Pierre Perret

French singer and composer Pierre Perret (1934) is a legend of French chanson. His repertoire ranges from children's songs to comic, erotic and politically committed songs full of humour and tenderness. He is recognised as an outstanding poet and he also appeared in French films.


French postcard by Publistar Marseilles, no. 953. Photo: André Nisak, Paris / Vogue.
French postcard by PSG for Corvisart, Epinal, no. 1283. Photo: Disques Vogues.


French postcard by PSG for Corvisart, Epinal, no. 1283. Photo: Disques Vogues.

In military prison during the final entrance exam to the Paris Conservatoire

Pierre Perret was born Pierre Max in 1934 in Castelsarrasin, Tarn-et-Garonne. His parents, Maurice and Claudia, ran the Café du Pont in Castelsarrasin, where he spent much of his childhood. Here he learned to use jargon and slang.

As a child, he appeared in two films, the crime drama Dernier atout/The Trump Card (Jacques Becker, 1942) starring Mireille Balin and Raymond Rouleau, and the drama Le carrefour des enfants perdus/Children of Chaos (Léo Joannon, 1944) starring René Dary.

At 14, he signed with the Conservatoire de Musique de Toulouse and the Toulouse Conservatoire of Dramatic Art. At 19 he won the first prize for saxophone. From 1953 to 1956, he did his military service and was unable to take the final entrance exam to the Paris Conservatoire, in Marcel Mule's class, as he was in military prison that day. He set up his first music group and performed at balls, family gatherings and other regional events.

In 1957, he was signed by producer Eddie Barclay and met his future wife, Simone Mazaltarim at Barclay's studio. His first single, 'Moi j'attends Adèle', was released that year. A recording at the Olympia for the radio programme Musicorama helped to put him on the map.

In 1958, Perret toured Parisian cabaret bars and crossed France and Africa as the opening act for the American group The Platters. He also played a small role in Les étoiles de midi/Stars at Noon (Jacques Ertaud, Marcel Ichac, 1958). In November of that year, a pleurisy forced him to take two years off recuperating in a sanatorium.


French promotion card by Disques Vogues. Photo: André Nisak, Paris.


Italian collector card in the Hit Collection series by Panini. Photo: WEA / Filipacchi Music.

Le Zizi - His biggest hit

In 1960 Pierre Perret released 'Le Bonheur conjugal', but it was not a big enough success and Barclay did not renew his contract. He married Simone Mazaltarim, renamed Rebecca, in 1962, Their daughter Julie was born in 1963. He moved to Gennevilliers with his family, where he stayed for eight years.

Perret signed a six-year contract with Vogue and found a new impresario in Lucien Morisse. His first big hit came in 1964 with 'Le Tord-boyaux', which sold 75,000 copies. In 1966, the song 'Les Jolies Colonies de vacances' was a big hit, selling 200,000 copies. Perret enjoyed a string of successes and gave several concerts, opening for artists as diverse as Johnny Hallyday, Nana Mouskouri and the Rolling Stones on their first concert in France.

In 1969, he left Vogue and decided with his wife to self-produce by founding Editions Adèle, named after his first song. In the same year, he returned to the cinema. He played the title character in Claude Autant-Lara's comedy-drama Les Patates/Potatoes with Rufus, for which he also wrote the music.

The next year, he acted in the failure Un été sauvage/A Savage Summer (Marcel Camus, 1970) with Nino Ferrer and Katina Paxinou. In 1971 he played Judge Roy Bean in the Western parody Le Juge/Judge Roy Bean (Jean Girault, Federico Chentrens, 1971) with Silvia Monti and Robert Hossein.

1971 saw the release of 'La Cage aux oiseaux', which sold 300,000 copies. From 1974 onwards, Pierre Perret's records were arranged by Bernard Gérard, replacing Jean Claudric who had been orchestrating the singer since he joined Vogue. In 1975, he had his biggest hit with 'Le Zizi', which sold over 600,000 copies.


French promotion card by Disques Vogues. Photo: P.P.P.


French promotion card by Disques Vogues. Photo: P.P.P.

A master of the subtleties of the French language and slang

Pierre Perret is a master of the subtleties of the French language and French slang. He even rewrote some of Jean de La Fontaine's fables. His songs are often cheeky, such as 'Le Zizi' (The Willy). He asks pertinent questions in a seemingly naive child's tone, with a malicious smile, but always with humanism and candour.

He also has written politically committed songs like 'La bête est revenue', 'La petite kurde', and 'Vert de Colère'. His song 'Lily' became a classic anti-racist song and won him the LICRA prize in 1978. Other politically committed songs followed, on abortion ('Elle attend son petit' in 1981), famine, excision and more generally the condition of women in Africa ('Riz pilé' in 1989), war ('La Petite Kurde' in 1992), ecology ('Vert de colère' in 1998) and the rise of fascism ('La Bête est revenue').

Released in 1998, this song against the Front National earned him many insulting letters. In 1995, Perret recorded a duet with Sophie Darel, 'Maître Pierre' for the album 'C'était les Années Bleues'. He participated in the committee for the simplification of the administrative language (COSLA). In 2020, Pierre Perret embarked on a major tour entitled 'Mes adieux provisoires', which was disrupted by the Covid pandemic, declaring that it would ‘surely’ be his last tour.

In 2023, he released a new album, 'Ma vieille carcasse', accompanied by the video 'Paris saccagé', criticising the policies of the Mayor of Paris, Anne Hidalgo. Alongside his singing activities, Pierre Perret has published several biographical works since his first book 'Adieu Monsieur Léautaud' (1972) was published. In 2009, Manuel Poirier made a film about Pierre Perret's childhood, based on his autobiography, 'Le Café du point'.

Perret himself could be seen in a bit role in the film Sous les étoiles de Paris/Under the Stars of Paris (Claud Drexel, 2020) starring Catherine Frot. He also wrote about another passion, gastronomy. Pierre Perret is still married to Simone Mazaltarim. They have three children but their daughter Julie died in 1995. The couple lives in Nangis, France.


French promotion card by Disques Vogues.


French promotion card by Imp. A Karcher, Aubervilliers for Adele / WEA. Photo: B. Saussin.

Sources: Wikipedia (French, German and English) and IMDb.

Gene Hackman (1930-2025)

On 26 February 2025, American actor Gene Hackman (1930-2025) and his wife, the pianist Betsy Arakawa, were found dead in their home in Santa Fe. The cause is not yet made public. Hackman became a Hollywood star in the 1970s with such films as The French Connection (1971), The Conversation (1974) and Bite the Bullet (1975). He won Oscars for The French Connection (1971) and for Clint Eastwood's Western Unforgiven (1992), making it the fifth time he was nominated. Gene Hackman was 95.


East German postcard by VEB Progress Film-Verleih, Berlin, no. 73/77.


West German collectors card by Kino.

Drop-out

Eugene Allen Hackman was born in San Bernardino, California, in 1930. He was the son of Anna Lyda Elizabeth (Gray) and Eugene Ezra Hackman, who operated a newspaper printing press. After several moves, his family settled in Danville, Illinois. As a child, he had to spend much time looking after his grandmother while his parents were at work.

Hackman was about 14 years old when his father walked out of the family, and Gene left home at sixteen for a hitch with the US Marines. Moving to New York after being discharged, he worked in several menial jobs before studying journalism and television production on the G.I. Bill at the University of Illinois.

Hackman would be over 30 years old when he finally decided to take his chance at acting by enrolling at the Pasadena Playhouse in California. Legend says that after flunking out of the Pasadena Playhouse after 3 months and moving to New York City with fellow drop-out Dustin Hoffman, Hackman worked at the Howard Johnson's restaurant in Times Square as a doorman. One day, a Pasadena Playhouse acting teacher whom Hackman hated walked by him, stopped, and told him that he had been right, that Hackman would never amount to anything.

Hackman worked in summer stock and off-Broadway. In 1964, he was cast as the young suitor in the Broadway play 'Any Wednesday'. This role would lead to him being cast in the small role of Norman in Lilith (Robert Rossen, 1964), starring Warren Beatty and Jean Seberg.

When Beatty was casting for Bonnie and Clyde (Arthur Penn, 1967), he cast Hackman as Buck Barrow, Clyde Barrow's brother. That role earned Hackman a nomination for the Academy Award for Best Supporting Actor, an award for which he would again be nominated in I Never Sang for My Father (Gilbert Cates, 1970).


Canadian postcard by Canadian Postcard, no. A-18. Photo: Columbia TriStar. Gene Hackman, Estelle Parsons, Warren Beatty, Faye Dunaway and Michael J. Pollard in Bonnie and Clyde (Arthur Penn, 1967).

A star at 40

In 1972, Gene Hackman won the Oscar for his role as Detective Jimmy "Popeye" Doyle in The French Connection (William Friedkin, 1971). At 40 years old, Hackman was a Hollywood star. He has stated that his performance in Scarecrow (Jerry Schatzberg, 1973) opposite Al Pacino is his personal favourite. The film was critically acclaimed but tanked at the box office.

He based his role in The Conversation (Francis Ford Coppola, 1974) on one of his uncles and a fellow Marine he had known well. Other successes were the crime drama Night Moves (Arthur Penn, 1975), the Western Bite the Bullit (Richard Brooks, 1975) about a 700-mile horse race and the sequel French Connection II (John Frankenheimer, 1975).

Hackman was a versatile actor who played the blind man in the comedy Young Frankenstein (Mel Brooks, 1974) and the evil Lex Luthor in Superman (Richard Donner, 1978) and Superman II (Richard Donner, Richard Lester, 1980).

In 1983, he scored a hit with Under Fire (Roger Spottiswoode, 1983) starring Nick Nolte. More successes followed, such as his high school basketball coach role in Hoosiers (David Anspaugh, 1986) with Barbara Hershey.

It culminated in 1988 when he starred in five films, including Another Woman (Woody Allen, 1988) with Gena Rowlands and Mississippi Burning (Alan Parker, 1988) with Willem Dafoe. For the latter film, he received another Oscar nomination.


Belgian postcard by Raider Bounty / Joepie. Gene Hackman in The French Connection (William Friedkin, 1971).

Not tired of Westerns at all

After initially turning down the role of the sadistic sheriff "Little" Bill Daggett in Clint Eastwood's Unforgiven (1992), Gene Hackman finally accepted it, as its different slant on the Western interested him. For his performance, he won the Oscar and Golden Globe and decided that he wasn't tired of Westerns after all. He appeared in Geronimo: An American Legend (Walter Hill, 1993), Wyatt Earp (Lawrence Kasdan, 1994), and The Quick and the Dead (Sam Raimi, 1995) with Sharon Stone. He appeared in three films adapted from novels by John Grisham: The Firm (Sydney Pollack, 1993) with Tom Cruise, as convict Sam Cayhall on death row in The Chamber (James Foley, 1996) and as jury consultant Rankin Fitch in Runaway Jury (Gary Fleder, 2003) with Dustin Hoffman.

Hackman played film director Harry Zimm in the comedy-drama Get Shorty (Barry Sonnenfeld, 1995) with John Travolta. He also played a submarine Captain on the edge of nuclear destruction in Crimson Tide (Tony Scott, 1995) alongside Denzel Washington, a conservative Senator in a dragqueen club in The Birdcage (Mike Nichols, 1996) and a doctor who puts his work above people in Extreme Measures (Michael Apted, 1996).

He played the president of the US in Absolute Power (Clint Eastwood, 1997) and co-starred with Will Smith in the political thriller Enemy of the State (Tony Scott, 1998), his character reminiscent of the one he had portrayed in The Conversation. One of the most sustaining actors of all time, he still averaged two films a year in his 70s, having starred in six in 2001 alone, including Wes Anderson's The Royal Tenenbaums (2001). However, this changed in 2004, when he last acted in Welcome to Mooseport (Donald Petrie, 2004).

In 2008, he announced his retirement from acting at the age of 78. In 2011, he released a novel, a violent Western, 'Payback at Morning Peak'. Another novel, 'Pursuit', a police thriller, followed in 2013. Gene Hackman was married for 30 years to Faye Maltese, with whom he has one son and two daughters: Christopher Allen, Elizabeth Jean, and Leslie Anne Hackman. The couple divorced in 1986. In 1991, Hackman married again, to classical pianist Betsy Arakawa.

On 26 February 2025, Gene Hackman, his wife, and one of their three dogs were found dead at their home in Santa Fe, New Mexico. Their bodies were found by maintenance workers who investigated after they found the front door of the property open. Hackman was found in the mudroom and Arakawa was found in the bathroom, and both showed signs of decay. Near Arakawa was an open prescription pill bottle with loose pills strewn about the floor. The next day, Santa Fe County Sheriff's Department said there were no significant signs of foul play, but did not initially provide time or cause of death. Later the same day, the sheriff told news media that the couple appeared to have died at least a day before their bodies were discovered. Police obtained a search warrant for the home to examine its "furniture, walls, plumbing equipment, [and] gas lines", attesting that while there were "no obvious signs of a gas leak" on first examination, the couple's sudden deaths were consistent with one, necessitating a "thorough investigation". An autopsy will be conducted on the bodies to determine cause and time of death.


Dutch collectors card. Gene Hackman in Misunderstood (Jerry Schatzberg, 1984).


Vintage press photo by UIP / United Artists, no. 90/13A. Photo: Lorey Sebastian. Gene Hackman, Dianne Wiest and Calista Flockhart in The Birdcage (Mike Nichols, 1996).

Sources: Tony Fontana (IMDb), Wikipedia (Dutch, German and English) and IMDb.

Paul Westermeier

German actor Paul Westermeier (1892-1972) had an impressive filmography with more than 200 titles. He usually played the somewhat grumpy man next door, often with a Berlin flair. Westermeier never achieved the star status of some of his Ufa colleagues and seems to have fallen into oblivion today.


German postcard by Photochemie, Berlin, no. K 1481. Photo: A. (Alex) Binder, Berlin.


German postcard by Photochemie, Berlin, no. K. 1601. Photo: A. (Alex) Binder, Berlin.


German postcard by Photochemie, Berlin, no. K 3036. Photo: Mac Walten, Berlin.


German postcard by Rotophot in the Film-Sterne series, no. 517/4. Photo: Eiko-Film. Hedda Vernon, Paul Westermeier and probably Ferry Sikla in Die Narbe am Knie (Hubert Moest, 1917).


German collectors card by Ross Verlag in the series Vom Werden Deutscher Filmkunst - Der Stumme Film, picture no. 38, group 43. Photo: Paul Westermeier, Hanne Brinkmann and Hans Albers in Baroneßchen auf Strafurlaub/Little Baroness on Punishment Holiday (Otto Rippert, 1917). Caption: "Paul Westermeier 'hantelt', Hans Albers darf in einer kleinen Nebenrolle Hanne Brinkmann in die Wange kneifen". (Paul Westermeier 'works out', Hans Albers - in a small secondary role - is allowed to pinch Hanne Brinkmann in the cheek.)

Well-known star in operettas and revues

Paul Westermeier was born Paul Ernst Westemeier in 1892 in Berlin. He was the son of the labourer (or civil servant - the sources differ) Engelbert Westemeier and his wife Luise, née Nagora. In his youth, he tried his hand as a clown and fire-eater for the circus Schumann and played in the school theatre club.

He left school before his A-levels and took acting lessons with Moritz Zeisler at the Königliches Schauspielhaus (the Royal Theatre) and Maria Seebach at her acting school. He made his debut at the Königliches Schauspielhaus at the age of 17. In 1909 he received his first engagement as jeune premier in Stralsund.

In the next two years, he worked in Plauen and Magdeburg. In 1911 he moved to Hamburg, and the following year to Bremen, where he appeared as Romeo in 'Romeo and Juliet'. From 1913, he performed on Berlin stages, particularly at the Metropol-Theater, the Theater im Admiralspalast and the Thalia-Theater.

Westermeier also appeared in silent films. He made his film debut in Sondi hat Pech/Sondi has Bad Luck (Ludwig Czerny, Emil Sondermann, 1915) with Emil Sondermann as Sondi. Soon followed more silent films such as the crime film Die Hochzeit im Excentricclub/Wedding in the Eccentric Club (Joe May, 1917) starring Harry Liedtke as detective Joe Deebs, and the comedy Agnes Arnau und ihre drei Freier/Agnes Arnau and Her Three Suitors (Rudolf Biebrach, 1918) starring Henny Porten and Hermann Thimig.

He became a well-known star in operettas and revues during the 1920s. He appeared in operettas such as 'Maske in Blau' (Mask in Blue), 'Die lustige Witwe'(The Merry Widow), 'Hochzeitsnacht im Paradies' (Wedding Night in Paradise) and as Lothar in 'Ein Walzertraum' (A Waltz Dream) as well as Giesecke in 'Im weißen Rößl' (The White Horse Inn). Several times he was Lotte Werkmeister's partner.


German postcard by Ross Verlag, no. 128/1. Photo: Aafa Film. Paul Westermeier in Der Bettelstudent/The Beggar Student (Victor Janson, 1931). It is one of the many film adaptations of the eponymous operetta 'Der Bettelstudent' (1882) by Karl Millöcker. In 1927 there was for instance a silent version with Hans Junkermann as Colonel Ollendorf.


German postcard by Ross Verlag, no. 128/4. Photo: Aafa Film. Jarmila Novotná, Paul Westermeier and Hans Heinz Bollmann in Der Bettelstudent/The Beggar Student (Victor Janson, 1931).


German postcard by Ross Verlag, no. 141/5, 1931-1932. Photo: Ufa. Hans Albers, Paul Hörbiger, Paul Westermeier and Genia Nikolaieva in Quick (Robert Siodmak, 1931).


German postcard by Ross Verlag, no. 7847/1, 1932-1933. Photo: Ufa. Liane Haid and Paul Westermeier in Der Stern von Valencia/The Star of Valencia (Alfred Zeisler, 1933).

The grumpy Berliner

During the 1920s, Paul Westermeier gradually became a comedian. He appeared as an important supporting actor in such films as Der dumme August des Zirkus Romanelli/Circus Romanelli (Georg Jacoby, 1926) starring Reinhold Schünzel, and Eine tolle Nacht/A Crazy Night (Richard Oswald, 1927) starring Ossi Oswalda and Harry Liedtke.

He became a typical bit-part actor in the sound era, appearing in over 200 films. He usually played the somewhat grumpy man next door, often with a Berlin flair, such as the innkeeper Hentschke in Berlin-Alexanderplatz (Phil Jutzi, 1931) starring Heinrich George, and as Clock in the comedy Quick (Robert Siodmak, 1932), starring Lilian Harvey. He also played the radio operator Jaul in the submarine drama Morgenrot/Dawn (Gustav Ucicky, 1933) and had an important part in the (lost) comedy April, April! (Detlef Sierck, 1934).

In the later 1930s he acted in he crime drama Sein bester Freund/His Best Friend (Harry Piel, 1937), and Der grüne Kaiser (Paul Mundorf, 1939). During the war, he appeared in minor roles in several Propaganda films such as Die Rothschilds/The Rotschilds (Erich Waschneck, 1940), Blutsbrüderschaft/Blood Brotherhood (Philipp Lothar Mayring, 1941) and Andreas Schlüter (Herbert Maisch, 1942). In 1944, he was on the Gottbegnadeten-Liste (List of Godsent) by the Reich Ministry for Popular Enlightenment and Propaganda. That year he had the lead in Die Familie Buchholz/The Buchholz Family (Carl Froehlich, 1944) with Henny Porten.

After the Second World War, he was able to continue his career without any problems. He was even more strongly committed to the permanent role of the grumpy Berliner, for example as the captain and antagonist of Heinz Erhardt as a triplet, in Drillinge an Bord/Triplets on Board (Hans Müller, 1959). Sometimes, he played uncharacteristically quiet roles such as the driver in Sauerbruch - Das war mein Leben/The Life of Surgeon Sauerbruch (Rolf Hansen, 1954) with Ewald Balser and in Des Teufels General/The Devil's General (Helmut Käutner, 1955) starring Curd Jürgens.

Paul Westermeier continued to act on Berlin stages and also worked as a radio play narrator. He was married to former actress and singer Lotte Dobischinsky since 1936. In 1967, he received the Filmband in Gold for many years of outstanding work in German film. In 1972, Westermeier died in Berlin, at the age of 80. His grave is located in the Schöneberg III cemetery in Berlin.


West German postcard by Rüdel Verlag, Hamburg-Bergedorf. Photo: Carltonfilm / Europa. Paul Westermeier in Die verschwundene Miniatur / The Miniature that Disappeared (Carl-Heinz Schroth, 1954).


West German postcard by Rüdel Verlag, Hamburg-Bergedorf, no. 900. Photo: Arion / Deutsche London / Von Mindszenty. Paul Westermeier in Geld aus der Luft / Money from the Air (Géza von Cziffra, 1954).


West German postcard by Ufa/Film-Foto, Berlin-Tempelhof, no. P.W. 2. Photo: Peter Michael Michaelis / UFA.


West German postcard by Ufa/Film-Foto, Berlin-Tempelhof, no. P.W. 3. Photo: Peter Michael Michaelis / Ufa.

Sources: Stephanie D'heil (Steffi-Line - German), Thomas Staedeli (Cyranos), Wikipedia (German and English) and IMDb.

Ross Verlag, Part 24: Vom Werden deutscher Filmkunst - Der Tonfilm (2)

EFSP continues our tribute to Ross Verlag with the second entry in the series ‘Vom Werden deutscher Filmkunst - Der Tonfilm’ (From the Genesis of German cinema, the Sound Film). The series covers German sound films between 1929 and 1935. Some cards are smaller than postcards, others are larger, and they are all in black and white. The cards could be pasted into an album, no 11. We do not have the complete series, far from it, but still, our cards give a good idea of film production by the Ufa and the other German studios just before and after the rise of the Nazis. Today, numbers 50-100. Parts 3 and 4 of this series will follow in the coming weeks.


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 51. Photo: Cine-Allianz. Paula Wessely and Willi Forst in So endete eine Liebe/End of an Affair (Karl Hartl, 1934).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 53. Photo: Terra-Film. Maria Paudler and Harry Liedtke in Wenn am Sonntagabend die Dorfmusik spielt/When the Village Band Plays on a Sunday Evening (Charles Klein, 1933).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 55, group 44. Photo: Ondra-Lamac-Film. Anny Ondra and Mathias Wieman in Fraulein Hoffmanns Erzählungen/The Tales of Ms. Hoffmann (Karel Lamac, 1933).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 56. Photo: Ondra-Lamac-Film. Anny Ondra in Klein Dorrit/Little Dorrit (Karel Lamac, 1934).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 58, group 44. Photo: Ufa. Fritz Rasp in Emil und die Detektive/Emil and the Detectives (Gerhard Lamprecht, 1931).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 61. Photo: Ufa. Lilian Harvey and Harry Liedtke in Nie wieder Liebe!/No More Love (Anatole Litvak, 1931).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 64. Photo: Terra-Filmg. Hans Marr as Wilhelm Tell and Detlef Willecke as his son Walter in Wilhelm Tell/The Legend of William Tell (Heinz Paul, 1934).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 68, group 42. Photo: Aafa. Sepp Rist and Leni Riefenstahl in Stürme über dem Mont Blanc/Storm Over Mont Blanc (Arnold Fanck, 1930).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 68, group 44. Photo: Ufa. Paul Hörbiger and Ida Wüst in Des jungen Dessauers grosse Liebe/The young Dessauer's great love (Arthur Robison, 1933).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 69. Photo: Ufa. Albrecht Schoenhals in a double role in Fürst Woronzeff/Prince Woronzeff (Arthur Robison, 1934).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 71. Photo: Froelich-Film. Dorothea Wieck and Hertha Thiele in Mädchen in Uniform/Girls in Uniform (Leontine Sagan, 1931).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 72, group 44. Photo: Ufa. Emil Jannings and Renate Müller in Liebling der Götter/Darling of the Gods (Hanns Schwarz, 1930).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 73. Photo: Ufa. Hans Albers, Karl Ettlinger and Heinz Rühmann in Bomben auf Monte Carlo/Bombs Over Monte Carlo (Hanns Schwarz, 1931).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 75. Photo: Ufa. Lien Deyers and Mathias Wieman in Rosenmontag/Love's Carnival (Hans Steinhoff, 1930).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 79. Photo: Ufa. Brigitte Helm and Oskar Homolka in Im Geheimdienst/In the Employ of the Secret Service (Gustav Ucicky, 1931).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 81, group 44. Photo: Ufa. Käthe von Nagy and Viktor de Kowa in Der junge Baron Neuhaus/Night in May (Gustav Ucicky, 1934).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 82. Photo: Ufa. Lola Chlud and Käthe von Nagy in Der junge Baron Neuhaus/Night in May (Gustav Ucicky, 1934).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 83. Photo: Fanal-Terra-Produktion. Karin Hardt in Acht Mädels im Boot/Eight Girls in a Boat (Erich Waschneck, 1932).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 85, group 44. Photo: Ufa. Marianne Hoppe and Hans Schlenck in Heideschulmeister Uwe Karsten/The Country Schoolmaster (Carl Heinz Wolff, 1933).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, image no. 87. Photo: Itala-Film. Gustav Fröhlich in Abenteuer eines jungen Herrn in Polen/Love and Alarm (Gustav Fröhlich, 1934).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 89. Photo: Ariel-Film. Sybille Schmitz and Siegfried Schürenberg in Der Herr der Welt/Master of the World (Harry Piel, 1934).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 90. Photo: Ariel-Film. Fritz Odemar and Harry Piel in Ein Unsichtbarer geht durch die Stadt/An Invisible Man Goes Through the City (Harry Piel, 1934).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 92. Photo: Ufa. Renate Müller and Willy Fritsch in Saison in Kairo/Cairo Season (Reinhold Schünzel, 1933).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 94. Photo: Ufa. Willy Fritsch and Käthe von Nagy in Die Töchter ihrer Exzellenz/The Daughters of Her Excellence (Reinhold Schünzel, 1934).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 97, group 44. Photo: Cine-Allianz. Adolf Wohlbrück (Anton Walbrook) and Renate Müller in Die englische Heirat/The English Marriage (Reinhold Schünzel, 1934).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 98. Photo: Aafa. Leni Riefenstahl in Das blaue Licht/The blaue Light (Leni Riefenstahl, 1932).


German collector card by Ross Verlag in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 99. Photo: Deutsche Universal-Film A.G. Luis Trenker in Der Rebell/The Rebel (Kurt Bernhardt, Edwin H. Knopf, Luis Trenker, 1932).

To be continued next week.