Harold Lloyd

American actor, comedian, director, producer, screenwriter, and stunt performer Harold Lloyd (1893-1971) is best known for his silent comedies. He ranks alongside Charlie Chaplin and Buster Keaton as one of the three most popular and influential comedians of the silent film. Between 1914 and 1947, Lloyd made nearly 200 comedies, often as a bespectacled 'Glass' character, a resourceful, success-seeking go-getter who was perfectly in tune with 1920s-era United States. His films frequently contained 'thrill sequences' of extended chase scenes and daredevil physical feats. A classic is Lloyd hanging from the hands of a clock high above the street in Safety Last! (1923).


German postcard by Ross Verlag, no. 1422/2, 1927-1928. Photo: Fanamet.


German postcard by Ross Verlag, no. 4339/1, 1929-1930. Photo: Paramount. Publicity still for Speedy (Ted Wilde, 1928).


German postcard by Ross Verlag, Foreign, no. 1485/2, 1927-1928. Photo: Paramount / Parufamet.

Lonesome Luke

Harold Clayton Lloyd was born in 1893 in Burchard, Nebraska, the son of James Darsie Lloyd and Sarah Elisabeth Fraser. In 1910, after his father had several business ventures fail, Lloyd's parents divorced and his father moved with his son to San Diego, California.

Lloyd had acted in theatre since he was a child, and in San Diego he received his stage training at the School of Dramatic Art and began acting in one-reel film comedies around 1912. Lloyd worked with Thomas Edison's motion picture company, and his first role was a bit part as a Yaqui Indian in The Old Monk's Tale (J. Searle Dawley, 1913).

At the age of 20, Lloyd moved to Los Angeles, and took up roles in several Keystone comedies. He was also hired by Universal Studios as an extra. Lloyd began collaborating with his friend Hal Roach who had formed his own studio in 1913. They created Will E. Work and then Lonesome Luke, variations of Charles Chaplin's Little Tramp character.

In 1914, Lloyd hired Bebe Daniels as a supporting actress. The two were involved romantically and were known as 'The Boy and The Girl'. In 1919, she left him after it became apparent he was unable to make a commitment, and she pursued her dramatic aspirations. Later that year, Lloyd replaced Daniels with Mildred Davis, whom he would marry in 1923.

By 1918, Lloyd and Roach had begun to develop a new character beyond an imitation of his contemporaries. Harold Lloyd would move away from tragicomic personas, and portray an everyman with unwavering confidence and optimism. The persona Lloyd referred to as his 'Glass' character was a much more mature comedy character with greater potential for sympathy and emotional depth, and was easy for audiences of the time to identify with. To create his new character Lloyd donned a pair of lensless horn-rimmed eyeglasses but wore normal clothing. Previously, he had worn a fake moustache and ill-fitting clothes as the Chaplinesque Lonesome Luke.

In August 1919, while posing for some promotional still photographs in the Los Angeles Witzel Photography Studio, he was seriously injured holding a prop bomb thought merely to be a smoke pot. It exploded and mangled his right hand, causing him to lose a thumb and forefinger. The blast was severe enough that the cameraman and prop director nearby were also seriously injured. Lloyd was in the act of lighting a cigarette from the fuse of the bomb when it exploded, also badly burning his face and chest and injuring his eye. Despite the proximity of the blast to his face, he retained his sight.


Italian postcard by Ed. A. Traldi, Milano, no. 78.


Italian postcard by Casa Editrice Ballerini & Fratini, Firenze (B.F.F.), no. 446. Photo: Paramount. Publicity still for Why Worry (Fred C. Newmeyer, Sam Taylor, 1923) with Jobyna Ralston.


German postcard by Ross Verlag, no. 719/1, 1925-1926. Photo: Pigeard-Loeser-Film, Berlin.


German postcard by Ross Verlag, no. 821/2, 1925-1926. Photo: S.F. (Südfilm A.G.). This postcard, with a picture from Safety Last (Fred Newmeyer, Sam Taylor, 1923), erroneously mentions the actress as Mildred Harris, while she really is Mildred Davis, Lloyd's wife. Many sources today still confound the two actresses.

The Freshman

Beginning in 1921, Harold Lloyd and Hal Roach moved from shorts to feature-length comedies. These included the acclaimed Grandma's Boy, which pioneered the combination of complex character development and film comedy, the highly popular Safety Last! (Fred C. Newmeyer, Sam Taylor, 1923), which cemented Lloyd's stardom, and Why Worry? (Fred C. Newmeyer, Sam Taylor, 1923).

Lloyd and Roach parted ways in 1924, and Lloyd became the independent producer of his own films. These included his most accomplished mature features Girl Shy (Fred C. Newmeyer, Sam Taylor, 1924), The Freshman (Fred C. Newmeyer, Sam Taylor, 1925) - his highest-grossing silent feature, The Kid Brother (Ted Wilde, J.A. Howe, 1927), and Speedy (Ted Wilde, 1928), his final silent film.

Welcome Danger (Clyde Bruckman, 1929) was originally a silent film but Lloyd decided late in the production to remake it with dialogue. All of these films were enormously successful and profitable, and Lloyd would eventually become the highest paid film performer of the 1920s. Although Lloyd's individual films were not as commercially successful as Charles Chaplin's on average, he was far more prolific (releasing 12 feature films in the 1920s while Chaplin released just four), and made more money overall ($15.7 million to Chaplin's $10.5 million).

The huge financial success of Welcome Danger had proved that audiences were eager to hear Lloyd's voice on film. Lloyd's rate of film releases, which had been one or two a year in the 1920s, slowed to about one every two years until 1938. The films released during this period were: Feet First (Clyde Bruckman, 1930), with a similar scenario to Safety Last which found him clinging to a skyscraper at the climax; Movie Crazy (Clyde Bruckman, 1932) with Constance Cummings; The Cat's-Paw (Sam Taylor, 1934), which was a dark political comedy and a big departure for Lloyd; and The Milky Way (Leo McCarey, 1936), which was Lloyd's only attempt at the fashionable genre of the screwball comedy film.

However, his go-getting screen character was out of touch with Great Depression movie audiences of the 1930s. As the length of time between his film releases increased, his popularity declined, as did the fortunes of his production company. His final film of the decade, Professor Beware (Elliott Nugent, 1938), was made by the Paramount staff, with Lloyd functioning only as actor and partial financier.


British Real Photograph postcard.


German postcard by Ross Verlag, no. 1422/3, 1927-1928. Photo: Fanamet.


German postcard by Ross Verlag, Foreign, no. 1522/2, 1927-1928. Photo: Paramount / Parufamet. Publicity still for The Freshman (Fred C. Newmeyer, Sam Taylor, 1925).


German postcard by Ross Verlag, no. 3507/2, 1928-1929. Photo: Paramount.

The return of the Freshman

In 1937, Harold Lloyd sold the land of his studio, Harold Lloyd Motion Picture Company, to The Church of Jesus Christ of Latter-day Saints. The location is now the site of the Los Angeles California Temple.

Lloyd produced two comedies for RKO, A Girl, a Guy, and a Gob (Richard Wallace, 1941) with Lucille Ball, and a Kay Kyser vehicle, My Favorite Spy (Tay Garnett, 1942) which must have looked good on paper but went nowhere at the box office.

He retired from the screen until an additional starring appearance in The Sin of Harold Diddlebock (Preston Sturges, 1947), an ill-fated homage to Lloyd's career, financed by Howard Hughes. This film had the inspired idea of following Harold's Jazz Age, optimistic character from The Freshman into the Great Depression years. Diddlebock opened with footage from The Freshman (for which Lloyd was paid a royalty of $50,000, matching his actor's fee) and Lloyd was sufficiently youthful-looking to match the older scenes quite well.

Lloyd and Sturges had different conceptions of the material and fought frequently during the shoot. The finished film was released briefly in 1947, then shelved by producer Hughes. Hughes issued a recut version of the film in 1951 through RKO under the title Mad Wednesday. Lloyd sued Howard Hughes, the California Corporation and RKO for damages to his reputation "as an outstanding motion picture star and personality", eventually accepting a $30,000 settlement.

In October 1944, Lloyd emerged as the director and host of The Old Gold Comedy Theater, an NBC radio anthology series, after Preston Sturges, who had turned the job down, recommended him for it. The show presented half-hour radio adaptations of recently successful film comedies, beginning with Palm Beach Story with Claudette Colbert and Robert Young and ending in June 1945 with an adaptation of Tom, Dick and Harry, featuring June Allyson. The show was not renewed for the following season.


German postcard by Ross Verlag, no. 3211/1, 1928-1929. Photo: Paramount.


German postcard by Ross Verlag, no. 4959/1, 1929-1930. Photo: Paramount.


French postcard by Editions Cinémagazine, no. 78.


Dutch postcard, no. 76. Photo: Paramount.

Harold Lloyd's Hollywood Nudes in 3D!

Harold Lloyd remained involved in a number of other interests, including civic and charity work. He appeared as himself on several television shows during his retirement, such as Ed Sullivan's variety show Toast of the Town (1949 and 1958). He appeared as the Mystery Guest on What's My Line? (1953), and twice on This Is Your Life: in 1954 for Mack Sennett, and again in 1955, on his own episode.

In 1953, Lloyd received an Academy Honorary Award for being a "master comedian and good citizen". He studied colours and microscopy, and was very involved with photography, including 3D photography and colour film experiments. He became known for his nude photographs of models, such as Bettie Page and stripper Dixie Evans, for a number of men's magazines. He also took photos of Marilyn Monroe lounging at his pool in a bathing suit, which were published after her death. In 2004, his granddaughter Suzanne produced a book of selections from his photographs, 'Harold Lloyd's Hollywood Nudes in 3D!'

Lloyd also provided encouragement and support for a number of younger actors, such as Debbie Reynolds, Robert Wagner, and particularly Jack Lemmon, whom Harold declared as his own choice to play him in a movie of his life and work.

In the early 1960s, Lloyd produced two compilation films, featuring scenes from his old comedies, Harold Lloyd's World of Comedy (Harold Lloyd, 1962) and The Funny Side of Life (Harry Kerwin, 1963). The first film was premiered at the 1962 Cannes Film Festival, where Lloyd was fêted as a major rediscovery. The renewed interest in Lloyd helped restore his status among film historians.

Lloyd and Mildred Davis had two children together: Gloria Lloyd (1923–2012) and Harold Clayton Lloyd Jr. (1931–1971). They also adopted Gloria Freeman (1924–1986) in 1930, whom they renamed Marjorie Elizabeth Lloyd but was known as Peggy for most of her life. Lloyd discouraged Davis from continuing her acting career. He later relented but by that time her career momentum was lost.

Davis died from a heart attack in 1969, two years before Lloyd died at age 77 from prostate cancer, at his Greenacres home in Beverly Hills, California. He was interred in a crypt in the Great Mausoleum at Forest Lawn Memorial Park Cemetery in Glendale, California. In 1990, Kevin Brownlow and David Gill produced the documentary, Harold Lloyd: The Third Genius. Composer Carl Davis wrote a new score for Safety Last! which he performed live during a showing of the film with the Royal Scottish National Orchestra to great acclaim in 1993. The Brownlow and Gill documentary created a renewed interest in Lloyd's work in the United States, but the films were largely unavailable. Criterion Collection has since acquired the home video rights to the Lloyd library, and have released Safety Last!, The Freshman, and Speedy.


German postcard by Ross Verlag, no. 821/4, 1925-1926. Photo: S.F. (Südfilm A.G.). This postcard, with a picture from Safety Last! (Fred Neymeyer, Sam Taylor, 1923), erroneously mentions the actress as Mildred Harris, while she really is Mildred Davis.


French postcard by A.N., Paris, no. 430. Photo: Paramount. Publicity still for Speedy (Ted Wilde, 1928).


Belgian postcard by Buteco, Brussels.

Translation of the postcard text: New! New! New! A wonderful invention. The Mysterious Photo. Look STRONGLY at the four points on the nose and count SLOWLY till 40. Move your head up and look at ONE point of a one-coloured surface. After a moment, you will see THE RIGHT IMAGE of HAROLD LLOYD several times. Must work for everyone, everywhere, night and day. Official patent no. 377350. Forbidden to copy."

Sources: Wikipedia and IMDb.

Line Renaud

Line Renaud (1928), is a French singer, stage and screen actress, and AIDS activist. In 1946 Renaud started acting in film and still does so. Her singing skills were often at the heart of her roles. Renaud’s best known film is Dany Boon's comedy Bienvenue chez les Ch'tis (2008). This comedy lead to several new roles.


French postcard by Editions P.I., Paris, no. 196. Photo: Sam Lévin.


French promotion card by Publicis / Pathé Marconi. Photo: Sam Lévin.

The Commander

Line Renaud was born Jacqueline Enté in Pont-de-Nieppe in the north of France in 1928. Her father was a truck driver, her mother a steno typist. Because of her father's activity as a trumpeter in the local brass band, she got into contact with music. At age seven, she won an amateur contest. During the Second World War, her father was mobilised and prisoner of war for five years, so she was raised by her her mother, grandmother and great-grandmother.

Her girlfriends called her "the commander" because she knew what she wanted and you always had to listen to her. Having failed at the age of 14 in the Primary School Certificate, she was spotted at the entrance examination at the Lille Conservatory: the very evening of her audition, the director of Radio-Lille suggested that she joined his orchestra.

The 16-years-old made herself known under the name of Jacqueline Ray, singing the songs of well-known composer Louis 'Loulou' Gasté. She moved to Paris in 1945 and landed her first engagement at the Folies-Belleville.

Through Josette Daydé, she met her songwriter 'Loulou' Gasté, twenty years older than her. He became her mentor and made her take a new stage name. She chose Renaud, borrowing from her grandmother Marguerite Renard her surname, and changing one letter. In 1947, she recorded 'Ma cabane au Canada', which received the Grand Prix du Disque in 1949. In 1950, she married Loulou Gasté, who remained her husband until his death in 1995.

Line Renaud continued her success with titles such as 'Étoile des neiges' (1950), 'Ma p'tite folie' (1952), 'Mademoiselle d'Armentières' (1952), and 'Le Chien dans la vitrine' (1952) whose barking was done by the famous French voice-over Roger Carel, as he explained during his visit to the Tribunal des flagrants délires in 1980.


French postcard. Photo: Sam Lévin. Editions du Globe, Paris, No. 146.

Johnny Hallyday's godmother

In 1954 Line Renaud sang at the Moulin Rouge, collecting several prizes that year, causing Edith Piaf's jealousy. At the Moulin Rouge, she met Bob Hope.  She left for the United States, and subsequently appeared in five episodes of The Bob Hope Show in the US. During this trip, she also sang at the theatres of New York and Los Angeles, and at the Ed Sullivan Show. In a duet with Dean Martin, she sang 'Relaxez-vous' as ‘Relax ay voo’. At the end of 1955, she was the first French singer to sing a Rock and Roll song: 'Tweedle Dee' by Lavern Baker.

In 1959, she became a revue leader at the Casino de Paris, then she was engaged in Dunes, a casino in Las Vegas between 1963 and 1965. She also sang in London. Frequenting Nate Jacobson, the founder of Caesar’s Palace at Las Vegas, and her lover for 18 years, she was also involved in the creation of this hotel-casino in terms of decoration and the auditorium.

In April 1960, she became Johnny Hallyday's godmother for his first television appearance on Aimée Mortimer's show L'école des vedettes. In the 1970s, she presented on television the 'Line Directe' show. In the same decade, she was the producer of Tony Bennett's shows for the Kings Castle in Las Vegas.

In the 1980s, she produced the television show Telle est Line on Antenne 2, and began a theatre career. In the same decade, she sang 'Le Soir' with Dalida, of whom she was a very close friend.

In the 1990s, while the casino hotel Paris Las Vegas was planned, she contacted the mayor of Paris Jean Tibéri, in order to authorise the construction of a replica of the Eiffel Tower on the building. She became artistic director of the establishment and invited Catherine Deneuve and Charles Aznavour for the inauguration in 1999, while singing on stage with Michel Legrand.


French postcard by Editions du Globe, no. 350. Photo: Studio Harcourt.

A Street in Las Vegas

In 1985, Line Renaud created l'Association des Artistes Contre le Sida and organised televised art events which enabled her to raise funds for helping AIDS scientific research in France. She is the vice-president of the association Sidaction. In 2009, she condemned the statements of Pope Benedict XVI, who claimed condoms promoted behaviour which causes AIDS.

Renaud was president of the jury of the Miss France 2009 election. Ten years later, December 2018, she renewed the experience by presiding the jury of Miss France 2019.

After thirty years of absence, she returned to singing and recorded a new album, entitled 'Rue Washington' (2010), in reference to the recording studio Labomatic located in this street. Directed by Dominique Blanc-Francard, the album includes two duets, the first with Johnny Hallyday, 'Un monde merveilleux', a cover of 'What a Wonderful World', the second with Mylène Farmer, 'C'est pas l'heure', with words by Farmer and music by Laurent Boutonnat. Famous names such as Julien Clerc, Michel Delpech, and Salvatore Adamo, collaborated on this project.

The song 'Torrents d'amour' from the album ranked 24th in the bestseller list at its release in November 2010. On 24 and 25 May 2011, Line Renaud performed for the first time in her career, at the Olympia in Paris.

In October 2017, she opened a street bearing her name in Las Vegas. The path, located near the mythical Strip, the gigantic artery that runs through the city, provides access to a secondary entrance to the casino Caesars Palace. The Line Renaud Road is not far from the streets bearing the names of his friends Frank Sinatra and Dean Martin.


French postcard by Editions du Globe, no. 218. Photo: Teddy Piaz, Paris.


French postcard by Editions du Globe, Paris, no. 362. Photo: Ch. Vandamme, Paris.

The daughter of the local bar owner

In 1946, Line Renaud started acting in films and she still does so. Her singing skills were often at the heart of her roles. Her first part was that of the singer singing 'Tant que tu m'aimeras' in La Foire aux chimères/Devil and the Angel (Pierre Chenal, 1946), starring Madeleine Sologne and Erich von Stroheim.

She had a small part in Une belle garce/A beautiful bitch (Jacques Daroy, 1948) featuring Ginette Leclerc, and played herself in the documentary Au fil des ondes/Over the waves (Pierre Gautherin, 1951).

Renaud became the star of Ils sont dans les vignes/They are in the vineyards... (Robert Vernay, 1952), a musical comedy about a salesman of a non-alcoholic drink, who tries to set up market right in the Burgundy wine area. Renaud is the daughter of the local bar owner and the love interest of the salesman.

In addition to playing herself in more films of the 1950s, she again played the daughter of the local bar owner in La Madelon (Jean Boyer, 1955), in which she has to fight the too brash soldiers during the First World War, but she is a tough girl, so she manages. They go wild for her song 'Madelon', which becomes a kind of hymn to them.

In the police comedy Mademoiselle et son gang/Mademoiselle and her gang (Jean Boyer, 1957), Renaud played the daughter of a police inspector, who under pseudonym writes crime novels, but then gets into trouble with real gangsters. In 1959, she played in another comedy, L’Increvable/The Indestructible (Jean Boyer, 1959) with Darry Cowl as a barman in love with his boss’s wife (Renaud), deciding to draw up a life insurance in favour of his beloved, an act which becomes known.


French postcard by Editions O.P., Paris, no. 52. Photo: Teddy Piaz.

Mothers and grandmothers

After a gap of almost two decades, Renaud returned to the film set with La Folle journée ou le mariage de Figaro (Roger Coggio, 1988). She now played roles of mothers and grandmothers. She alternated comedies such as Ripoux contre ripoux/My New Partner II (Claudi Zidi, 1990) with Philippe Noiret, and Ma femme me quitte/My Woman Is Leaving Me (Didier Kaminka, 1995) with drama such as J’ai sommeil/I Can't Sleep (1994) by Claire Denis, based on the true story of a killer of old ladies who was active in the North of France from the late 1980s. Renaud played a supporting part as hotel owner who teaches self-defense to old ladies.

For her supporting part in the comedy Belle-maman/Step mother (Gabriel Aghion, 1999), starring Vincent Lindon and Catherine Deneuve, Renaud received a César Nomination in 2000. In Coline Serreau’s comedy-drama Chaos (2001), she is the mother-in-law of the protagonist Helen (Catherine Frot), earning her a second César nomination.

After Serreau’s film 18 ans après/18 Years Later (Coline Serreau, 2003), the sequel to Trois hommes et un couffin/Three Men and a Cradle (Coline Serreau, 1985), Renaud appeared in the Claude Lelouch comedy Le Courage d'aimer/The Courage to Love (2005), followed by the comedy La Maison du bonheur/The House of Happiness(Dany Boon, 2006), based on the same play as the classic Mr. Blandings builds his Dream House (H.C. Potter, 1948).

Renaud’s nationally and internationally best known film is Dany Boon’s Bienvenue chez les Ch'tis/Welcome to the Sticks (2008). This comedy, directed and co-scripted by Boon, with Kad Merad and himself in the lead, focuses on a cheating post office director (Merad) forced to move to a little city in the North of France. This region is badly considered in the rest of France, for its heavy dialect, its limited cuisine, its bad weather, and alcoholism. The post man discovers it is not that bad in the end.

The film broke records in France, started tourism towards the North, and inspired an Italian remake. Renaud played the mother of the local hero, Antoine (Boon). Boon himself exploited his success and the North discovery with his comedy La Ch'tite Famille/The Stick Family (2018), with Renaud again playing his mother. It was her third part in a film by Dany Boon.

Line Renaud also appeared in the cruise ship comedy La Croisière/The Cruise (Pascale Pouzadoux, 2011) as an old lady who smuggles her dog aboard, and she regularly acts in TV series and films. A new tragicomedy with Renaud, Let's Dance (Ladislas Chollat, 2019) is set to appear this year.


French postcard by Editions P.I., Paris, no. 52. Photo: Sam Lévin.


French postcard by Editions P.I., Paris, no. 196. Photo: Sam Lévin.

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

Pratertraum (1924)

Pratertraum/Prater. Die Erlebnisse zweier Nähmädchen (Peter Paul Felner, 1924) is one of the typical melodramas in which Henny Porten starred during the 1920s. It is partly situated in the Prater, an amusement park in Vienna which includes the Wiener Riesenrad, a Ferris wheel known from The Third Man (Carol Reed, 1949).


German postcard by Ross Verlag, no. 694/2. Photo: Atlantic Film / Westi Film. Henny Porten in Pratertraum/Prater. Die Erlebnisse zweier Nähmädchen (Peter Paul Felner, 1924).


German postcard by Ross Verlag, no. 694/2. Photo: Atlantic Film / Westi Film. Henny Porten in Pratertraum/Prater. Die Erlebnisse zweier Nähmädchen (Peter Paul Felner, 1924).


German postcard by Ross Verlag, no. 694/3. Photo: Atlantic Film / Westi Film. Henny Porten and Claire Lotto in Pratertraum/Prater. Die Erlebnisse zweier Nähmädchen (Peter Paul Felner, 1924).

Dark Clouds above the marriage of Countess Annemarie

Pratertraum/Prater. Die Erlebnisse zweier Nähmädchen (Peter Paul Felner, 1924) is about the sisters Annemarie (Henny Porten) and Franzi (Claire Lotto), who both earn their living as seamstresses in Vienna. Their brother Martin (Carl de Vogt) works as a sailor.

One day, Annemarie meets Count Rynon (Ossip Runitsch) in the Prater, who actually marries her despite all the differences in class. Franzi finds her luck with the locomotive driver Fritz (Johannes Riemann) and becomes his wife.

Soon, however, dark clouds draw on the marriage sky of Countess Annemarie. Marquis de Monroir (Angelo Ferrari), a friend of the Count, tries hard to tie her up with him but is regularly rejected by her. When Franzi visits Annemarie at home, the nobleman tries his luck with her. He hands her a precious piece of jewelry, whereupon Martin reacts very angrily.

The marriages of the two sisters now threaten to break up. In order to make the annoying applicant change his opinion about the married sisters, their brother Martin seeks a conversation with the intrusive. The next day, however, the Marquis is found dead.

Annemarie is suspected of the murder, but it turns out, an unfortunate accident has led to the death of the Marquis. Finally, the two couples reconcile again.

The exteriors of Pratertraum were shot at the Prater amusement park in Vienna and and the Wachau valley in Lower Austria. The film's art direction was by Otto Erdmann and Hans Sohnle. The film was released in November 1924.


German postcard by Ross Verlag, no. 694/4. Photo: Atlantic Film / Westi Film. Henny Porten in Pratertraum/Prater. Die Erlebnisse zweier Nähmädchen (Peter Paul Felner, 1924).


German postcard by Ross Verlag, no. 694/5. Photo: Atlantic Film / Westi Film. Henny Porten in Pratertraum/Prater. Die Erlebnisse zweier Nähmädchen (Peter Paul Felner, 1924).


German postcard by Ross Verlag, no. 694/6. Photo: Atlantic Film / Westi Film. Henny Porten and Angelo Ferrari in Pratertraum/Prater. Die Erlebnisse zweier Nähmädchen (Peter Paul Felner, 1924).

Sources: Wikipedia (German) and IMDb.