Ross Verlag, Part 11: Foreign in the UK

Ross Verlag published a series of postcards for Great Britain without the Ross Verlag name on the cards. Instead, the cards had the word 'Foreign' in one corner of the photo on the card. These were all hand-tinted colour postcards with a gloss finish. Although the Ross Verlag number was still visible on the front of these cards, they also usually had another number on the back in the stamp box. Besides these cards for the British market, Ross Verlag also published several hand-coloured postcards for the continental market. Here are 25 Ross Verlag Foreign postcards.


British postcard by Ross Verlag Foreign, no. 847/1. Photo: British-American Films AG (Bafag). Robert Frazer.


British postcard by Ross Verlag Foreign, no. 1247/1. Photo: Paramount-Film. Dolores Costello.


British postcard by Ross Verlag Foreign, no. 1459/1. Photo: Alex Binder, Berlin. Nils Asther.


British postcard by Ross Verlag Foreign, no. 1485/2. Photo: Paramount / Parufamet. Harold Lloyd.


British postcard by Ross Verlag Foreign, no. 3240/1. Photo: United Artists. Don Alvarado in Drums of Love (D.W. Griffith, 1928).


British postcard by Ross Verlag Foreign, no. 3384/1. Photo: Paramount. Adolphe Menjou and Kathryn Carver in Service for Ladies (Harry d'Abbadie d'Arrast, 1927).


British postcard by Ross Verlag Foreign, no. 3446/2, 1928-1929. Photo: Atelier Hanni Schwarz, Berlin. Willy Fritsch.


British postcard by Ross Verlag, no. 3531/2, 1928-1929. Photo: MGM. Greta Garbo in Love (Edmund Goulding, 1927).


British postcard by Ross Verlag, no. 3538/1. Photo: Metro-Goldwyn-Mayer. Alice Terry and Iván Petrovich in The Garden of Allah (Rex Ingram, 1927).


British postcard by Ross Verlag Foreign, no. 3576/1. Photo: Fox. Tom Mix.


British postcard by Ross Verlag Foreign, no. 3658/4, 1928-1929. Photo: United Artists. Douglas Fairbanks is wearing the outfit from Don Q, Son of Zorro (Donald Crisp, 1925).


British postcard by Ross Verlag Foreign, no. 3727/1, 1928-1929. Photo: PDC. Sue Carol.


British postcard by Ross Verlag Foreign, no. 3779/1. Photo: Metro-Goldwyn-Mayer. John Gilbert and Renée Adorée in the American silent drama The Cossacks (George Hill, Clarence Brown, 1928), their fifth film together.


British postcard by Ross Verlag Foreign, no. 3794/1, 1928-1929. Photo: Metro-Goldwyn-Mayer. Collection: Marlene Pilaete. Renée Adorée.


British postcard by Ross Verlag Foreign, no. 3836/2, 1928-1929. Photo: Max Munn Autrey / Fox. George O'Brien.


British postcard by Ross Verlag Foreign, no. 3858/1. Photo: Atelier Böhm, Berlin. Hans Adalbert Schlettow in Wolga Wolga/Volga Volga (Viktor Tourjansky, 1928).


British postcard, no. 3865/1. Photo: FPS. At the backside: Real Hand-coloured Photograph. Ivor Novello.


British postcard by Ross Verlag, no. 3917/1, 1928-1929. Photo: Fox. Greta Nissen and Charles Farrell in Fazil (Howard Hawks, 1928).


British postcard by Ross Verlag Foreign, no. 3927/2. Photo: Metro-Goldwyn-Mayer. Norma Shearer.


British postcard by Ross Verlag Foreign, no. 3932/1. Photo: Metro-Goldwyn-Mayer. Ralph Forbes.


British postcard by Ross Verlag Foreign, no. 3971/1. Photo: Ufa. Lars Hanson.


British postcard by Ross Verlag Foreign, no. 3979/2. Photo: Paramount.The photo must be dating from the years that Emil Jannings was a star in silent Hollywood films (1927-1928).


British postcard by Ross Verlag Foreign, no. 3986/1, 1928-1929. Photo: Paramount. James Hall in The Fleet’s In (Malcolm St. Clair, 1928).


British postcard by Ross Verlag, no. 4010/1. Photo: Defina / First National Pictures. Clive Brook.


British postcard by Ross Verlag, no. 4811/1, 1929-1930. Photo: RKO Radio Pictures. Collection: Geoffrey Donaldson Institute. Bebe Daniels.

Source: Mark Goffee (Ross Verlag Movie Star Postcards).Special thanks to Jean Ritsema and Ivo Blom.

With thanks to Jean Ritsema and Ivo Blom! Our Ross Verlag Tribute will be continued next week and please, remember to check out the Ross Verlag Movie Stars Postcards website.

Senta Berger

Beautiful Austrian actress Senta Berger (1941) received many awards for her work in theatre, film and television, including a Golden Globe Award and a Goldene Kamera. She played in several European co-productions and appeared as a sex bomb in some Hollywood movies of the 1960s. Berger also worked as a producer of internationally acclaimed films directed by her husband, Michael Verhoeven, and she is a bestselling author.


Romanian postcard by Casa Filmului Acin.


Spanish postcard by Toro de Bronce. Senta Berger in The Waltz King (Steve Previn, 1963).


Italian postcard. Photo: Dear Film. Publicity still for The Glory Guys (Arnold Laven, 1965) with Tom Tryon.


Romanian postcard by Casa Filmului Acin.


Autograph card.

Not just another European sex bomb

Senta Berger was born in Vienna, Austria in 1941 as the daughter of Therese Jany, a teacher, and Josef Berger, a musician. She first appeared on stage at age four, where her father accompanied his daughter's singing on the piano. At age five, she started ballet lessons, but Senta was asked to leave at 14 because she had ‘developed’ too much.

She then took private acting lessons and appeared as an extra in the comedy Du bist die Richtige/You Are The Right One (Erich Engel, Josef von Báky, 1955) starring Curd Jürgens. In 1957, she won her first small role in Die unentschuldigte Stunde/The Unexcused Hour (1957), one of the last films directed by legendary actor-director Willi Forst. She applied for the Max Reinhardt Seminar, a famous acting school in Vienna. Still, she was expelled shortly afterwards after accepting a small role in the film The Journey/Die Reise (Anatole Litvak, 1959) without permission. Only 17, she became the youngest member of the Theater in der Josefstadt in Vienna in 1958 and played a role in Luigi Pirandello’s Enrico IV.

Film producer Arthur Brauner offered her a role opposite German superstar Heinz Rühmann in the deft satire Der brave Soldat Schweijk/The Good Soldier Schweijk (Axel von Ambesser, 1960). Brauner signed a contract with her for several films and cast her in Schlagerfilms like O sole mio (Paul Martin, 1960) and Adieu, Lebewohl, Goodbye (1961). She soon got tired of them, but Maria Brauner, the producer’s wife, helped her to get a part next to O.W. Fischer and Eva Bartok in the thrillers Es muß nicht immer Kaviar sein/Operation Caviar (Geza von Radvanyi, 1961) and Diesmal muß es Kaviar sein/This time it has to be caviar (Geza von Radvanyi, 1961). These spy thrillers, based on the novels by Johannes Mario Simmel, meant her breakthrough.

Berger became a staple in European co-productions like Sherlock Holmes und das Halsband des Todes/Sherlock Holmes and the Deadly Necklace (Terence Fisher, Frank Winterstein, 1962) starring Christopher Lee, and Kali-Yug, la Dea della Vendetta/Vengeance of Kali (Mario Camerini, 1963) with Lex Barker.

On the invitation of Richard Widmark, with whom she had appeared in the Cold War adventure film The Secret Ways (Phil Karlson, 1961), she went to Hollywood. There she appeared in the anti-war drama The Victors (Carl Foreman, 1963) and in The Waltz King (Steve Previn, 1963), a two-parter in the TV series Walt Disney's Wonderful World of Color. Though an actress of more than average talent, Berger was regarded as just another European sex bomb by most Hollywood publicity flacks. She was offered a five-year contract by a major Hollywood studio, but she decided to return to Germany.


West German postcard by Filmbilder-Vertrieb Ernst Freihoff, Essen, no. 680. Photo: Alfa / Gloria / Grimm. Senta Berger and Rex Gildo in O sole mio (Paul Martin, 1960).


German postcard by Kolibri-Verlag, Minden/Westf., no. 1813. Photo: A. Grimm / Gloria Film. Publicity still for Frauenarzt Dr. Sibelius/Dr. Sibelius (Rudolf Jugert, 1962).


Vintage press photo. Senta Berger and Lex Barker in Frauenarzt Dr. Sibelius/Dr. Sibelius (Rudolf Jugert, 1962).


Vintage press photo. Senta Berger, Lex Barker and Barbara Rütting in Frauenarzt Dr. Sibelius/Dr. Sibelius (Rudolf Jugert, 1962).


Romanian postcard by Casa Filmului Acin. Senta Berger, Martin Held and Walter Wilz in Lange Beine - lange Finger/Long Legs, Long Fingers (Alfred Vohrer, 1966). Collection: Alina Deaconu.

Rousing entertainment

During the shooting of the comedy Jacky und Jenny/Jacky and Jenny (Victor Vicas, 1964), Senta Berger met Michael Verhoeven, son of the German film director Paul Verhoeven (not the Dutch Paul Verhoeven). They started their own film production company Sentana-Filmproduktion in 1965 and married the following year.

Berger continued to develop her international career and played with such stars as Dean Martin, Frank Sinatra, John Wayne, and Yul Brynner. She appeared in numerous Euro-spy films such as the Italian crime comedy Operazione San Gennaro/Operation San Gennaro (Dino Risi, 1966), the British comedy Our Man in Marrakech (Don Sharp, 1966) with Tony Randall, and the French thriller Peau d’Espion/To Commit a Murder (Edouard Molinaro, 1967) with Louis Jourdan.

One of her best-known Hollywood movies is the Western Major Dundee (Sam Peckinpah, 1965) with Charlton Heston. At the Celluloid Heroes blog, Paul McElligott writes: “Major Dundee is one of Sam Peckinpah’s early works, a highly stylized Western that fits perfectly the outsized performances of its stars, Charlton Heston and Richard Harris. Neither the story, the dialogue or the acting can be called realistic, but it is what it claims to be, a rousing entertainment.”

In Cast a Giant Shadow (Melville Shavelson, 1966) with Kirk Douglas, she played the role of Magda, a soldier in the Israeli army during the Israeli War of Independence in 1948. That same year she was also a German schoolteacher involved in neo-Nazi activity opposite Max von Sydow and George Segal in the spy film The Quiller Memorandum (Michael Anderson, 1966).

A curiosity is the short film Vienna (1967) directed by Orson Welles. In the film Welles is wandering through Vienna, remembering The Third Man and then, aided by Berger and Mickey Rooney, he suddenly stumbles into a spy satire which is, according to the IMDb reviewer, “simply hilariously funny”. In 1967, Berger acted also in the pilot for the American television TV series It Takes a Thief (1968) starring Robert Wagner. She reprised her role in the series in 1969, in an episode in which her character was killed off.


German postcard by Friedrich-W. Sander-Verlag, Minden/Westf. (Kolibri Foto-karte), no. 2347.


Romanian postcard by Casa Filmului Acin, no. 449. Senta Berger in Das Testament des Dr. Mabuse/The Testament of Dr. Mabuse (Werner Klingler, 1962). Collection: Alina Deaconu.


East German postcard by VEB Progress Filmvertrieb, Berlin, no. 3012, 1967 Photo: Senta Berger and Ivan Desny in Sherlock Holmes und das Halsband des Todes/Sherlock Holmes and the Deadly Necklace (Terence Fisher, 1962).


East German postcard by Progress Film-Vertrieb, Berlin, no. 3107, 1968. Senta Berger in Operazione San Gennaro/Operation San Gennaro (Dino Risi, 1966).


Romanian postcard by Casa Filmului Acin. Photo: publicity still for The Ambushers (Henry Levin, 1967).

Being taken seriously

In 1970 Senta Berger appeared in the Italian caveman spoof Quando le Donne Avevano la Coda/When Women Had Tails (Pasquale Festa Campanile, 1970), which was a surprise box-office hit in Italy. Her participation in this banal sex-comedy led Hal Erickson at AllMovie to the conclusion that “by 1970, Senta Berger evidently gave up any hopes of being taken seriously.”

That year though, she also starred for the first time in a film produced by her own company and directed by her husband, Wer im Glashaus liebt/He Who Loves in a Glass House (Michael Verhoeven, 1970). Two years later she featured in Volker Schlöndorff’s Die Moral der Ruth Halbfass/Morals of Ruth Halbfass (Volker Schlöndorff, 1972) followed by the leading role in Der scharlachrote Buchstabe/The Scarlet Letter (Wim Wenders, 1973).

And in Italy, she appeared in several films for high-quality directors such as Roma Bene (Carlo Lizzani, 1971), L'Amante dell'orsa maggiore/The Smugglers (Valentino Orsini, 1972), Bisturi: La Mafia Bianca/Hospitals: The White Mafia (Luigi Zampa, 1973) and the Giallo L'Uomo Senza Memoria/Puzzle (Duccio Tessari, 1974) opposite Luc Merenda.

Following the birth of her two sons, Simon (1972) and Luca (1979), Berger returned to theatre work. She played at the famous Burgtheater in Vienna, at the Thalia Theatre in Hamburg and at the Schillertheater in Berlin. Between 1974 and 1982, she played the Buhlschaft in the play Jedermann (Everyman) at the Salzburg Festival with Curd Jürgens and later Maximilian Schell in the title role.

In the cinema, she co-starred with Maximilian Schell and James Coburn in the war film Cross of Iron (Sam Peckinpah, 1977).


German postcard by Ufa, Berlin-Tempelhof, no. 5086. Retail price: 25 Pfg. Photo: Terb Agency.


East-German postcard by VEB-Progress Film-Vertrieb, Berlin, no. 3045, 1968. Photo: G.B. Poletto and Peter Basch.


German postcard by Krüger/Ufa, no. 902/128. Photo: Terb Agency/Ufa.


East-German postcard by VEB Progress Filmvertrieb, Berlin, no. 137/76, 1976. Photo: publicity still for MitGift/Killing Me Softly (Michael Verhoeven, 1976) with Ron Ely.


Romanian postcard by Casa Filmului Acin, no. 153.

Smart, sexy and honest

In 1985, Senta Berger started a comeback in front of German-speaking TV audiences in the popular, ironic mini-series Kir Royal (Helmut Dietl,1985-1986), about a Munich gossip reporter and the city’s legendary high society circles. Further serial hits followed, like Die schnelle Gerdi/The Fast Gerti (Michael Verhoeven, 1989), where she played a Munich cab driver. In the same year, she also started a career as a singer of Chansons.

Berger continued to work in Italy and appeared opposite Marcello Mastroianni in Le Due Vite di Mattia Pascal/The Two Lives of Mattia Pascal (Mario Monicelli, 1985), based on a Luigi Pirandello story. Berger and Verhoeven produced acclaimed and internationally successful films including Die weiße Rose/The White Rose (Michael Verhoeven, 1982) and Das schreckliche Mädchen/The Terrible Girl (Michael Verhoeven, 1990), both starring Lena Stolze.

During the 1990s, Berger was mostly seen as a smart, sexy and honest woman on TV. In 1991 she played an acclaimed role in the marriage drama Sie und Er/She and He (Frank Beyer, 1991). Series followed like Lilli Lottofee (Michael Verhoeven, 1992) and Ärzte/Doctors (1994-1996). Then she played parts in Sandra Nettelbeck‘s film debut Mammamia (1998), Bin ich schön?/Am I Beautiful (Doris Dörrie, 1998) and the TV film Trennungsfieber/Divorce Fever (Manfred Stelzer, 2000).

Since February 2003, Berger has been president of the German Film Academy, which seeks to advance the new generation of actors and actresses in Germany and Europe. The Academy will decide on the assignment of the German Film Awards in the future. 2005 saw her in the cinemas in Einmal so wie ich will/For Once As I Want It (Vivian Naefe, 2005) opposite Götz George, as a woman trapped in an unhappy marriage. She finds love on holiday but turns her back on the relationship. In the spring of 2006, Berger's autobiography was published in Germany: Ich habe ja gewußt, daß ich fliegen kann (I Knew That I Could Fly). It became a bestseller. Among her memories of Hollywood are a less-than-subtle attempt by Darryl Zanuck to get her on his casting couch, and being called ‘You German pig’ on her first day on the set of Major Dundee by a gaffer whose wife had lost her family in Auschwitz.

Senta Berger is still married to Michael Verhoeven and their sons Simon and Luca Verhoeven are both actors now. She lives in Grünwald near Munich, Germany. Recently she worked on the screen in the TV mini-series Four Seasons (Giles Foster, 2008) with Tom Conti and Michael York, the film Ruhm/Fame (Isabel Kleefeld, 2011) and the comedy Altersglühen - Speed Dating für Senioren/Old glow - Speeddating for Seniors (Jan Georg Schütte, 2014) with Mario Adorf. In 2016, she played one of the leading roles in the film Welcome to Germany, directed by her son Simon Verhoeven. The film grossed more than US$20 million, making it the most successful German picture of the year. She played the role of Doctor Eva Maria Prohacek in the popular German crime television series Unter Verdacht/Under Suspicion from 2002 till March 2020, when she retired from the role.


Italian postcard by Rotalcolor, Milano, no. 251.


German postcard by ISV, no. H 127.


German autograph card, 2007.


German autograph card.


Trailer for L'Uomo Senza Memoria/Puzzle (1974). Source: xploited cinema (YouTube).


Trailer for Altersglühen - Speed Dating für Senioren/Old glow - Speeddating for Seniors (2014). Source: ZYXDvD (YouTube).

Sources: Hal Erickson (AllMovie - page now defunct), Paul McElligott (Celluloid Heroes - now defunct), Lenin Imports (now defunct), The Wild Eye, Wikipedia and IMDb.

Familjens traditioner (1920)

Gösta Ekman and Mary Johnson starred in the silent Swedish tragicomedy Familjens traditioner/Family Traditions (1920). The film was directed by Rune Carlsten for Svensk Filmindustri (SF) and was distributed by Skandiafilm. Familjens traditioner was shot at the Skandia studio at Långängen in Stockholm with exteriors from the Råbelöv estate in Skåne and Ludvika by Raoul Reynols. Axel Eliassons Konstförlag published this series of postcards.


Swedish postcard by Axel Eliassons Konstförlag, no. 185. Photo: Skandiafilm. Gösta Ekman and Mary Johnson in Familjens traditioner (Rune Carlsten, 1920).


Swedish postcard by Axel Eliassons Konstförlag, no. 186. Photo: Skandiafilm. John Ekman and Tora Teje in Familjens traditioner (Rune Carlsten, 1920).

Borrowing money from a stranger

Familjens traditioner/Family Traditions (Rune Carlsten, 1920) is based on Einar Fröberg's play 'Disciplin' (Discipline), which premiered at Dramaten, the Royal Dramatic Theatre in Stockholm, in 1911. The film scenario was written by Sam Ask and director Rune Carlsten.

The young Baron Robert of Valla (Sven Bergvall) falls in love with his distant relative Helga (Tora Teje) on a motorbike ride. They marry.

However, Helga feels unappreciated and is kept in her place by old Aunt Frederique (Hilda Castegren) and others. It is not until the death of her father-in-law, the old Baron Stenklo (Hjalmar Selander), and Robert's appointment as lord of the manor that she begins to breathe again. She throws herself into a whirl of pleasures.

Her husband does not give her much pleasure and neglects her. Helga is courted by the owner of the estate, Sixten Borgman (John Ekman), an upstart who, on a visit to the races, persuades her to make a bet: he lends her money and she writes a receipt.

Helga loses the money, and at the ball that follows, the landowner takes the opportunity to betray her. Through the mediation of the scheming Aunt Frederique, the story comes to Robert's attention and he takes great offence at Helga's borrowing money from a stranger. After this, the marriage becomes very cold, and Helga's life becomes even more desolate than before.


Swedish postcard by Axel Eliassons Konstförlag, no. 189. Photo: Skandiafilm. Gösta Ekman and Mary Johnson in Familjens traditioner (Rune Carlsten, 1920).


Swedish postcard by Axel Eliassons Konstförlag, no. 190. Photo: Skandiafilm. Gösta Ekman and Mary Johnson in Familjens traditioner (Rune Carlsten, 1920).

The daring intervention of the house's faithful servant

Robert's younger brother, Ernst (Gösta Ekman), has long had a crush on Helga and is now indignant at the way she is treated by her husband. At the same time, Ernst is very enamoured with the sweet daughter of the provost, Inga Lidner (Mary Johnson).

When the Stenklo family visits Provost Lidner for crayfish fishing, a series of dramatic events occur. Ernst and Inga fall out. Robert behaves rudely towards Helga. Helga seeks comfort from Ernst.

A forest fire breaks out on the estate and Robert has to go out and lead the extinguishing work. When Robert returns home at night and seeks out his wife to apologise, he finds his brother hiding in her sleeping alcove.

The situation is about to lead to the deepest misfortune when the house's faithful servant, old Bergqvist (Carl Browallius), dares to intervene. He overheard Helga talking to Ernst through the door, explaining that she loved her husband and could never betray him. Bergqvist also reminds Robert of his promise to his father: to always support his brother.

After this settlement, all is well again on the estate. The family traditions are cherished as before, but no longer as a heavy duty but in love.


Swedish postcard by Axel Eliassons Konstförlag, no. 191. Photo: Skandiafilm. Gösta Ekman and Tora Teje in Familjens traditioner (Rune Carlsten, 1920).


Swedish postcard by Axel Eliassons Konstförlag, no. 192. Photo: Skandiafilm. Gösta Ekman and Mary Johnson in Familjens traditioner (Rune Carlsten, 1920), here also with Sven Bergvall and Carl Browallius, mentioned here as Brovallius.

Sources: The Swedish Film Database, Wikipedia (Swedish) and IMDb.