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22 January 2017

Imported from the USA: Robert De Niro

Legendary American actor Robert De Niro (1943) has starred in such classic films as Taxi Driver (1976), Novecento/1900 (1978), The Deer Hunter (1978), Awakenings (1990) and GoodFellas (1990). His role in The Godfather: Part II (1974) brought him his first Academy Award, and he scored his second Oscar for his portrayal of Jake La Motta in Raging Bull (1980). De Niro worked with many acclaimed film directors, including Brian DePalma, Francis Coppola, Elia Kazan, Bernardo Bertolucci and, most importantly, Martin Scorsese. He also appeared in French, British and Italian films.

Robert de Niro in Taxi Driver (1976)
French postcard in the Collection Cinema Couleur by Edition La Malibran, Paris, no. MC 33, 1990. Photo: publicity still for Taxi Driver (Martin Scorsese, 1976).

Robert De Niro in Taxi Driver (1976)
Belgian promotion card by Tasschen Gallery for the exhibition 'Taxi Driver - unseen photographs from Scorsese's Masterpiece'. Photo: Steve Schapiro. Publicity still for Taxi Driver (Martin Scorsese, 1976).


The most chilling performance of his career


Robert Anthony De Niro was born in the Greenwich Village area of Manhattan, New York City in 1943. His mother, Virginia Admiral, was a cerebral and gifted painter, and his father, Robert De Niro Sr., was a painter, sculptor and poet whose work received high critical acclaim. They split ways in 1945, when young Robert was only 2 years old, after his father announced that he was gay.

De Niro was raised primarily by his mother, who took on work as a typesetter and printer in order to support her son. A bright and energetic child, Robert De Niro was incredibly fond of attending films with his father when they spent time together. De Niro's mother worked part-time as a typist and copy editor for Maria Picator's Dramatic Workshop, and as part of her compensation, De Niro was allowed to take children's acting classes for free. At the age of 10, De Niro made his stage debut as the Cowardly Lion in a school production of The Wizard of Oz.

De Niro proved to be uninterested in school altogether and, as a teenager, joined a rather tame street gang in Little Italy that gave him the nickname Bobby Milk, in reference to his pale complexion. While De Niro was by all accounts only a very modest troublemaker, the gang provided him with experience to skilfully portray Italian mobsters as an actor.

He left school at age 16 to study acting Stella Adler Conservatory. Adler, who had taught Marlon Brando and Rod Steiger, was a strong proponent of the Stanislavski method of acting, involving deep psychological character investigation. He studied briefly with Lee Strasberg at the Actor's Studio in New York City, and then began auditioning.

After a momentary cameo in the French film Trois chambres à Manhattan/Three Rooms in Manhattan (Marcel Carné, 1965), De Niro's real film debut came in Greetings (Brian De Palma, 1968). However, De Niro's first film role already came at the age of 20, when he appeared credited as Robert Denero in De Palma’s The Wedding Party (Brian De Palma, Wilford Leach, 1963), but the film was not released until 1969.

He then appeared in Roger Corman's film Bloody Mama (1970), featuring Shelley Winters. His breakthrough performances came a few years later in two highly acclaimed films: the sports drama Bang the Drum Slowly (John D. Hancock, 1973), in which he played a terminally ill catcher on a baseball team, and the crime film Mean Streets (1973), his first of many collaborations with director Martin Scorsese, in which he played street thug Johnny Boy opposite Harvey Keitel.

De Niro and Martin Scorsese worked successfully together on eight films: Mean Streets (1973), Taxi Driver (1976), New York, New York (1977), Raging Bull (1980), The King of Comedy (1983), Goodfellas (1990), Cape Fear (1991), and Casino (1995).

In 1974, De Niro established himself as one America’s finest actors with his Academy Award-winning portrayal of the young Vito Corleone in The Godfather: Part II (Francis Ford Coppola, 1974), a role for which he learned to speak Sicilian.

Two years later, De Niro delivered perhaps the most chilling performance of his career, playing vengeful cabbie Travis Bickle in Taxi Driver (Martin Scorsese, 1976) alongside Jodie Foster. His iconic performance as Travis Bickle catapulted him to stardom and forever linked his name with Bickle's famous 'You talkin' to me?' monologue, which De Niro largely improvised.

In Italy, De Niro appeared opposite Gérard Dépardieu in the epic historical drama Novecento/1900 (Bernardo Bertolucci, 1976). The film is an exploration of life in Italy in the first half of the 20th century, seen through the eyes of two Italian childhood friends at the opposite sides of society's hierarchy.

He also starred in The Last Tycoon (1976), the last film directed by Elia Kazan. The Hollywood drama is based upon Harold Pinter's screenplay adaptation of F. Scott Fitzgerald's The Last Tycoon, De Niro continued to show his tremendous skill as a dramatic actor in the Vietnam war drama The Deer Hunter (Michael Cimino, 1978). The film follows a group of friends haunted by their Vietnam experiences.

De Niro later portrayed middleweight boxer Jake LaMotta in the commercially unsuccessful but critically adored film Raging Bull (Martin Scorsese, 1980). The previously skinny De Niro had put on 60 pounds of muscle for his riveting turn as LaMotta and was rewarded for his dedication with the 1981 Academy Award for best actor.

Robert de Niro
French postcard by Editions F. Nugeron, no. STAR 66. Photo: J. Ritchie / Classico, San Francisco.

Robert de Niro in Raging Bull (1980)
British postcard by Classic. Photo: publicity still for Raging Bull (Martin Scorsese, 1980).

Reunited in a terrifying way


In the 1980s, Robert De Niro first roles were a worldly ambitious Catholic priest in True Confessions (Ulu Grosbard, 1981), an aspiring stand-up comedian in Scorsese's The King of Comedy (Martin Scorsese, 1983) and as a Jewish mobster in the sprawling historical epic Once Upon a Time in America (Sergio Leone, 1984).

Other notable projects included Sci-fi art film Brazil (Terry Gilliam, 1985) and the British drama The Mission (Roland Joffé, 1986), about the experiences of a Jesuit missionary in 18th century South America, which won the Golden Palm at the Cannes Film Festival. It was followed by fare like the crime drama The Untouchables (Brian De Palma, 1987), in which De Niro portrayed gangster Al Capone opposite Kevin Costner as Eliot Ness, the mysterious thriller Angel Heart (Alan Parker, 1987) and the action comedy Midnight Run (Martin Brest, 1988).

De Niro opened the 1990s with Goodfellas (Martin Scorsese, 1990), yet another acclaimed gangster film from Scorsese that saw the actor teaming up with Ray Liotta and Joe Pesci. De Niro next starred in a project that earned him another Oscar nomination, portraying a catatonic patient brought back to awareness in Awakenings (Penny Marshall, 1990), co-starring Robin Williams as a character based on physician Oliver Sacks.

Dramas continued to be the genre of choice for De Niro, as he played a blacklisted director in Guilty by Suspicion (Irwin Winkler, 1991) and a fire chief in Backdraft (Ron Howard, 1991).

Soon afterwards, the actor was once again front and centre and reunited with Scorsese in a terrifying way, bulking up to become a tattooed rapist who stalks a family in Cape Fear (Martin Scorsese, 1991). The film was a remake of the 1962 thriller starring Gregory Peck and Robert Mitchum. Peck and Mitchum made appearances in the remake as well. De Niro received his sixth Academy Award nomination for Cape Fear, with the film becoming the highest grossing collaboration between the actor and Scorsese, earning more than $182 million worldwide.

After somewhat edgy, comedic outings like Night and the City (Irwin Winkler, 1992) and Mad Dog and Glory (John McNaughton, 1993), another drama followed in the form of This Boy's Life (Michael Caton-Jones, 1993), in which De Niro portrayed the abusive stepfather of a young Leonardo DiCaprio.

That same year, De Niro made his directorial debut with A Bronx Tale (Robert De Niro, 1993), a film adaptation of a one-man play written and performed by Chazz Palminteri. In 1994, De Niro was practically unrecognisable as the monster in actor-director Kenneth Branagh's adaptation of the Mary Shelley novel Frankenstein (Kenneth Branagh, 1994).

It was followed by another Scorsese telling of mob life, this time in Las Vegas. De Niro portrayed a character based on real-life figure Frank ‘Lefty’ Rosenthal in Casino (Martin Scorsese, 1995), co-starring Sharon Stone and Joe Pesci. In Heat (Michael Mann, 1995), De Niro re-teamed with fellow Godfather star Al Pacino in a well-received outing about a bank robber contemplating getting out of the business and the police detective aiming to bring him down.

Robert De Niro in Midnight Run (1988)
Romanian postcard by Casa Filmului Acin. Photo: publicity still for Midnight Run (Martin Brest, 1988).

Robert De Niro in Jackie Brown (1997)
French postcard, no. 654. Photo: publicity still for Jackie Brown. (Quentin Tarantino, 1997) with Robert De Niro as Louis Gara.

Robert de Niro in Machete (2010)
German postcard by CTMG, 2010. Photo: publicity still for Machete (Ethan Maniquis, Robert Rodriguez, 2010) with Robert De Niro as Senator McLaughlin.

Striking out into decidedly different territory


For the rest of the 1990s and into the new millennium, Robert De Niro featured yearly in a big screen project as either a lead or supporting figure. His films include the legal crime drama Sleepers (Barry Levinson, 1996), the black comedy Wag the Dog (Barry Levinson, 1997), the crime drama Cop Land (James Mangold, 1997), the crime thriller Jackie Brown (Quentin Tarantino, 1997), the spy action-thriller Ronin (John Frankenheimer, 1998) and the crime comedy-drama Flawless (Joel Schumacher, 1999).

At the turn of the century, De Niro struck out into decidedly different territory with Analyze This (Harold Ramis, 1999), a hilarious and highly popular spoof of the mob movies that had garnered him fame. Analyze This earned more than a $100 million domestically, with De Niro playing a Mafioso who seeks help from a psychiatrist (Billy Crystal).

De Niro took on another comedy, Meet the Parents (Jay Roach, 2000), as Ben Stiller's future father-in-law. The smash hit spawned two sequels: Meet the Fockers (Jay Roach, 2004) and Little Fockers (Paul Weitz, 2011), both of which were also box-office successes.

De Niro continued to switch between comedic and serious roles over the next few years, reuniting with Billy Crystal for Analyze That (Harold Ramis, 2002), and starring in the spy thriller The Good Shepherd (Robert De Niro, 2006) with Matt Damon and Angelina Jolie.

The following year De Niro was featured as a secretive cross-dressing pirate with a heart of gold in the fantasy flick Stardust (Matthew Vaughn, 2007), while 2009 saw a return to dramatic fare with Everybody's Fine (Kirk Jones, 2009). In Italy, De Niro starred in the romantic comedy Manuale d'amore 3/The Ages of Love (Giovanni Veronesi, 2011).

De Niro earned yet another Academy Award nomination for his turn in David O. Russell's Silver Linings Playbook (2012), playing the father of a mentally troubled son (Bradley Cooper). De Niro teamed up again with Silver Linings Playbook director Russell and stars Cooper and Jennifer Lawrence for the biopic Joy (David O. Russell, 2015), based on the life of Miracle Mop inventor Joy Mangano.

Later that year, De Niro starred as a widower who returns to the workforce in The Intern (Nancy Meyers, 2015), with Anne Hathaway. In 2016, he starred in another biopic, Hands of Stone (Jonathan Jakubowicz, 2016), playing Ray Arcel, the trainer of Panamanian boxer Roberto Durán. That same year De Niro received the Presidential Medal of Freedom from President Obama for his contribution to the arts.

De Niro, who has long resided in New York City, has been investing in Manhattan's Tribeca neighbourhood since 1989. His capital ventures there included co-founding the film studio TriBeCa Productions in 1998 and the Tribeca Film Festival (since 2002). De Niro married actress Diahnne Abbott in 1976. The couple had one son, Raphael, before divorcing 12 years later, in 1988. De Niro then had a long relationship with model Toukie Smith that produced twin sons, Aaron Kendrick and Julian Henry, in 1995. Then in 1997, De Niro married Grace Hightower, with whom he has also two children.


Trailer Novecento/1900 (1976). Source: Eurekaentertainment (YouTube).


Trailer Raging Bull (1980). Source: Movieclips Trailer Vault (YouTube).


Trailer The Mission (1986). Source: Warner Bros. (YouTube).


Trailer for Analyze This (1999). Source: Movieclips Trailer Vault (YouTube).

Sources: Biography.com, Wikipedia, and IMDb.

21 January 2017

Elsa Martinelli

Glamorous Elsa Martinelli (1935) is an Italian actress and former fashion model. She showed her beautiful curves in many European and Hollywood productions of the 1950s and 1960s, but somehow she never became the star she was destined to become in the mid-1950s.

Elsa Martinelli
German postcard by Krüger, no. 902/255.

Elsa Martinelli
German postcard by ISV, no. D 22. Photo: Pierluigi.

Elsa Martinelli
German postcard by ISV, no. D 27. Photo: Pierluigi.

Elsa Martinelli
German postcard by Universum-Film Aktiengesellschaft (Ufa), Berlin-Tempelhof, no. CK 39. Retail price: 30 Pfg. Photo: Ufa.

Elsa Martinelli
Spanish postcard by Postal Oscarcolor, no. 407.

The World of Fashion


Elsa Martinelli was born Elsa Tia in Grosseto, Tuscany, in 1932 (according to AllMovie) or 1935 (according to IMDb). With her large and very poor family she moved to Rome.

In 1953, while working as a barmaid, she was discovered by designer Roberto Capucci who introduced her to the fashion world. She became a model and began playing small roles in films.

She appeared uncredited in Le Rouge et le noir/Scarlet and Black (Claude Autant-Lara, 1954) starring Gérard Philipe.

Her first important film role came the following year with the American Western The Indian Fighter (André De Toth, 1955), in which she played the Native American heroine opposite Kirk Douglas. Douglas claims to have spotted her on a magazine cover and hired her for his production company, Bryna Productions.

Elsa Martinelli in La Risaia (1956)
Italian postcard by Rotalfoto, Milano / G.B. & F., V, no. 2072. Photo: Carlo Ponti. Publicity still for La risaia/Rice Girl (Raffaello Matarazzo, 1956). Caption: Saluti dalla Risaia (Greetings from the rice girl).

Elsa Martinelli
French postcard by Editions P.I., Paris, offered by Les Carbones Korès 'Carboplane', no. 917. Photo: Paramount, 1957.

Elsa Martinelli
Italian postcard by Casa Editr. Ballerini & Fratini, Firenze (B.F.F. Edit.), no. 3387. Photo: Universal.

Elsa Martinelli
East-German postcard by VEB Progress Film-Vertrieb, no. 1064, 1959. Retail price: 0,20 DM. Photo: Maxima-Lux Rome; Aspa, Madrid. Publicity still for La mina/The Mine (Giuseppe Bennati, 1957).

Elsa Martinelli
Italian postcard by 3K, no. 3841.

Elsa Martinelli
German postcard by Kunst und Bild, Berlin-Charlottenburg, no. S 737. Photo: Unitalia-Film / Dial.

Modern Cinderella


In 1956 Elsa Martinelli won the Silver Berlin Bear Award for Best Actress at the Berlin International Film Festival. She won this prestigious award for playing a modern Cinderella in the comedy Donatella (Mario Monicelli, 1956) with Gabriele Ferzetti.

From then on, she divided her time between Europe and the US and appeared in such films as Four Girls in Town (Jack Sher, 1956) with George Nader, Manuela/The Stowaway Girl (Guy Hamilton, 1957) with Trevor Howard, the historical drama I Battellieri del Volga/Prisoner of the Volga (Victor Tourjansky, 1959) with John Derek and the romance Un amore a Roma/Love in Rome (Dino Risi, 1960).

Highlights were the excellent drama La notte brava (Mauro Bolognini, 1959), based on a novel by Pier Paolo Pasolini and the haunting and surreal horror film Et mourir de plaisir/Blood and Roses (Roger Vadim, 1960).

The latter was an attempt to retell the classic Sheridan Le Fanu vampire tale Carmilla, co-starring the director's wife Annette Vadim (or Annette Stroyberg).

In 1957 Elsa married wealthy Count Franco Mancinelli Scotti di San Vito. Her mother-in-law, Countess Margherita Manicineli Scotti di San Vito, reportedly expelled her son from their Rome palace because the marriage was against her wishes. Finally she fired her son from his job as manager of the family estate.

Elsa Martinelli
German postcard by Filmbilder-Vertrieb Ernst Freihoff, Essen, no. 233. Photo: Georg Michalke.

Elsa Martinelli
German postcard by WS-Druck, Wanne-Eickel, no. 284. Photo: Georg Michalke / Archiv Filmpress Zürich.

Elsa Martinelli
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 1.974, 1963. Photo: publicity still for Le capitan/Captain Blood (André Hunebelle, 1960).

Elsa Martinelli
Romanian postcard by Casa Filmului Acin, no. 103. Photo: publicity still for Hatari! (Howard Hawks, 1962).

Elsa Martinelli and Anthony Perkins in Le procès (1962)
Romanian postcard by Casa Filmului Acin, no. 470. Sent by mail in 1972. Photo: publicity still for Le procès/The Trial (Orson Welles, 1962) with Anthony Perkins.

Tried and True Howard Hawks Fashion


One of Elsa Martinelli’s most interesting films is Orson Welles’ adaptation of Franz Kafka's The Trial, Le Procès (Orson Welles, 1962). Anthony Perkins played Joseph K, a man condemned for an unnamed crime in an unnamed country. Seeking justice, he is sucked into a labyrinth of bureaucracy. Along the way, he becomes involved with three women - Jeanne Moreau, Romy Schneider and Martinelli - who in their own individual ways are functions of the System that persecutes him.

In the action and adventure comedy Hatari! (Howard Hawks, 1962) Martinelli was the eye candy in a star cast with John Wayne, Gérard Blain, Red Buttons and Hardy Krüger. Wayne's men-only contingent is reduced to jello when Elsa enters the scene, but in tried and true Howard Hawks fashion, she quickly becomes ‘one of the guys’.

In the comedy The Pigeon That Took Rome (Melville Shavelson, 1962) she starred opposite Charlton Heston, and in The V.I.P.’s (Anthony Asquith, 1963) she was the protegee of Orson Welles.

In the South Seas adventure Rampage (Phil Karlson, 1963) she co-starred with Robert Mitchum, and in the episodic sex comedy Sette Volte Donna/Woman Times Seven (Vittorio De Sica, 1967) with Lex Barker.

In the big-budget adaptation of Terry Southern's satiric sex farce Candy (Christian Marquand, 1968), she played Candy’s mother in a cast with Charles Aznavour, Marlon Brando, and Richard Burton.

In Italy she made the near surrealist western Il mio corpo per un poker/Belle Starr (Piero Cristofani, Lina Wertmuller, 1968), and a stylish erotic thriller, Una sull'altra/One on Top of the Other (Lucio Fulci, 1969), with Marisa Mell and Jean Sorel.

Elsa Martinelli
French postcard by E.D.U.G., no. 199. Photo: Sam Lévin.

Elsa Martinelli
French postcard by E.D.U.G., no. 124. Photo: Sam Lévin.

Elsa Martinelli
French postcard by Editions P.I., Paris, offered by Les Carbones Korès 'Carboplane', no. FK 32. Photo: Fried Agency / Ufa.

Elsa Martinelli
German postcard by Ufa/Film-Foto, no. FK 3172. Photo: Unitalia Film, Roma.

Elsa Martinelli
Italian photocard, editor and photographer unknown.

Interior Designer


In the 1970s the film career of Elsa Martinelli somehow halted. She only appeared incidentally in European films. She starred opposite Robert Hossein in the French caper film La Part des Lions/The Lions' Share (Jean Larriaga, 1971), and she played a supporting part in the political drama Garofano Rosso/The Red Carnation (Luigi Faccini, 1976) with Marina Berti.

On TV she appeared as a guest star in The Return of the Saint (1979) with Ian Ogilvy as Simon Templar. Meanwhile she had started a new, successful career as an interior designer, but she continued to accept incidental parts in films and TV-series.

After Sono Un Fenomeno Paranormale/I'm a Paranormal Phenomenon (Sergio Corbucci, 1985) with Alberto Sordi, she made unheralded return appearances in the international productions Arrivederci Roma (Clive Donner, 1990) and the inconsequential all-star comedy Once Upon a Crime (Eugene Levy, 1992).

Most recently she was seen in the short film Cabiria, Priscilla e le altre/Cabiria, Priscilla and the Others (Fabrizio Celestini, 1999) and the TV-series Orgoglio (2005).

Elsa Martinelli was married from 1957 till 1964 to Count Franco Mancinelli Scotti di San Vito, by whom she has a daughter, actress Cristiana Mancinelli (1958). In 1968 she married Paris Match photographer and 1970s furniture designer Willy Rizzo, with whom she has a son.


Trailer The Indian Fighter (1955). Source: Project1950s Tony (YouTube).


Italian trailer Donatella (1956). Source: CG Entertainment (YouTube). No subtitles, sorry.


German DVD trailer for La risaia/Rice Girl 1956).Source: Arild Rafalzik (YouTube). No subtitles, sorry.


Trailer Hatari! (1962). Source: Paramountmovies Digital (YouTube).


Trailer Le Procès/The Trial (1962). Source: Danios 12345 (YouTube).


Elsa Martinelli and Robert Hoffman in Come Imparai ad Amare le Donne (1967). Source: stranevisioni (YouTube). No subtitles, sorry.

Sources: Hal Erickson (AllMovie), Kimberly Lindbergs (Cinebeats), Glamour Girls of the Silver Screen, Wikipedia, and IMDb.

20 January 2017

Sascha Gura

Around 1920, Sascha Gura (1896-?) was highly popular and active in the silent cinema of the Weimar Republic. She is particularly memorable in a few expressionist horror films by Otto Rippert and F.W. Murnau. After the rise of the Nazis, the Jewish actress disappeared in oblivion.

Sascha Gura
German postcard by Ross Verlag, Berlin, no. 294/1. Photo: Alex Binder / Decla.

Seducing By Dance


Sascha Gura was born in Munich, Germany in 1896 as Eugenia Theresia Gura. She was the daughter of the singer and actor Hermann Gura and granddaughter of singer and actor Eugen Gura.

Sascha had her professional training at the Königliche Hochschule für Musik (Now Universität der Künste Berlin). Her career started as operetta singer during the First World War and from 1921 on she became successful at the Komische Oper in Berlin.

Gura became a film actress in 1919, debuting in the expressionist silent film Der Totentanz/Dance of Death (Otto Rippert, 1919), a Helios Film production, scripted by Fritz Lang. Gura played the lead of a dancer who kills men after seducing them by her dance. She is forced to do so by a disfigured doctor (Werner Krauss) who thus takes revenge on the world, until she meets a man (Karl Bernhard) she falls in love with.

It was followed by such films as Phantome des Lebens/Phantom of Life (Josef Coenen, 1919) with Lil Dagover, and Das Haupt des Juarez/The Head of Juarez (Johannes Guter, Rudolf Meinert, 1920) starring Eduard von Winterstein. For six years she would perform in more of such dark dramas and adventure stories.

Sascha Gura
German postcard by Ross Verlag, Berlin, no. 294/6. Photo: Alex Binder / Helios Film.

Poison Ivy


In 1920 Sascha Gura went to Vienna to perform in two films by Heinz Hanus at Astoria-Film, the adaptation Wie Satan starb/How Satan Died (Heinz Hanus, 1920) with Nora Gregor, and Unter der Knute des Schicksals/Under the Knout of Destiny (Heinz Hanus, 1921).

Memorable was Gura’s part in F.W. Murnau’s horror film Die Bücklige und die Tanzerin/The Hunchback and the Dancer (Friedrich Wilhelm Murnau, 1920), in which she played the female lead Gina, opposite John Gottowt.

Carl Mayer’s script is similar to Der Totentanz: a disfigured man takes vengeance on the world. The story also reminds Batman’s Poison Ivy. A hunchback, who has become a millionaire by finding diamonds in Java, but also learned there about mortal venoms. When Berlin dancer Gina first falls for him and then goes back to the baron she already loved before, he makes her skin mortal to anyone who kisses her. Sadly, the film is considered lost.

Then followed Die Liebschaften des Hektor Dalmore/The love affairs of Hektor Dalmore (Richard Oswald, 1921) featuring Conrad Veidt. In the next years followed more than a dozen film parts in silent films such as the female lead in Die Handschrift des Inka/The manuscript of the Inca (1925) by Gernot Bock-Stieber, with whom she had done various films before as well.

In 1927 Gura quitted acting in silent cinema, after making the action film Bezwinger der 1000 Gefahren/Conqueror of 1000 dangers (1927) directed by its star, Harry Piel. She played two small parts in sound films, in Trenck - Der Roman einer großen Liebe/Trenck (Ernst Neubach, Heinz Paul, 1932) starring Hans Stüwe, and Grüss mir die Lore noch einmal/Greet Lore for Me one more time (Carl Heinz Wolff, 1934).

Then the Jewish actress got into trouble with the Nazi regime and her career ended. We couldn't find more information on the web about her further whereabouts.

Sascha Gura
German postcard by Photochemie, Berlin, no. K 3072. Photo: Ernst Schneider.

Sources: Stephanie d'Heil (Steffi-line.de - German), Filmportal.de, Wikipedia (German) and IMDb.