, who has a fling with the title figure, Joanna (Geneviève Waïte), a provincial girl studying art in London. The film was listed to compete in Cannes, but the festival was cancelled due to the events of May 1968. Doermer also appeared as a German soldier in Sir Richard Attenborough’s film musical Oh! What a Lovely War (1969), telling the story of WWI through its popular songs. In the early 1970s, Doermer stopped with acting and focused himself on his production company. As a writer, producer and director, he made several TV documentaries about India, Africa and Asia. After his complex feature film about General Paul von Lettow-Vorbeck, Lettow-Vorbeck: Der deutsch-ostafrikanische Imperativ/Lettow-Vorbeck: The German-East Africa Imperative (Christian Doermer, 1984) became a flop, Doermer turned to acting again, mostly for television, such as in Väter und Söhne - Eine deutsche Tragödie/ Fathers and Sons (Bernhard Sinkel, 1986) with Julie Christie. In 1989 he founded with Hans Clarin, Günther Maria Halmer, and the actresses Mona Freiberg and Cornelia Froboess, the production company Ensemble am Chiemsee that works primarily for private television and local media. Later acting work included parts in the TV films Wambo (Jo Baier, 2000), about the murder of Bavarian actor Walter Sedlmayer, and Stauffenberg (Jo Baier, 2004) about the unsuccessful Valkyrie Operation against Hitler in 1944 of General Stauffenberg (Sebastian Koch). Most recently, he was seen in Gierig/Greedy (Ralf Huettner, 2011), an episode of the TV series Kommissarin Lucas. Since 1961, Christian Doermer is married to Lore Schmidt-Polex and they have three children.
Sources: Volker Scheunert (IMDb), Stephanie d’Heil (Steffi-Line.de), Cinedokumentfilm.de (German), Filmportal.de (German), Wikipedia (German and English) and IMDb
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German postcard by F.J. Rüdel, Filmpostkartenverlag, Hamburg-Bergedorf, no. 704.
Blond, handsome actor Helmuth Schneider (1920 - 1972) appeared in more than 50 films and also worked as an assistant director. He worked in Germany, but also in Latin America, Italy and France.
Helmuth (often Helmut) Schneider was born in Munich, Germany in 1920. Her studied medicine in Munich in 1938, and attended the drama school of the Deutsches Theater in Berlin. In 1942 he made his stage debut in the comedy Sophienlund. He had to quit his engagement at the Deutsches Theater for the war effort. He was wounded in France. Schneider made his film debut for the UFA with a small part in the musical drama Träumerei/Daydream (1944, Harald Braun) about the love story of Clara Wieck Schumann (Hilde Krahl) and Robert Schumann (Mathias Wieman). In 1946, he left Germany and stayed in Latin America where he worked in the film business under the name Alexandre Carlos. In 1952, he was back in Germany and and played at the Deutsches Theater in Göttingen. In the cinema, he co-starred with Edith Mill in the romantic drama Zwei Menschen/Two People (1952, Paul May). It made both stars of the heimat film. The following years he was the handsome hunter or forrester in several forgettable German rural romances, such as Der Fischer vom Heiligensee, Drei Birken auf der Heide (1956) and Jägerblut (1957). In 1959, he starred as Kara Ben Nemsi in the Karl May adventure Der Löwe von Babylon/The Lion of Babylon (1959, Johannes Kai, Ramón Torrado) with Georg Thomalla and Theo Lingen.
In the 1960’s, when the German film industry experienced a downturn, Helmuth Schneider worked for television, such as for the crime series Stahlnetz (1960-1963), the German version of Dragnet. He moved to Rome, which was the new centre of the European cinema. He had a supporting part in the adventure film Captain Sindbad (1963, Byron Haskin) starring Guy Williams and Heidi Brühl, and the war film The Secret Invasion (1964, Roger Corman) with Stewart Granger and Raf Vallone. In France he appeared as an unsympathetic Nazi officer in war dramas like Le facteur s'en va-t-en guerre/The Postman Goes to War (1966, Claude Bernard-Aubert) starring Charles Aznavour, and Paris brûle-t-il?/Is Paris Burning? (1966, René Clément) starring Jean-Paul Belmondo and Charles Boyer. He played such a role also in the war comedy La grande vadrouille/Don't Look Now, We've Been Shot At (1966, Gérard Oury) with Bourvil and Louis de Funès. He also had a part in the fifth and final episode of the Angélique series with Michèle Mercier, Angélique et le sultan/Angélique and the Sultan (1967, Bernard Borderie). In Italy he made a spaghetti western, Ciakmull - L'uomo della vendetta/The Unholy Four (1970, Enzo Barboni) Hal Erickson at AllMovie: “It's one of those spaghetti westerns in which the heroes and heavies are virtually indistinguishable. Though the outlaw leader (played by George Eastman credited by his birth name Luigi Montefiore) is evil incarnate, he isn't much worse than the four mercenaries hunting him down. Stalwart John Ford-regular Woody Strode is given plenty of screen time, and he makes the most of it. Director Enzo Barboni was billed as E. B. Clucher in the American prints.”Schneider also played in another war film Gott mit uns/The Fifth Day of Peace (1970, Giuliano Montaldo) starring Franco Nero. His final film was À la guerre comme à la guerre/War is war (1972, Bernard Borderie), a historical war comedy starring Leonard Whiting and Curd Jürgens. Helmuth Schneider died in a traffic accident in Rio de Janeiro, Brazil in 1972. He was 51.
Sources: Hal Erickson (AllMovie), Peter Hoffmann (Biografie.de) (German), Tom B. (Westerns…all Italiana). Wikipedia (German) and IMDb.
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German postcard by Krüger.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star Postcards
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German postcard by Kunst und Bild, Berlin-Charlottenburg, no. A 1698.
Austrian singer and actor Willy Hagara (1927) was a popular film and TV star from the mid 1950’s till the mid 1960’s. The discrete and elegant Schlager star had five Top 10 hits, including the evergreen Casetta in Canada (1958). The singer’s career did not survive the Beat wave, but in 1969 an inheritance made him a millionaire.
Wilhelm ‘Willy’ Hagara was born in Vienna, Austria in 1927. He was initially trained as a postal clerk and practiced this profession as well. In 1946, he won a popular song contest in the Wiener Konzerthaus. He focused all his activities to this new career, and took singing and acting lessons. During this time he was successful with folk songs and as the singer of the band of John Fehring, who later became the leader of the ORF Big Band Orchestra. Hagara was a classic band singer who performed one of his songs in an early Schlager show for the German ARD television, Schlager-Expreß/Schlager Express (1953). Finally in 1955 came his breakthrough with the song Eine Kutsche voller Mädels/A coach full of girls (1955). Willy Hagara moved to Frankfurt in Germany and he became something like the German Perry Como, whose songs in German versions he often would sing. Two years later he appeared in his first film, the musical comedy Weißer Holunder/White Elder (1957, Paul May) with Germaine Damar. It was followed by a string of light entertainment films: Liebe, Mädchen und Soldaten/Love, girls and soldiers (1958, Franz Antel), Mein ganzes Herz ist voll Musik/My whole heart is filled with music (1959, Helmut Weiss), Der Haustyrann/The domestic tyrant (1959, Hans Deppe) starring Heinz Erhardt, Laß mich am Sonntag nicht allein/Let me not be alone on Sunday (1959, Arthur Maria Rabenalt) with Heidi Brühl, and Paprika/Pepper (1959, Kurt Wilhelm).
Cinema attendance in Germany and Austria had spectacularly grown in the 1950’s, but at the end of the decade it first stagnated and then went into freefall in the 1960’s. The once so popular Schlager films became outdated. In 1961 Willy Hagara appeared in his last Schlager film, Ramona (1961, Paul Martin) with Senta Berger. At the time, television was developing into a mass medium that could compete with the cinema. In 1962 there were already 7 million TV sets in West-Germany. Hagara moved over to the small screen and appeared in such musical TV comedies as Mitternachtszauber/Midnight Magic (1964, Ralph Lotar) with Werner Fuetterer, and Vom Ersten das Beste/From the first the best (1965, Ekkehard Böhmer) with Hannelore Auer. These TV productions were in the same genre as the films he had made in the 1950’s for the cinema. Until the mid-1960 's he starred in numerous TV films and sold many records. In total he had five Top 10 hits, including the evergreen Casetta in Canada. His song Du spielst 'ne tolle Rolle (You play 'ne great role) became in the version of Nat King Cole a top ten hit in the US. But the Beat wave finished his singing career. His later TV-films included Ein Mädchen von heute/A girl of today (1966, Dieter Finnern) with Karin Baal. In 1969 he got a million inheritance: his father, the merchant Franz Hagara, left him with a villa and several lease lands in Vienna. He did not retire, but he bridged the 1970’s with performances during galas. Incidentally he appeared as a guest in such TV shows as Hit-Journal (1973, H.B. Theopold), Tango-Tango (1976, Horst Eppinger) and Ein kleines Glück auf allen Wegen/A small fortune on all routes (1980, Ekkehard Böhmer). After the death of his wife in 1986, Willy Hagara retired from the show business. His last public appearance was in a show from Schloss Schönbrunn in Vienna in 2002 on the occasion of his 75th birthday.
Sources: Wälz Studer (Memoryradio.de) (German), Wikipedia (English and German), and IMDb.
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Gut Rothensande im Juni 2007, Stallungen im Innenhof des Gutes. Bekannt aus den Immenhoffilmen mit Heidi Brühl in den 50er Jahren.
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German postcard by Terra-Color, no. F 123.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star Postcards. Already more than 4 million views!
Bezoek van de Duitse zangeres/actrice Heidi Brühl aan Nederland, waar haar film 'Immer will ich dir gehören' draait. Dansend met Riem de Wolff van de Blue Diamonds, 2de van links Herman van Keeken, in het Kurhaus in Scheveningen,15 april 1961
Foto Ben van Meerendonk / AHF, collectie IISG, Amsterdam
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German postcard by Kolibri-Verlag G.m.b.H., Minden/Westf., no. 842. Photo: Carlton / Seitz / Union-Film / Huster. Publicity still for Bei der blonden Kathrein/At the blond Katherine (Hans Quest, 1959).
German actress Angelika Meissner (1940) was a child star of German cinema in the 1950s. She became known with the three popular Immenhof films.
Angelika Meissner, a.k.a. Angelika Voelkner and Angelika Meissner-Voelkner, was born in, 1940 in Berlin. Her father was composer Peter Heinz Voelkner. Her mother, Hildegard Voelkner, nee Meissner, was the head of the advertising department at UFA. In 1949, Angelika played her first film role in the drama Nachtwache/Keepers of the Night (Harald Braun, 1949) as the little daughter of Hans Nielsen. In her second film Der fallende Stern/The Falling Star (1950), she epitomised Elisabeth Hollreiser, traumatised by the post-war turmoil, as a ten-year-old girl. Maria Wimmer played the adult Elisabeth. In the Dieter Borsche film Vater braucht eine Frau/Father Needs a Wife (Harald Braun, 1952), she played the cute Ulla who searches with her siblings in newspaper advertisements a new wife for her widowed father. Finally, she also finds her in Susanne (Ruth Leuwerik). In these early films, she appeared as Angelika Voelkner. Later, in Die Mädels vom Immenhof she is credited as Angelika Meissner-Voelkner, while in vacation at Immenhof she is credited as Angelika Meissner. The name change was a consequence of the divorce of the parents, and Angelika and her brother both adopted the birth name of their mother.
Angelika Meissner became known in the role of Barbara (nicknamed Dick) in Die Mädels vom Immenhof/The Girls from Immenhof (Wolfgang Schleif, 1955) with Heidi Brühl as her sister Dalli and Margarete Haagen as Grandma Jantzen. The film on a farm with Icelandic horses became a blockbuster. Meissner also appeared in the sequels, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956) and Ferien auf Immenhof/Holiday at Immenhof (Hermann Leitner, 1957).With Matthias Fuchs, Ethelbert in the Immenhof films, she met again, now as a pretty teenager, in the film Der erste Frühlingstag/The first spring day (Helmut Weiss, 1956). She was one of the charming and lively daughters of Heinz Erhardt in his film Witwer mit 5 Töchtern/Widower with five daughters (Erich Engels, 1957). The others were played by Susanne Cramer, Vera Tschechowa, Elke Aberle and Christine Kaufmann. In her last film, the Heimatfilm Hubertusjagd/ Hubertus Hunt (Hermann Kugelstadt, 1959), she appeared once more with Raidar Müller, Ralf from the Immenhof-films. Then she abruptly ended her acting career, retired to private life. Wikipedia cites Micaela Jary, who writes in her book Traumfabriken made in Germany. Die Geschichte des deutschen Nachkriegsfilms 1945–1960 (Dream factories made in Germany. The story of the German post-war film 1945-1960) hat Meissner's mother, in anticipation of future salaries, was deeply in debt to her daughter and was ‘film obsessed’. Angelika Meissner could not withstand the resulting pressure and separated. In 1963, she only played one more role in a German TV film. She studied architecture and moved to Canada, where she occasionally worked as an architect. In German speaking countries, even after sixty tears, Angelika Meissner is not forgotten and her Immenhof films are still popular among old and new fans.
Sources: Stephanie D’heil (Steffi-Line – German), Wikipedia (German) and IMDb.
German postcard by Kunst und Bild, Berlin, no. F 10. Photo: A. Grimm / CCC / Deutsche London. Publicity still for Der erste Frühlingstag/The first day of spring (Helmut Weiss, 1956).
German actress Angelika Meissner (1940) was a child star of German cinema in the 1950s. She became known with the three popular Immenhof films.
Angelika Meissner, a.k.a. Angelika Voelkner and Angelika Meissner-Voelkner, was born in, 1940 in Berlin. Her father was composer Peter Heinz Voelkner. Her mother, Hildegard Voelkner, nee Meissner, was the head of the advertising department at UFA. In 1949, Angelika played her first film role in the drama Nachtwache/Keepers of the Night (Harald Braun, 1949) as the little daughter of Hans Nielsen. In her second film Der fallende Stern/The Falling Star (1950), she epitomised Elisabeth Hollreiser, traumatised by the post-war turmoil, as a ten-year-old girl. Maria Wimmer played the adult Elisabeth. In the Dieter Borsche film Vater braucht eine Frau/Father Needs a Wife (Harald Braun, 1952), she played the cute Ulla who searches with her siblings in newspaper advertisements a new wife for her widowed father. Finally, she also finds her in Susanne (Ruth Leuwerik). In these early films, she appeared as Angelika Voelkner. Later, in Die Mädels vom Immenhof she is credited as Angelika Meissner-Voelkner, while in vacation at Immenhof she is credited as Angelika Meissner. The name change was a consequence of the divorce of the parents, and Angelika and her brother both adopted the birth name of their mother.
Angelika Meissner became known in the role of Barbara (nicknamed Dick) in Die Mädels vom Immenhof/The Girls from Immenhof (Wolfgang Schleif, 1955) with Heidi Brühl as her sister Dalli and Margarete Haagen as Grandma Jantzen. The film on a farm with Icelandic horses became a blockbuster. Meissner also appeared in the sequels, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956) and Ferien auf Immenhof/Holiday at Immenhof (Hermann Leitner, 1957).With Matthias Fuchs, Ethelbert in the Immenhof films, she met again, now as a pretty teenager, in the film Der erste Frühlingstag/The first spring day (Helmut Weiss, 1956). She was one of the charming and lively daughters of Heinz Erhardt in his film Witwer mit 5 Töchtern/Widower with five daughters (Erich Engels, 1957). The others were played by Susanne Cramer, Vera Tschechowa, Elke Aberle and Christine Kaufmann. In her last film, the Heimatfilm Hubertusjagd/ Hubertus Hunt (Hermann Kugelstadt, 1959), she appeared once more with Raidar Müller, Ralf from the Immenhof-films. Then she abruptly ended her acting career, retired to private life. Wikipedia cites Micaela Jary, who writes in her book Traumfabriken made in Germany. Die Geschichte des deutschen Nachkriegsfilms 1945–1960 (Dream factories made in Germany. The story of the German post-war film 1945-1960) hat Meissner's mother, in anticipation of future salaries, was deeply in debt to her daughter and was ‘film obsessed’. Angelika Meissner could not withstand the resulting pressure and separated. In 1963, she only played one more role in a German TV film. She studied architecture and moved to Canada, where she occasionally worked as an architect. In German speaking countries, even after sixty tears, Angelika Meissner is not forgotten and her Immenhof films are still popular among old and new fans.
Sources: Stephanie D’heil (Steffi-Line – German), Wikipedia (German) and IMDb.
German postcard by Kolibri-Verlag G.m.b.H., Minden/Westf., no. 689. Photo: Kolibri / Lothar Winkler
German actress Angelika Meissner (1940) was a child star of German cinema in the 1950s. She became known with the three popular Immenhof films.
Angelika Meissner, a.k.a. Angelika Voelkner and Angelika Meissner-Voelkner, was born in, 1940 in Berlin. Her father was composer Peter Heinz Voelkner. Her mother, Hildegard Voelkner, nee Meissner, was the head of the advertising department at UFA. In 1949, Angelika played her first film role in the drama Nachtwache/Keepers of the Night (Harald Braun, 1949) as the little daughter of Hans Nielsen. In her second film Der fallende Stern/The Falling Star (1950), she epitomised Elisabeth Hollreiser, traumatised by the post-war turmoil, as a ten-year-old girl. Maria Wimmer played the adult Elisabeth. In the Dieter Borsche film Vater braucht eine Frau/Father Needs a Wife (Harald Braun, 1952), she played the cute Ulla who searches with her siblings in newspaper advertisements a new wife for her widowed father. Finally, she also finds her in Susanne (Ruth Leuwerik). In these early films, she appeared as Angelika Voelkner. Later, in Die Mädels vom Immenhof she is credited as Angelika Meissner-Voelkner, while in vacation at Immenhof she is credited as Angelika Meissner. The name change was a consequence of the divorce of the parents, and Angelika and her brother both adopted the birth name of their mother.
Angelika Meissner became known in the role of Barbara (nicknamed Dick) in Die Mädels vom Immenhof/The Girls from Immenhof (Wolfgang Schleif, 1955) with Heidi Brühl as her sister Dalli and Margarete Haagen as Grandma Jantzen. The film on a farm with Icelandic horses became a blockbuster. Meissner also appeared in the sequels, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956) and Ferien auf Immenhof/Holiday at Immenhof (Hermann Leitner, 1957).With Matthias Fuchs, Ethelbert in the Immenhof films, she met again, now as a pretty teenager, in the film Der erste Frühlingstag/The first spring day (Helmut Weiss, 1956). She was one of the charming and lively daughters of Heinz Erhardt in his film Witwer mit 5 Töchtern/Widower with five daughters (Erich Engels, 1957). The others were played by Susanne Cramer, Vera Tschechowa, Elke Aberle and Christine Kaufmann. In her last film, the Heimatfilm Hubertusjagd/ Hubertus Hunt (Hermann Kugelstadt, 1959), she appeared once more with Raidar Müller, Ralf from the Immenhof-films. Then she abruptly ended her acting career, retired to private life. Wikipedia cites Micaela Jary, who writes in her book Traumfabriken made in Germany. Die Geschichte des deutschen Nachkriegsfilms 1945–1960 (Dream factories made in Germany. The story of the German post-war film 1945-1960) hat Meissner's mother, in anticipation of future salaries, was deeply in debt to her daughter and was ‘film obsessed’. Angelika Meissner could not withstand the resulting pressure and separated. In 1963, she only played one more role in a German TV film. She studied architecture and moved to Canada, where she occasionally worked as an architect. In German speaking countries, even after sixty tears, Angelika Meissner is not forgotten and her Immenhof films are still popular among old and new fans.
Sources: Stephanie D’heil (Steffi-Line – German), Wikipedia (German) and IMDb.
German postcard by Kolibri-Verlag, Minden/Westf., no. 2648. Photo: Deutsche Film Hansa / Lilo. Publicity still for Witwer mit 5 Töchtern/Widower with 5 Daughters (Erich Engels, 1957).
German actress Angelika Meissner (1940) was a child star of German cinema in the 1950s. She became known with the three popular Immenhof films.
Angelika Meissner, a.k.a. Angelika Voelkner and Angelika Meissner-Voelkner, was born in, 1940 in Berlin. Her father was composer Peter Heinz Voelkner. Her mother, Hildegard Voelkner, nee Meissner, was the head of the advertising department at UFA. In 1949, Angelika played her first film role in the drama Nachtwache/Keepers of the Night (Harald Braun, 1949) as the little daughter of Hans Nielsen. In her second film Der fallende Stern/The Falling Star (1950), she epitomised Elisabeth Hollreiser, traumatised by the post-war turmoil, as a ten-year-old girl. Maria Wimmer played the adult Elisabeth. In the Dieter Borsche film Vater braucht eine Frau/Father Needs a Wife (Harald Braun, 1952), she played the cute Ulla who searches with her siblings in newspaper advertisements a new wife for her widowed father. Finally, she also finds her in Susanne (Ruth Leuwerik). In these early films, she appeared as Angelika Voelkner. Later, in Die Mädels vom Immenhof she is credited as Angelika Meissner-Voelkner, while in vacation at Immenhof she is credited as Angelika Meissner. The name change was a consequence of the divorce of the parents, and Angelika and her brother both adopted the birth name of their mother.
Angelika Meissner became known in the role of Barbara (nicknamed Dick) in Die Mädels vom Immenhof/The Girls from Immenhof (Wolfgang Schleif, 1955) with Heidi Brühl as her sister Dalli and Margarete Haagen as Grandma Jantzen. The film on a farm with Icelandic horses became a blockbuster. Meissner also appeared in the sequels, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956) and Ferien auf Immenhof/Holiday at Immenhof (Hermann Leitner, 1957).With Matthias Fuchs, Ethelbert in the Immenhof films, she met again, now as a pretty teenager, in the film Der erste Frühlingstag/The first spring day (Helmut Weiss, 1956). She was one of the charming and lively daughters of Heinz Erhardt in his film Witwer mit 5 Töchtern/Widower with five daughters (Erich Engels, 1957). The others were played by Susanne Cramer, Vera Tschechowa, Elke Aberle and Christine Kaufmann. In her last film, the Heimatfilm Hubertusjagd/ Hubertus Hunt (Hermann Kugelstadt, 1959), she appeared once more with Raidar Müller, Ralf from the Immenhof-films. Then she abruptly ended her acting career, retired to private life. Wikipedia cites Micaela Jary, who writes in her book Traumfabriken made in Germany. Die Geschichte des deutschen Nachkriegsfilms 1945–1960 (Dream factories made in Germany. The story of the German post-war film 1945-1960) hat Meissner's mother, in anticipation of future salaries, was deeply in debt to her daughter and was ‘film obsessed’. Angelika Meissner could not withstand the resulting pressure and separated. In 1963, she only played one more role in a German TV film. She studied architecture and moved to Canada, where she occasionally worked as an architect. In German speaking countries, even after sixty tears, Angelika Meissner is not forgotten and her Immenhof films are still popular among old and new fans.
Sources: Stephanie D’heil (Steffi-Line – German), Wikipedia (German) and IMDb.
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German postcard by WS-Druck, Wanne-Eickel, no. F 154.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star PostcardsAlready over 3 million views! Or follow us at Tumblr or Pinterest.
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German postcard by Rüdel-Verlag, Hamburg-Bergedorf., no. 2080. Photo: Deutsche Film Hansa / Lilo. Publicity still for Witwer mit 5 Töchtern/Widower with 5 Daughters (Erich Engels, 1957).
German actress Angelika Meissner (1940) was a child star of German cinema in the 1950s. She became known with the three popular Immenhof films.
Angelika Meissner, a.k.a. Angelika Voelkner and Angelika Meissner-Voelkner, was born in, 1940 in Berlin. Her father was composer Peter Heinz Voelkner. Her mother, Hildegard Voelkner, nee Meissner, was the head of the advertising department at UFA. In 1949, Angelika played her first film role in the drama Nachtwache/Keepers of the Night (Harald Braun, 1949) as the little daughter of Hans Nielsen. In her second film Der fallende Stern/The Falling Star (1950), she epitomised Elisabeth Hollreiser, traumatised by the post-war turmoil, as a ten-year-old girl. Maria Wimmer played the adult Elisabeth. In the Dieter Borsche film Vater braucht eine Frau/Father Needs a Wife (Harald Braun, 1952), she played the cute Ulla who searches with her siblings in newspaper advertisements a new wife for her widowed father. Finally, she also finds her in Susanne (Ruth Leuwerik). In these early films, she appeared as Angelika Voelkner. Later, in Die Mädels vom Immenhof she is credited as Angelika Meissner-Voelkner, while in vacation at Immenhof she is credited as Angelika Meissner. The name change was a consequence of the divorce of the parents, and Angelika and her brother both adopted the birth name of their mother.
Angelika Meissner became known in the role of Barbara (nicknamed Dick) in Die Mädels vom Immenhof/The Girls from Immenhof (Wolfgang Schleif, 1955) with Heidi Brühl as her sister Dalli and Margarete Haagen as Grandma Jantzen. The film on a farm with Icelandic horses became a blockbuster. Meissner also appeared in the sequels, Hochzeit auf Immenhof/Wedding at Immenhof (Volker von Collande, 1956) and Ferien auf Immenhof/Holiday at Immenhof (Hermann Leitner, 1957).With Matthias Fuchs, Ethelbert in the Immenhof films, she met again, now as a pretty teenager, in the film Der erste Frühlingstag/The first spring day (Helmut Weiss, 1956). She was one of the charming and lively daughters of Heinz Erhardt in his film Witwer mit 5 Töchtern/Widower with five daughters (Erich Engels, 1957). The others were played by Susanne Cramer, Vera Tschechowa, Elke Aberle and Christine Kaufmann. In her last film, the Heimatfilm Hubertusjagd/ Hubertus Hunt (Hermann Kugelstadt, 1959), she appeared once more with Raidar Müller, Ralf from the Immenhof-films. Then she abruptly ended her acting career, retired to private life. Wikipedia cites Micaela Jary, who writes in her book Traumfabriken made in Germany. Die Geschichte des deutschen Nachkriegsfilms 1945–1960 (Dream factories made in Germany. The story of the German post-war film 1945-1960) hat Meissner's mother, in anticipation of future salaries, was deeply in debt to her daughter and was ‘film obsessed’. Angelika Meissner could not withstand the resulting pressure and separated. In 1963, she only played one more role in a German TV film. She studied architecture and moved to Canada, where she occasionally worked as an architect. In German speaking countries, even after sixty tears, Angelika Meissner is not forgotten and her Immenhof films are still popular among old and new fans.
Sources: Stephanie D’heil (Steffi-Line – German), Wikipedia (German) and IMDb.
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German postcard by Rüdel-Verlag, Hamburg-Begedorf, no. 3484. Photo: Polydor / Schellen.
Willy Millowitsch (1909-1999) was a popular German stage and TV actor and the director of the Volkstheater Millowitsch in Cologne. From 1949 on, he appeared in many West-German and Austrian films.
Willy Millowitsch was born in Cologne in the Rhineland region in Germany, in 1909. His parents were Peter and Käthe Millowitsch and came from a long family tradition of engagement with the theatre which can be traced back to 1792. It was not until 1895 however, that Millowitsch's grandfather stopped using puppets and resorted to real actors instead. Millowitsch was interested in theatre at an early age, and took to the stage for the first time in 1922 at just 13. According to IMDb, he had intended to become an engineer, but he quit school without a degree to pursue his acting career full-time. At first, he worked under the auspices of his father who had to give up his theatre after the inflation hit. This forced them to go on tour in and around Cologne until they got a permanent theatre in 1936, the now famous Volkstheater Millowitsch, which Willy took over from his father in 1940. In 1933, he had his first film appearances in two short film comedies, So leben wir alle Tage/That’s how we always live (Hasso Preiß, 1933) and Wenn Männer kochen/When men cook (Hasso Preiß, 1933). In 1939 he married his first wife Lini Lüttgen, but they got divorced soon after. During World War II, the theatre was damaged, but not severely, and by October 1945 it was fully restored, owing to the support of mayor and later German chancellor, Konrad Adenauer, who proclaimed that the people need something to laugh about again. Consequently, in the time from 1945 to 1949 there were daily performances in the theatre. It was during this time that he met his second wife, Gerda Millowitsch, formerly Feldhoff. They remained married till his death.
In 1949, when the post-war theatre euphoria died down, Willy Millowitsch focused on his film and television career. In 1949 he played a supporting part in the West-German crime film Gesucht wird Majora/Search for Majora (Hermann Pfeiffer, 1949) starring Lotte Koch. Next, he appeared in the drama Madonna in Ketten/Madonna in Chains (Gerhard Lamprecht, 1949), starring Lotte Koch, Karin Hardt and Elisabeth Flickenschildt. He also appeared in one of the last Harry Piel adventure films, Der Tiger Akbar/Tiger’s Claw (Harry Piel, 1951). Many more films were to follow. He did not content himself just transferring from one medium to the other, but brought the theatre with him. In 1953 the Kölsch (Cologne dialect) play Der Etappenhase (The stage hare) was broadcast on the TV channel WDR, the first live broadcast of a theatrical performance with real audience in German television history. Despite bitter criticism of the entry of low 'folk culture' into television by the director of the NDR channel, Adolf Grimme, it was an instant success. This remains one of Millowitsch's most popular plays and has been performed more than 1,000 times. Der Etappenhase was so popular that just six weeks later it was broadcast again, live from the Volkstheater. In 1957, it was made into a film, Der Etappenhase (Wolfgang Becker, 1957), but with Beppo Brem in the leading role and Millowitsch in a supporting part. Millowitsch continued to put on television plays that were instant successes, gaining national popularity. It is in great part Millowitsch's achievement to have popularised Kölsch throughout Germany. People were now associating the Rhinelander with a relaxed lifestyle and genial humour. Theatres from other dialectal areas scrambled to catch up with him and soon the dialect theatre became an important part of the German television landscape. With the success of these plays on television, interest in theatre gradually increased and by the 1960s flocks of people took to the theatre again to witness performance of Millowitsch's popular plays first hand. Until the beginning of the 1960s Millowitsch had to rent out his theatre now and again, but with the arrival of the new crowds Millowitsch could afford to concentrate his career on theatre from then on. He renovated the theatre in 1967 and the Volkstheater once again became a focal point of local culture, and many young dialect artists started their careers there.
In the early 1960s, Willy Millowitsch had also moved on from supporting to starring parts in films. He was the title figure in the West German comedy Der wahre Jakob/The True Jacob (Rudolf Schündler, 1960) and his co-stars were Renate Ewert and Jane Tilden. The film was a remake of the popular German comedy Der wahre Jakob/True Jacob (Hans Steihoff, 1931), starring Ralph Arthur Roberts. Next Millowitsch starred in Willy, der Privatdetektiv/Willy the Private Detective (Rudolf Schündler, 1960) with Renate Mannhardt and Rudolf Platte, Der Hochtourist/The high-season tourist (Ulrich Erfurth, 1961) with Claude Farell, and Robert und Bertram/Robert und Bertram (Hans Deppe, 1961) opposite Vico Torriani and Trude Herr. The latter comedy was inspired by the characters in Gustav Raeder's 1856 play Robert and Bertram, updated to the modern era. Two vagabonds, Robert and Bertram, are hired by a shoe company to walk 500 kilometres to test their new product. He also appeared in the film operettas Die Fledermaus/The Bat (Géza von Cziffra, 1962), starring Peter Alexander, Marianne Koch and Marika Rökk, and Der Zigeunerbaron/The Gypsy Baron (Kurt Wilhelm, 1962) with Carlos Thompson and Heidi Brühl. Throughout the 1970s, Willy Millowitsch stuck mostly to the folk theatre. With his son Peter Millowitsch, he appeared in the Roy Black vehicle Alter Kahn und junge Liebe/Old Barge, Young Love (Werner Jacobs, 1973). At the end of the 1980s he returned to television and took the title role in a detective series as Kommissar Klefisch, whom he played until 1996. He played a small part in the Hollywood comedy National Lampoon's European Vacation (Amy Heckerling, 1985) with Chevy Chase. His single line was 'Wer zum Teufel waren die Leute?' (Who the devil were those people?). Aside from his theatrical merits, he also wrote classic popular folk songs, such as Schnaps, das war sein letztes Wort and Wir sind alle kleine Sünderlein. He also embraced political causes and in 1992 he participated in the important anti-Nazi campaign, Arsch huh, Zäng ussenander! (Kölsch, meaning: Move your butts and pipe up!), which culminated in a major concert by local acts attended by 100,000 people at Cologne's Chlodwigplatz. In 1989, the city of Cologne conferred honorary citizenship on to Millowitsch, which is a very exclusive honour in Germany. In 1995, he retired from performing for health reasons. He celebrated his 90th birthday on 8 January 1999, with 18,000 fans at a sold-out event at the Köln arena and told people all he wanted for his birthday was to stay healthy. However, Willy Millowitsch died of heart failure on 20 September that year. Two of his four children, Peter Millowitsch, who is now the director of the Volkstheater, and Mariele Millowitsch have continued the family tradition and have both become successful actors. The city of Cologne has named a square near the Millowitsch theatre Willy-Millowitsch-Platz in his honour.
Sources: Wikipedia (English and German), and IMDb.
German postcard by Kolibri-Verlag G.m.b.H., Minden/Westf., no. 361. Photo: CCC / Krau. Publicity still for Die Frühreifen/The precocious (Josef von Báky, 1957).
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
Handsome Christian Wolff (1938) was the young lover of many German films of the late 1950s. He started out in the controversial 'gay' film Anders als Du und Ich/The Third Sex (1957) and later became a popular TV star in the long running family series Forsthaus Falkenau (1989-2006).
For more postcards, a bio and clips check out our blog European Film Star PostcardsAlready over 3 million views! Or follow us at Tumblr or Pinterest.
German postcard by Netter's Starverlag, Berlin. Photo: publicity still for the play Der Fronthahn/The Front Rooster.
Willy Millowitsch (1909-1999) was a popular German stage and TV actor and the director of the Volkstheater Millowitsch in Cologne. From 1949 on, he appeared in many West-German and Austrian films.
Willy Millowitsch was born in Cologne in the Rhineland region in Germany, in 1909. His parents were Peter and Käthe Millowitsch and came from a long family tradition of engagement with the theatre which can be traced back to 1792. It was not until 1895 however, that Millowitsch's grandfather stopped using puppets and resorted to real actors instead. Millowitsch was interested in theatre at an early age, and took to the stage for the first time in 1922 at just 13. According to IMDb, he had intended to become an engineer, but he quit school without a degree to pursue his acting career full-time. At first, he worked under the auspices of his father who had to give up his theatre after the inflation hit. This forced them to go on tour in and around Cologne until they got a permanent theatre in 1936, the now famous Volkstheater Millowitsch, which Willy took over from his father in 1940. In 1933, he had his first film appearances in two short film comedies, So leben wir alle Tage/That’s how we always live (Hasso Preiß, 1933) and Wenn Männer kochen/When men cook (Hasso Preiß, 1933). In 1939 he married his first wife Lini Lüttgen, but they got divorced soon after. During World War II, the theatre was damaged, but not severely, and by October 1945 it was fully restored, owing to the support of mayor and later German chancellor, Konrad Adenauer, who proclaimed that the people need something to laugh about again. Consequently, in the time from 1945 to 1949 there were daily performances in the theatre. It was during this time that he met his second wife, Gerda Millowitsch, formerly Feldhoff. They remained married till his death.
In 1949, when the post-war theatre euphoria died down, Willy Millowitsch focused on his film and television career. In 1949 he played a supporting part in the West-German crime film Gesucht wird Majora/Search for Majora (Hermann Pfeiffer, 1949) starring Lotte Koch. Next, he appeared in the drama Madonna in Ketten/Madonna in Chains (Gerhard Lamprecht, 1949), starring Lotte Koch, Karin Hardt and Elisabeth Flickenschildt. He also appeared in one of the last Harry Piel adventure films, Der Tiger Akbar/Tiger’s Claw (Harry Piel, 1951). Many more films were to follow. He did not content himself just transferring from one medium to the other, but brought the theatre with him. In 1953 the Kölsch (Cologne dialect) play Der Etappenhase (The stage hare) was broadcast on the TV channel WDR, the first live broadcast of a theatrical performance with real audience in German television history. Despite bitter criticism of the entry of low 'folk culture' into television by the director of the NDR channel, Adolf Grimme, it was an instant success. This remains one of Millowitsch's most popular plays and has been performed more than 1,000 times. Der Etappenhase was so popular that just six weeks later it was broadcast again, live from the Volkstheater. In 1957, it was made into a film, Der Etappenhase (Wolfgang Becker, 1957), but with Beppo Brem in the leading role and Millowitsch in a supporting part. Millowitsch continued to put on television plays that were instant successes, gaining national popularity. It is in great part Millowitsch's achievement to have popularised Kölsch throughout Germany. People were now associating the Rhinelander with a relaxed lifestyle and genial humour. Theatres from other dialectal areas scrambled to catch up with him and soon the dialect theatre became an important part of the German television landscape. With the success of these plays on television, interest in theatre gradually increased and by the 1960s flocks of people took to the theatre again to witness performance of Millowitsch's popular plays first hand. Until the beginning of the 1960s Millowitsch had to rent out his theatre now and again, but with the arrival of the new crowds Millowitsch could afford to concentrate his career on theatre from then on. He renovated the theatre in 1967 and the Volkstheater once again became a focal point of local culture, and many young dialect artists started their careers there.
In the early 1960s, Willy Millowitsch had also moved on from supporting to starring parts in films. He was the title figure in the West German comedy Der wahre Jakob/The True Jacob (Rudolf Schündler, 1960) and his co-stars were Renate Ewert and Jane Tilden. The film was a remake of the popular German comedy Der wahre Jakob/True Jacob (Hans Steihoff, 1931), starring Ralph Arthur Roberts. Next Millowitsch starred in Willy, der Privatdetektiv/Willy the Private Detective (Rudolf Schündler, 1960) with Renate Mannhardt and Rudolf Platte, Der Hochtourist/The high-season tourist (Ulrich Erfurth, 1961) with Claude Farell, and Robert und Bertram/Robert und Bertram (Hans Deppe, 1961) opposite Vico Torriani and Trude Herr. The latter comedy was inspired by the characters in Gustav Raeder's 1856 play Robert and Bertram, updated to the modern era. Two vagabonds, Robert and Bertram, are hired by a shoe company to walk 500 kilometres to test their new product. He also appeared in the film operettas Die Fledermaus/The Bat (Géza von Cziffra, 1962), starring Peter Alexander, Marianne Koch and Marika Rökk, and Der Zigeunerbaron/The Gypsy Baron (Kurt Wilhelm, 1962) with Carlos Thompson and Heidi Brühl. Throughout the 1970s, Willy Millowitsch stuck mostly to the folk theatre. With his son Peter Millowitsch, he appeared in the Roy Black vehicle Alter Kahn und junge Liebe/Old Barge, Young Love (Werner Jacobs, 1973). At the end of the 1980s he returned to television and took the title role in a detective series as Kommissar Klefisch, whom he played until 1996. He played a small part in the Hollywood comedy National Lampoon's European Vacation (Amy Heckerling, 1985) with Chevy Chase. His single line was 'Wer zum Teufel waren die Leute?' (Who the devil were those people?). Aside from his theatrical merits, he also wrote classic popular folk songs, such as Schnaps, das war sein letztes Wort and Wir sind alle kleine Sünderlein. He also embraced political causes and in 1992 he participated in the important anti-Nazi campaign, Arsch huh, Zäng ussenander! (Kölsch, meaning: Move your butts and pipe up!), which culminated in a major concert by local acts attended by 100,000 people at Cologne's Chlodwigplatz. In 1989, the city of Cologne conferred honorary citizenship on to Millowitsch, which is a very exclusive honour in Germany. In 1995, he retired from performing for health reasons. He celebrated his 90th birthday on 8 January 1999, with 18,000 fans at a sold-out event at the Köln arena and told people all he wanted for his birthday was to stay healthy. However, Willy Millowitsch died of heart failure on 20 September that year. Two of his four children, Peter Millowitsch, who is now the director of the Volkstheater, and Mariele Millowitsch have continued the family tradition and have both become successful actors. The city of Cologne has named a square near the Millowitsch theatre Willy-Millowitsch-Platz in his honour.
Sources: Wikipedia (English and German), and IMDb.
Pope (Gregory Walcott) continued interference earns him a beating from Hemlock (Clint Eastwood).
Hemlock (Clint Eastwood) travels to Switzerland with Bowman (George Kennedy), the 'ground man' or supervisor of the climb and meets the other members of the climbing party at the Hotel Bellevue des Alpes at Kleine Scheidegg.
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besser bekannt als Gut Immenhof
Die Mädels vom Immenhof ist die Verfilmung des Buches Dick und Dalli und die Ponies von Ursula Bruns Mitte der 50 Jahre mit u.a. Heidi Brühl als Dalli.
Wir wollen niemals auseinandergehen ... (Heidi Brühl)
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Scan - Photo: Bernard of Hollywood
Printed in Western Germany
Krüger
902/323
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German postcard by Krüger, no. 902/330. Photo: Bernard of Hollywood.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star PostcardsAlready over 3 million views! Or follow us at Tumblr or Pinterest.
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Encore! Another card of Heidi Brühl. See also this and that postcard of sexy Heidi.
This is a Dutch postcard.
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Dutch postcard, nr. 14.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was the Doris Day of Germany.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
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Duitse zangeres en actrice Heidi Brühl (links) bezoekt Amsterdam in verband met de première ‘Immer will ich dir gehören!’, verwelkomd door haar fanclub, Hotel de l'Europe, Nieuwe Doelenstraat, Amsterdam, 15 april 1961
Foto Ben van Meerendonk / AHF, collectie IISG, Amsterdam
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besser bekannt als Gut Immenhof
Die Mädels vom Immenhof ist die Verfilmung des Buches Dick und Dalli und die Ponies von Ursula Bruns Mitte der 50 Jahre mit u.a. Heidi Brühl als Dalli.
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This is a wonderfully terrible movie from 1963.
Captain Sindbad (note the spelling) is a 1963 film directed by Byron Haskin. It stars Guy Williams (Disney's Zorro) and Heidi Brühl.[1]
Part of its plot is similar to the Russian legend of the evil Katschei. The villain, El Kerim, literally keeps his heart locked up in a chest inside a huge tower. Whoever wishes to kill him must climb that tower, overcome perils, and destroy the heart. Because of this, El Kerim is literally invulnerable to any person who does not know the secret of his heart.
Deutschland 1973. Regie: Wolfgang Schleif
Darsteller: Heidi Brühl, Horst Janson, Olga Tschechowa, Franz Schafheitlin, Jutta Speidel
Deutschland 1973. Regie: Wolfgang Schleif
Darsteller: Heidi Brühl, Horst Janson, Olga Tschechowa, Franz Schafheitlin, Jutta Speidel
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'Wir wollen niemals auseinandergeh'n,
wir wollen immer zueinandersteh'n.
Mag auf der grossen Welt auch noch soviel gescheh'n,
wir wollen niemals auseinandergeh'n.
Uns're Welt bleibt so schön,
wir wollen niemals auseinandergeh'n.'
Dieser Refrain des Schlagers von Heidi Brühl aus den Sechzigerjahren, ist mir sofort in den Sinn gekommen, als ich die zwei zusammengewachsenen Sonnenblumen sah.
Sie gehören wirklich zusammen!
Einen wunderschönen Sommertag wünsche ich euch allen!
Deutschland 1974. Regie: Wolfgang Schleif
Darsteller: Heidi Brühl, Horst Janson, Franz Schafheitlin, Olga Tschechowa
Dutch postcard by NS, no. 12.
Legendary Belgian singer-songwriter Jacques Brel (1929-1978) was one of the most important and influential representatives of the French chanson. At the height of his success, in 1966, he chose to stop singing to devote himself to theatre and cinema. Brel has sold over 25 million records worldwide. There have been at least 400 recorded versions of his song, Ne me quitte pas/ If You Go Away, in over 15 different languages by performers like Marlene Dietrich, Rod McKuen, Nana Mouskouri, Nina Simone and Sting. Terry Jacks' version of Le Moribond , Seasons in the Sun became a global pop hit in 1974. Brel’s boundless enthusiasm toward life, his inexhaustible energy and his respect for ordinary people remain unforgettable.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star PostcardsAlready over 3 million views! Or follow us at Tumblr or Pinterest.
Dutch postcard by N.V. v.h. Weenenk & Snel, Baarn, no. 761. Photo: Gofilex. Publicity still for Immer will ich dich gehören/
Always I will be yours (Arno Assmann, 1960) with Peter Weck.
Blonde, blue-eyed schlager singer and film star Heidi Brühl (1942-1991) was called 'the Doris Day of Germany'. In 1963 she was the German participant at the Eurovision Song Contest.
For more postcards, a bio and clips check out our blog European Film Star PostcardsAlready over 3 million views! Or follow us at Tumblr or Pinterest.
✅ This image from Marco Verch (trendingtopics) is available under Creative Commons 2.0. Please link to the original photo and the license. ? License for use outside of the Creative Commons is available by request.
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