Pages

28 May 2017

Imported from the USA: Angie Dickinson

American actress Angie Dickinson (1931) starred on television as Sergeant Leann 'Pepper' Anderson in the successful 1970s crime series Police Woman. Her trade marks are her honey blonde hair, her large brown eyes, a voluptuous figure and her deep sultry voice. She has appeared in more than 50 films, including European productions such as the French thriller Un homme est mort/The Outside Man (Jacques Deray, 1972).

Angie Dickinson in Rio Bravo (1959)
Italian postcard by Bromofoto, Milano, no. 1680. Photo: Warner Bros. Publicity still for Rio Bravo (Howard Hawks, 1959).

Vespa: Angie Dickinson
Italian postcard by Ed Graphicarta, Pontedera for Piaggio. Kit Postcards Vespa. Dickinson was in Italy for at least two films: Jessica (Jean Negulesco, Oreste Palella, 1962), shot in Sicily but also at the Roman DEAR studios, and Rome Adventure (Delmer Daves 1962), starring Suzanne Pleshette and Troy Donahue.

Beauty Contest


Angie Dickinson was born Angeline Brown (called Angie) in the North Dakota prairie town of Kulm in 1931. She was the second of three daughters of Fredericka (Hehr) and Leo Henry Brown, a newspaper editor and publisher of The Kulm Messenger and The Edgeley Mail.

The family left North Dakota in 1942, when Angie was 11 years old, moving to Burbank, California. She attended Glendale College and Immaculate Heart College. At Glendale College, she met Gene Dickinson, a star on the school's football team. She became Angie Dickinson in 1952, when she married Gene. They divorced in 1959.

In 1953, she entered a local preliminary for the Miss America contest one day before the deadline and took second place. In August of the same year, she was one of five winners in a beauty contest sponsored by NBC and landed a spot as one of six long-stemmed showgirls on The Jimmy Durante Show. On The Jimmy Durante Show she met Frank Sinatra, who was a guest star on the TV show and they would have a 10-year affair.

Dickinson appeared in several television variety shows, including The Colgate Comedy Hour. In the cinema, she got her first bit part in the Doris Day comedy Lucky Me (Jack Donohue, 1954) and gained fame in the television series The Millionaire (1955).

Dickinson had her first leading role in the Western Gun the Man Down (Andrew V. McLaglen, 1956) with James Arness. It was followed by the Sam Fuller cult film China Gate (1957), which depicted an early view of the First Indochina War. Dickinson played a Eurasian good-time girl whose marriage to Gene Barry is derailed by the birth of her Chinese baby.

In 1959, she got her breakthrough role opposite John Wayne and Dean Martin in the Western Rio Bravo (Howard Hawks, 1959). She played a flirtatious gambler called 'Feathers' who becomes attracted to the town sheriff played by her childhood idol John Wayne. Her success then spiralled until she became one of Hollywood's top film stars.

Angie Dickenson
French postcard by E.D.U.G., no. 194.

A lurid crime drama


Angie Dickinson became one of Hollywood's more prominent leading ladies of the 1960s. She appeared in the heist film Ocean's 11 (Lewis Milestone, 1960) with friends Frank Sinatra and Dean Martin.

She played the title role in Jean Negulesco's Jessica (1962) with Maurice Chevalier, in which she played a young midwife resented by the married women of a Sicilian town.

In The Killers (Don Siegel, 1964), a film originally intended to be the very first made-for-television movie but released to theatres due to its violent content, Dickinson played a femme fatale opposite Lee Marvin, John Cassavetes and future U.S. President Ronald Reagan in his last film role. It was a remake of the 1946 version based on a story by Ernest Hemingway.

She appeared in a star-studded The Chase (Arthur Penn, 1966), along with Marlon Brando, Jane Fonda, Robert Redford, and Robert Duvall.

Dickinson's best film of this era was arguably the cult classic Point Blank (John Boorman, 1967), a lurid crime drama with Lee Marvin as a criminal betrayed by his wife and best friend and out for revenge. The film epitomised the stark urban mood of the period, and its reputation has grown through the years.

Angie Dickinson
French postcard by E.D.U.G., no. 51.

Angie Dickinson
German postcard by ISV, Sort. 11/6.

A ground-breaking weekly police series


In 1971, Angie Dickinson played a lascivious substitute high school teacher in the dark comedy Pretty Maids All in a Row (Roger Vadim, 1971), in which her character seduces a sexually inexperienced student against the backdrop of a series of murders of female students at the same high school. It was a box-office failure.

The following year, she played opposite Jean-Louis Trintignant in the French thriller Un homme est mort/The Outside Man (Jacques Deray, 1972), which was shot in LA.

One of Dickinson's best known and most sexually provocative roles was the tawdry widow Wilma McClatchie from the Great Depression romp Big Bad Mama (Steve Carver, 1974) with William Shatner and Tom Skerritt. Although well into her forties at the time, she appeared nude in several scenes, which created interest in the film and a new generation of male fans for Dickinson.

In 1974, she returned to TV to play in an episode in the hit anthology series Police Story. That one guest appearance proved to be so popular that NBC offered Dickinson her own television show which became a ground-breaking weekly police series called Police Woman, the first successful dramatic television series to feature a woman in the title role.

Sam Kashner in Vanity Fair: Her Sergeant Suzanne 'Pepper' Anderson was among the first of a new wave of tough, resourceful female action heroes who could hold their own in a man’s world. She was perfect for the role—that independent spirit coupled with a willingness to go undercover as a hooker or a moll, to be 'eye candy'" The show became a hit, reaching number one in many countries, and ran from 1974 to 1978. Dickinson won a Golden Globe award, and received Emmy nominations for three consecutive years.

Angie Dickenson
American postcard by Coral-Lee, Rancho Cordova, no. CL/Personality # 52. Photo: Douglas Kirkland, 1980.

A seductress with an enigmatic, ladylike reserve


Angie Dickinson returned to the cinema in the erotic thriller Dressed to Kill (Brian De Palma, 1980). The role of Kate Miller, a sleek, elegantly dressed, unsatisfied wife who embarks on a daytime tryst with a stranger, earned her a 1981 Saturn Award for Best Actress. Dressed to Kill was a sensation at the box office, in part because of the controversy over the film’s mingling of sex and violence.

She then starred in several TV movies, and had a pivotal role in the mini-series Hollywood Wives (Robert Day, 1985), based on a novel by Jackie Collins. Dickinson reprised her role as Wilma McClatchie for Big Bad Mama II (Jim Wynorski, 1987). In the TV miniseries Wild Palms (1993), produced by Oliver Stone, she was the sadistic, militant sister of Senator Tony Kruetzer (Robert Loggia).

That same year, she starred as a ruthless Montana spa owner in Even Cowgirls Get the Blues (Gus Van Sant, 1993) with Uma Thurman. Sydney Pollack cast her as the prospective mother-in-law of Greg Kinnear in the romantic comedy Sabrina (1995) starring Harrison Ford, a remake of the Billy Wilder classic.

During the first decade of the Third Millennium, Dickinson acted out the alcoholic, homeless mother of Helen Hunt's character in Pay It Forward (Mimi Leder, 2000); the grandmother of Gwyneth Paltrow's character in the road trip film Duets (Bruce Paltrow, 2000), and made a brief cameo in the remake Ocean's 11 (Steven Soderbergh, 2001) with George Clooney and Brad Pitt.

After her divorce from Gene Dickinson in 1960, she married Burt Bacharach in 1965. They remained a married couple for 15 years. Their daughter, Lea Nikki, known as Nikki, arrived a year after they were married. Born three months prematurely, Nikki suffered from chronic health problems, including visual impairment; she was later diagnosed with Asperger syndrome. Burt composed the music of the song Nikki for their fragile young daughter, and Angie rejected many roles to focus on caring for their daughter. In 2007, the 40-years-old Nikki killed herself by suffocation in her apartment in the Ventura County suburb of Thousand Oaks.

Angie Dickenson's most recent feature film is Elvis Has Left the Building (Joel Zwick, 2004), starring Kim Basinger as a cosmetics saleswoman who accidentally kills a series of Elvis impersonators as they travel to a convention in Las Vegas. Dickinson plays Basinger's mother, a former mechanic for the real Elvis.

Her last acting role to date was in the TV film Mending Fences (Stephen Bridgewater, 2009). For The New York Times, Alessandra Stanley reviewed the film: "This made-for-television movie is plodding and predictable, but Ms. Dickinson is anything but. At 77 she still has an odd and beguiling incongruity — a seductress with an enigmatic, ladylike reserve. She was saucy, but also delicate, as Sgt. Pepper Anderson on Police Woman; in Brian De Palma’s thriller Dressed to Kill Ms. Dickinson was both forward and fragile. Even as a cranky, elderly rancher fighting off casino developers, she has feminine allure."


Trailer Point Blank (John Boorman, 1967). Source: Movieclips Trailer Vault (YouTube).


Trailer Dressed to Kill (Brian De Palma, 1980). Source: Movieclips Trailer Vault (YouTube).

Sources: Sam Kashner (Vanity Fair), Alessandra Stanley (The New York Times), Biography.com,
Wikipedia and IMDb.

27 May 2017

Happy birthday, Truus!

No, today is not the birthday of Dutch film star Truus van Aalten, but my sister's. Her nickname is Truus and she is one of the three founders of our Flickr site, Truus, Bob & Jan Too! As it happened with so many famous trios before, the big star moved on and went solo. Truus started her own Flickr site, Truus & Zoo, where she posts her wonderful pictures of wild animals. She photographs them not only in zoos but also in wildlife parks all over the globe. So today a special EFSP post for Truus with 12 postcards with film stars and wild animals, or wild stars and film animals, if you like!

Un crocodile cambrioleur
French postcard for Un crocodile cambrioleur (1908) by Théâtre Pathé Grolée, Lyon. Photo: Pathé frères. This postcard needs some explanation: Two burglars are interrupted in their job, so one hides underneath a crocodile skin. The old professor sees the dead animal moving and alarmed he leaves to find his gun. The 'reptile' flees but is hunted by the professor and his shotgun. An ever growing multitude follows the crocodile on the street. Finally the thief mounts a pipe and frightens a family taking tea, profiting from their flight to steal valuable objects, and exiting the same way as he came. Meanwhile, the mass outside shows up while our man takes off his skin. The professor shoots and all are surprised when they find just the skin and the thief gone.

Harry Piel in Was ist los im Zirkus Beely? (1926)
German postcard by Ross Verlag, no. 1629/1. Photo: Nero-Film, Berlin. Publicity still for Was ist los im Zirkus Beely? (Harry Piel, 1926, released 1927). This was Harry Piel's 75th film and the first with a fullgrown predator as Piel's companion: the tiger Bylard from the Leipzig Zoo. Mathias Bleckmann in his 1992 biography of Piel tells a nice anecdote. To the admiration of the wrangler present, Piel calmly managed to have the animal adapt to the camera. In order to have the tiger lick his face as the script demanded, he smeared his own mouth with cheese, but he had forgotten that a tiger's tongue might be sharp as blade - so he ended up a few days in hospital...

Emil Jannings
Emil Jannings. German postcard by Ross Verlag, no. 3206/1, 1928-1929. Photo: Paramount.

Cilly Feindt
Cilly Feindt. German postcard by Ross Verlag, Berlin, no. 3277/1, 1928-1929. Photo: Atelier Jacobi, Berlin. Truus loves monkeys and she likes to photograph them, but the monkeys always keep interfering also on this and the following postcards. That's why I like these postcards so much.

Armida
Armida. German postcard by Ross Verlag, no. 4946/1, 1929-1930. Photo: Warner Bros. Collection: Dider Hanson.

Dolores Del Rio
Dolores Del Rio. German postcard by Ross Verlag, no. 4993/1, 1929-1930. Photo: Fox.

Johnny Weismuller
Johnny Weismuller and Elephant. Dutch postcard, no. 751. Photo: M.G.M.

Sabu in Jungle Book (1942)
German collectors card by Küno's Film-Foto in the series Das Dschungelbuch , no. 2, presented by Sparkasse bank. Photo: publicity still for Jungle Book (Zoltan Korda, 1942) with Sabu as Mowgli with Wolf.

Lex Barker
Lex Barker and Chimp. German postcard by Rüdel-Verlag, Hamburg-Bergedorf, no. 449. Photo: RKO Radio Film.

Brigitte Bardot
Brigitte Bardot and Parrot. Dutch postcard by Gebr, Spanjersberg N.V. , Rotterdam, no. 1024, Dutch licency holder for UFA. Sent by mail in 1959. Photo: UFA.

Virginia McKenna, Bill Travers
East-German postcard by VEB Progress Filmvertrieb, Berlin, no. 86/89, 1969. British stage and screen actress Virginia McKenna (1931) is also known as a wildlife campaigner. During her long and successful career she won several awards, including the British Academy Award for Best Actress for A Town Like Alice (1956). Her most popular role has been in Born Free (1966) opposite her husband Bill Travers.

Nastassia Kinski
Nastassia Kinski and Snake. British postcard in the Photographs series, no. 101. Photo: Richard Avedon.

Flipper
And finally two extra postcards of TV favourites of our childhood: first Flipper! Dutch postcard by MUVA, Valkenburg. Sent by mail in 1968.

Pippi Langstrump (Pippi Langkous, Pippi Longstocking)
Pippi Langstrump (a.k.a. Pippi Langkous and Pippi Longstocking) and Mr. Nilsson. Dutch postcard by Semic International, 1971.

Dear Truus, Have a fun day today! Gefeliciteerd.

26 May 2017

Adelqui Migliar

Tomorrow, 27 May 2017, EYE Filmmuseum Amsterdam organises a Collection Day. EYE curators explain how film history comes alive through the use of new technologies and various presentation possibilities, based on films from the collection. The first film of the programme is the British-Dutch detective film Bloedgeld/Blood Money (Fred Goodwins, 1921). Star is the Chilean actor Adelqui Migliar aka Adelqui Millar (1891-1956). He was the Latin Lover of the Dutch silent cinema in the 1910s and early 1920s, but he also starred in the Austrian epic Die Sklavenkönigin/Moon of Israel (1924) by Michael Curtiz, and many other European silent films. Later on he acted and directed in Argentine.

Adelqui Migliar/ Millar
Belgian postcard by NV Cacao en Chocolade Kivon, Vilvoorde.

Hollywood Stuntman and Double


Adelqui Migliar Icardi was born in Concepción, Chile in 1891. His father was Chilean, his mother Italian. He had a happy youth on the farm of his parents and enjoyed playing cowboy. When he was 14 his father sent him to Italy to attend high-school.

At his return to Chile, Migliar had a diploma in commercial science, but didn’t know what to do with it. So he joined a touring theatre group and for one year he travelled all around Latin America until he reached California. There he started his film career as an extra, which earned more money than his stage acting.

According to Caroline Hanotte at CinéArtistes, he worked as a double and as a stuntman. he performed the stunts, which were considered too dangerous for the stars. It seems he even worked on some films as an – uncredited - assistant-director.

Dutch film historian Geoffrey Donaldson wrote in 1991 in the Italian film magazine Immagine that Migliar worked at Vitagraph, where his parts slowly became bigger. At the end of 1913 he returned to Italy and found work in Turin as an actor for the companies Pasquali and Gloria, though unknown is in which films.

When Italy joined the Allies in the First World War in 1915, Migliar left Italy and went to the neutral Netherlands, where Theo Frenkel senior offered him to play the protagonist in his film Genie tegen Geweld/Genius against Violence (1916), produced by Frenkel’s own company Amsterdam Film.

In those years the Dutch were in dire need of male young actors, as many young Dutchmen were serving in the army. Migliar played Pim Brice, a courageous detective who pursues a gang of jewel thieves, when the daughter of an innocent suspect asks him to catch the real thieves. The film strangely starts with a large nonfiction part on a jewelry factory.

After the theft we notice Migliar using all means of transport and performing dangerous stunts such as escaping lions and jumping on a riding train, until he is able to catch the thieves. Apparently his experience as stuntman in the States paid off. Unfortunately the remaining print of the film is incomplete, but it can be viewed on the site Film in Nederland.

Adelqui Migliar, Annie Bos
Publicity still with Annie Bos. Source: Immagine. Nuova Serie N. 16, 1990-1991.

Adelqui Migliar, Annie Bos
Publicity still with Annie Bos. Source: Immagine. Nuova Serie N. 16, 1990-1991.

The Latin Lover of Hollandia


In the Netherlands, Adelqui Migliar was a huge success, and he became the Latin Lover of Dutch silent cinema. First he played a violin player in Danstragedie/Dance Tragedy (Johan Gildemeyer, 1916), who despairs after his wife (Meina Irwen) leaves him.

In 1917 he signed a contract with the Hollandia film company of producer and director Maurits Binger and for the next five years he appeared in 23 Hollandia pictures. Already in his first film for Hollandia, Madame Pinkette & Co./The Girl Who Saved his Honour (Maurits H. Binger, 1917), he co-starred with the diva of the Dutch silent film, Annie Bos.

In his next Hollandia film, De Kroon der Schande/The Coronet of Shame (Maurits H. Binger, 1917), they again starred together as the protagonists, and from then on they were a film couple. Migliar and Bos played lovers, split by cruel destinies and reunited in the end, in films like Oorlog en Vrede/War and Peace (Maurits H. Binger, Adelqui Migliar, 1918), Een Carmen van het Noorden/Carmen of the North (Maurits H. Binger, Hans Nesna, 1919) and Rechten der Jeugd/The Rights of Youth (Maurits H. Binger, 1918-1921).

Once the First World War was finished, Binger struck a deal with the British distributor and producer A.G. Granger and they founded the Granger-Binger or Anglo-Hollandia company. Binger co-directed the films with the British director B.E. Doxat-Pratt. Many Dutch actors, including Annie Bos, lost prominence and were replaced by British actors, but Migliar kept his position.

His name was only changed in Adelqui Millar, a name he kept until his return to South America. At Hollandia, Migliar not only played heroes or lovers. He was also the grandfather of the protagonist in the melodrama Zooals ik ben/As I Am (Maurits H. Binger, Bernard Edwin Doxat-Pratt, 1920), while he played the sinister Henk Duif in Schakels/Chains (Maurits H. Binger, 1919), the film adaptation of Herman Heijermans’ noted stage play.

He played another villain in Wat eeuwig blijft/What Ever Remains (Maurits H. Binger, Bernard Edwin Doxat-Pratt, 1920) and Bloedgeld/Blood Money (Fred Goodwins, 1920), while he was a revolutionary in De Heldendaad van Peter Wells/The Little Hour of Peter Wells (Maurits H. Binger, Bernard Edwin Doxat-Pratt, 1920).

Often Migliar played double roles, as father and son in War and Peace, and two brothers in Zonnetje/Joy (Maurits H. Binger, Bernard Edwin Doxat-Pratt, 1919). Thanks to the ingenious double exposure photography by cinematographer Feiko Boersma, he played the ghost of a murdered man in Onder spiritistischen dwang/The Other Person (Maurits H. Binger, Bernard Edwin Doxat-Pratt, 1921).

Probably Millar’s best films in those years were Een lach en een traan/Laughter and Tears (1921) and Circus Jim (1921), films Millar both co-scripted, while he was co-director of Circus Jim as well. IMDb erroneously equals Circus Jim with Laughter and Tears. Laughter and Tears deals about a poor Venetian painter. He dumps his girl Pierrette (played by American actress Evelyn Brent) for a fancy lady when he has his artistic breakthrough.

Pierrette doesn’t give up and follows him to Paris, they fight and he thinks he killed her. Cast and crew moved to Venice and Paris for location shooting. The investments paid back, when the film became an international success. It also meant a ticket for Millar’s international career.

Adelqui Migliar
Publicity still. Source: Immagine. Nuova Serie N. 16, 1990-1991.

Father of Ramon Novarro


Late 1921, Adelqui Millar moved to Britain, where he founded his own company and scripted, produced, directed and interpreted Pages of Life (1922), with again the beautiful Evelyn Brent. This was followed by I Pagliacci (G.B. Samuelson, S.W. Smith, 1925), where he was Canio opposite Lilian Hall-Davis as Nedda, and London (Herbert Wilcox, 1926), with Dorothy Gish.

His next film, The Arab (1924), was shot partly in France and Algeria by the American film director Rex Ingram, who was active in Nice then. Millar played the father of another Latin Lover: Ramon Novarro.

For his part of Prince Seti opposite Maria Corda’s in Die Sklavenkönigin/Moon of Israel (1924) by Mihaly Kertesz aka Michael Curtiz, Millar moved to Austria.

He returned to Britain and directed himself and Mona Maris in The Apache (1925). Then he had the male lead in the French film Le navire aveugle/The Blind Ship (Giuseppe Guarino, 1927) with Colette Darfeuil, and directed the Albatros production Souris d’hôtel/Hotel Thief (1928) with Elmire Vautier and Ica von Lenkeffy.

Late 1927, Millar founded a new company in London, Whitehall, for which he was president. He ambitiously planned to produce six low budget films. He directed and interpreted the first one in Spain: Life (1928). In the second, The Inseparables (1929), he left the lead to Patrick Aherne and stuck to directing only, with John Stafford. When the films were ready to be released, however, Whitehall got in trouble, and in 1929 Millar was discharged and his contract annulled.

The affair was widely described by noted British film historian Rachel Low. However, according to Geoffrey Donaldson, she was quite prejudiced in her negative judgement of Millar’s acting, as in her time only one print of Millar's films was available.

Scene from Die Sklavenkönigin (1924)
Austrian postcard by Sascha. Photo: publicity still for a scene from Die Sklavenkönigin/The Moon of Israel (Michael Curtiz (as Michael Courtice), 1924).

Scene from Die Sklavenkönigin (1924)
Austrian postcard by Sascha. Photo: publicity still for a scene from Die Sklavenkönigin/The Moon of Israel (Michael Curtiz (as Michael Courtice), 1924).

Directing Evita


Adelqui Millar’s career was saved when the talkies arrived and Paramount decided to open a sound film studio near Paris at Joinville-le-Pont. He was hired for six Spanish versions of American films for the Spanish and Latin American market. He also shot the French version of George Cukor’s The Virtuous Sin, entitled Le rebelle/The Rebel (1931), with Suzy Vernon.

Millar’s last film at Joinville was Las Luces de Buenos Aires/The Lights of Buenos Aires (1931), based on an original script and only shot in Spanish. Protagonist was the popular Argentine singer Carlos Gardel. The film had a vast success everywhere in South America and was projected in New York as well.

In the 1930s Millar continued his surely tiresome wandering life. In 1934 he shot in Italy Luci sommerse/Dimmed Lights with Fosco Giachetti, while the project of a second Italian film failed.

In Spain Millar directed Madrid se divorcia/Madrid divorces, also in 1934. Four years after, he co-directed with the Portuguese filmmaker Georges Pallu Ceux de demain/Those of tomorrow, shot in Paris and starring Jeanne Boitel.

The outbreak of the Spanish civil war spoiled another project in Spain, so Millar accepted a proposal of the Argentine producer Alfredo de Murua to come over to Buenos Aires. While the Argentine film industry could well have benefited from Millar’s (now Migliar again) experience, the opposite happened.

While Migliar could continue to work in Buenos Aires until 1954, nothing really grand came out of it and his work remained on a provincial level. His first film Ambición/Ambition (1939) was based on the script of his earlier Dutch silent film Laughter and tears.

The same year Millar made La carga de los valientes/Only the Valiant (released 1940), in which the 19-years-old Eva Duarte made her debut. Duarte would become famous as Evita Peron.

In the 1940s and 1950s Migliar directed seven films such as Tormenta en el alma/Soul Storm (1946), his only Chilean film, which elsewhere was released as El precio de una vida/The price of a life (1947). The film was after Victorien Sardou’s Fedora, with Mecha Ortiz as princess Fedora and Emilio Gaete as the nihilist who loves her.

El domador/The Trainer (1954), starring Elisa Christian Galvé and Oscar Fuentes, was Migliar’s last film direction.

Adelqui Migliar died in 1956 in Santiago de Chile, at the age of 65.


Scene from Las Luces de Buenos Aires/The Lights of Buenos Aires (Adelqui Millar, 1931) with Carlos Gardel. Source: Gardelblog (YouTube).


Scene with Mercedes Simone in Ambición/Ambition (Adelqui Millar, 1939). Source: Noches de tango (YouTube).

Eye Collection Day


Adelqui Miliar's film Bloedgeld/Blood Money (Fred Goodwins, 1920) was considered as missing until recently when bits and pieces were discovered in the EYE archives.

Part of the recently found material was in such a bad state (the nitrate film became sticky) that, once identified, it had to be sent to the laboratory immediately. Various parts of the film could only be viewed in the movie lab after the treatment and placed in the correct order.

The result was a nearly complete version, although a few short but important scenes are still missing. The collected material provides clues about how the film was released in its own day.

This has made it possible to restore and present the film in various ways: for instance as a purely historical document, or in a newly edited and completed version that can be better appreciated by contemporary audiences.

The presentation tomorrow at 11:30 is by Elif Rongen-Kaynakçi, EYE's silent Film curator, and film restorer Annike Kross. Admission is free.

Sources: Geoffrey Donaldson (Immagine), Caroline Hanotte (CineArtistes), Film in Nederland (Dutch), Eye, Wikipedia (Dutch and English), and IMDb.