Jean Murat

French actor Jean Murat (1888-1968) became a star as a handsome young soldier in silent films of the 1920s. Later, he appeared in such classic French films as La Kermesse Heroique (1935) and L'Eternel retour (1943).


French postcard by EC, no. 648. Photo: publicity still for Vénus / Venus (Louis Mercanton, 1929). Collection: Geoffrey Donaldson Institute.


French postcard by Viny, no. 48. Photo: C.F.C.


French postcard, no. 56. Photo: Studio Rudolph.


French postcard by Edition Ross, no. 3643. Photo: Ufa.


French postcard by A.N., Paris, no. 923. Photo: Marcel Vandal et Charles Delac. Jean Murat in La châtelaine du Liban / The Lady of Lebanon (Jean Epstein, 1934).


French postcard by SERP, Paris, no. 20. Photo: Studio Harcourt.

Handsome and honourable young man

Jean Murat was born in Périgueux in the Dordogne in 1888. He studied in Périgueux and Rennes, and also in Indochina. Murat started his career as a correspondent in Berlin for a French newspaper. After serving in the First World War as a news correspondent, he began an acting career.

He made his first, uncredited film appearance in Mothers of Men (Edward José, 1921). His first major role was in Souvent Femme Varie / Forsaking All Others (Jean Legrand, 1923) opposite Claude France. He played supporting parts in the epic silent version of Georges Bizet’s opera Carmen (Jacques Feyder, 1926) starring Raquel Meller, the drama La proie du vent / The Prey of the Wind (René Clair, 1927) with Charles Vanel, and the last (silent) film of Hollywood star Constance Talmadge, the society comedy Vénus (Louis Mercanton, 1929).

Apart from the handsome and honourable young man roles he also played unsympathetic roles in films like La galerie des monstres / The Gallery of Monsters (Jaque Catelain, 1924) with Lois Moran. He also appeared in several German productions such as Valencia (Jaap Speyer, 1927) with María Dalbaicín and Oscar Marion, Heimweh / Homesick (Gennaro Righelli, 1927) starring Mady Christians, and Flucht aus der Hölle / Escape from Hell (Georg Asagaroff, 1928) with Fritz Alberti.

A success was his role in the early talkie La Nuit est à Nous / The Night is Ours (Roger Lion, Henry Roussel, 1928) with Marie Bell. This Ufa production was an alternate-language version of Die Nacht gehört uns / The Night is Ours (Carl Froelich, Henry Roussel, 1929), starring Charlotte Ander and Hans Albers. The sound film allowed audiences to hear his beautiful, deep voice.

Another success was the Paramount production Un Trou dans le Muir / The Hole In the Wall (René Barberis, 1930) with Dolly Davis, based on a play by Yves Mirande. He also appeared opposite the Italian diva Francesca Bertini in La femme d'une nuit / Woman of One Night (Marcel L'Herbier, 1930).


French postcard by Cinémagazine-Edition, Paris, no. 187.


French postcard by Cinémagazine-Edition, Paris, no. 524.


French postcard by Cinémagazine-Sélection, Paris, no. 647.


French postcard by Cinémagazine-Edition, Paris, no. 1018. Photo: Studio Rudolph.


French postcard by A.N., Paris, nr. 819. Photo: Studio Lorelle / Film Pathé-Natan.


French postcard. Photo: Studio Lorelle, Paris.


French postcard by J.R.P.R., Paris. Photo: G.L. Manuel Frères.


French postcard in the Les Grandes Vedettes series by Radiogravure A. Breger Frères, Paris. Photo: Pathé-Natan.

Eternal return

Even in his forties, Jean Murat retained the youthful leading man looks that had vaulted him to stardom. In 1931, he married the gorgeous actress Annabella. Together they starred in films like Paris-Méditerranée / Companion Wanted (Joe May, 1932), Mademoiselle Josette, ma femme / Miss Josette, My Wife (André Berthomieu, 1933) and L'équipage / Flight into Darkness (Anatole Litvak, 1935).

The pair divorced in 1938. Among Murat’s most famous roles were the Duke in La Kermesse Heroique / Carnival in Flanders (Jacques Feyder, 1935) and Marc in L'Éternel retour / Eternal Return (Jean Delannoy, 1943) starring Jean Marais.

La Kermesse Heroique is set during the war between the Dutch and Spanish. A tiny village in Flanders is invaded by Spanish troops. The townsfolk have heard of Spanish cruelties in other towns and decide to deflect the vanquishers with a lavish carnival. The award-winning film was banned in Germany. Josef Goebbels caught on that director Jacques Feyder and scenarists Bernard Zimmer and Charles Spaak were drawing deliberate parallels between the Spanish and the then-burgeoning Nazis.

At French Films, James Travers writes: “This enduring classic of French cinema is often cited as director Jacques Feyder’s finest film, and it certainly earned him great acclaim on its release in 1935.”

L'Éternel retour is a translation of the Tristan and Isolde legend into contemporary terms. According to Hal Erickson at AllMovie, “the dream-like quality of Eternal Return is due more to the input of screenwriter Jean Cocteau than director Delannoy. The film, with its mystical trappings and ethereal performances, can now be viewed as a precursor to Cocteau's own Beauty and the Beast.” James Travers at French Films notes: “The result is an intensely moving film about love, jealousy and malice, captivating in its lyrical charm, yet haunting in its assessment of the worst in human nature.”


German postcard by Ross Verlag, no. 3950/1, 1928-1929. Photo: United Artists.


German postcard by Ross Verlag, no. 7131/2, 1932-1933. Photo: Ufa. Jean Murat and Käthe von Nagy in Le Vainqueur / The Victor (Hans Hinrich, Paul Martin, 1932).


German postcard by Ross Verlag, no. 8059/1, 1933-1934. Photo: Willinger, Wien (Vienna).


German postcard by Ross Verlag, no. 8894/1, 1933-1934 Photo: Ufa.


French postcard by Edition Ross, no. 2423. Photo: Ufa.


French postcard by Editions P-C, Paris, no. 17. Photo: Ufa. Jean Murat sang the march 'Les Gars de la marine' in Le Capitaine Craddock / Monte Carlo Madness (Hanns Schwarz, Max de Vaucorbeil, 1931). Text by Jean Boyer and music by Werner R. Heymann. Copyright: Ufaton Verlag, Berlin / Editions Salabert, Paris, in 1931. Sent by mail in 1932.


French postcard by Editions P-C, Paris, no. 29. Photo: Ufa (A.C.E.). Käthe von Nagy and Jean Murat sang the waltz 'Le route du bonheur' in Le Vainqueur / The Victor (Hans Hinrich, Paul Martin, 1932), an alternate-language version of Der Sieger (Hans Hinrich, Paul Martin, 1932) with Hans Albers in the role of Murat. 'Le route du bonheur' was a French version of the song 'Es führt kein andrer Weg zur Seligkeit'. Text by Jean Boyer and music by Werner R. Heymann. Copyright: Ufaton Verlag, Berlin / Editions Salabert, Paris, 1932.


French postcard by Editions P-C, Paris, no. 33. Photo: Ufa (ACE). Jean Murat and Käthe von Nagy sang the march-foxtrot 'Voilà l'travail' in Le Vainqueur / The Victor (Hans Hinrich, Paul Martin, 1932), the alternate-language version of Der Sieger (Hans Hinrich, Paul Martin, 1932). Text: Jean Boyer, and music by W.R. Heymann. Copyright: Ufaton Verlag, Berlin / Ed. Salabert, Paris, 1932.

Lady Chatterley’s lover

From the 1940s on, Jean Murat became a bit old for the roles of handsome leading man, and he interpreted mainly supporting roles in such films as Bethsabée (Léonide Moguy, 1947) with Danielle Darrieux and Georges Marchal.

Murat's handful of English-language appearances includes On the Riviera (Walter Lang, 1951) with Danny Kaye and the MGM musical Rich, Young and Pretty (Norman Taurog, 1951) starring Jane Powell. Hal Erickson noted that “neither of which was worthy of his talents”.

Among his better-known French films were Si Versailles m’était conté / Royal Affairs in Versailles (Sacha Guitry, 1954), the Jean-Paul Sartre adaptation Huis Clos / No Exit (Jacqueline Audry, 1954) with Arletty, and L'Amant de Lady Chatterley / Lady Chatterley’s Lover (Marc Allégret, 1955) starring Danielle Darrieux and based on the famously forbidden novel by D.H. Lawrence.

Successful were also Les Grandes Familles / The Great Families (Denys de la Patelliere, 1958), and Les Misérables (Jean-Paul Le Chanois, 1958), both starring Jean Gabin. James Travers describes Les Grandes Familles as “a pretty run-of-the-mill drama concerned with a deadly feud between two cousins of a notoriously successful family dynasty.”

Among his last films were the episode L’ Envie / Envy by Edouard Molinaro in the portmanteau Les Sept Péchés Capitaux / The Seven Mortal Sins (1962), and the Jayne Mansfield vehicle It Happened in Athens (Andrew Marton, 1962). Jean Murat died in 1968 from coronary thrombosis in Aix-en-Provence, France. He was 79. He and Annabella had a daughter.


French postcard by Erpé, no. 690. Jean Murat in L'équipage / Flight Into Darkness (Anatole Litvak, 1935).


French postcard by EDUG, no. 1044. Photo: R. Solof, Paris.


French postcard by EC (Editions Chantal), no. 88. Photo: Studio Piaz.


French postcard, no. 781.


French postcard by Editions O.P., Paris, no. 17. Photo: Star.


French postcard by Edit. Chantal, Rueil (S.-O.), no. 87. Photo: U.F.P.C.


French postcard by Editions P.I., Paris, no. 115. Photo: Star.


Scenes from L'Eternel Retour / Eternal Return (1943). Source: Jean-Claude Deroudilhe (YouTube).

Sources: Hal Erickson (AllMovie - Page now defunct), James Travers (French Films), Wikipedia (French), and IMDb.

Estrellas del cine (3)

'Estrellas del cine' was a Spanish series of 200 film star postcards of 14 x 9 cm, edited by Editorial Gráfica in Barcelona. The series started in the 1920s with two typical early sound stars, Maurice Chevalier (no. 1) and Jeannette MacDonald (no. 2). Soon, late silent stars were included in the series, and European stars working in late silent Hollywood, such as Emil Jannings and Maria Corda, as well. In 2021, EFSP did a first post on 'Estrellas del cine', and last year we had a post on Spanish and Mexican stars in the series. Recently, Ivo Blom found 15 more interesting 'Cinema Star' cards.


Spanish postcard in the Estrellas del cine series, no. 96. Photo: Metro-Goldwyn-Mayer.

Beautiful Anita Page (1910–2008) was one of the most popular leading ladies of Hollywood during the last years of the silent screen and the first years of the sound era. According to MGM, she received the most fan mail at the time. Her nickname was 'the girl with the most beautiful face in Hollywood.'


Spanish postcard in the Estrellas del cine series, no. 99. Photo: Metro-Goldwyn-Mayer.

American actress Sally Eilers (1908–1978) was a popular Hollywood star in the early 1930s. She was tagged 'the most beautiful girl in movies'.


Spanish postcard in the Estrellas del cine series, no. 102. Photo: Metro-Goldwyn-Mayer.

Good-looking Swedish actor Nils Asther (1897-1981) was an intense star of the silent European cinema. In Hollywood, he was the leading man of stars like Pola Negri, Greta Garbo, and Marion Davies and was labelled ‘the male Greta Garbo’.


Spanish postcard in the Estrellas del cine series, no. 109. Photo: P.D.C. (Producers Distributing Corporation). PDC existed between 1924 and 1927, but then merged with Pathé Exchange to KAO (Keith-Albee-Orpheum), a theatre chain. In 1928, Joseph Kennedy, owner of FBO (Film Booking Offices of America), took over KAO. In the same year, RCA took over KAO, FBO and former RKO Radio Pictures. Kennedy kept control over Pathé (= PDC), which had a studio in Culver City. In 1931, he sold it all to RKO and left the business. The indication PDC here on this card may refer to the time Twelvetrees worked for Pathé.

Blonde and short American actress Helen Twelvetrees (1908-1958) had some stage experience when she went to Hollywood in late 1928. She was among the stage actors who came to replace the silent stars who could not or would not make the transition to talkies. She appeared in such early sound films as The Ghost Talks (1929). She was usually cast as the fallen or betrayed woman, such as Elsa in A Woman of Experience (1931). One of her finest roles was opposite John Barrymore in State's Attorney (1932). Most of her films were made at RKO, where she landed after leaving Pathe and Fox. By 1935, the public had grown tired of her roles, and directors had grown weary of her temperament.


Spanish postcard in the Estrellas del cine series, no. 118. Photo: Fox Film.

American actor Wallace Beery (1885-1949) is best known for his portrayal of Bill in Min and Bill opposite Marie Dressler, as Long John Silver in Treasure Island, as Pancho Villa in Viva Villa!, and his titular role in The Champ, for which he won the Academy Award for Best Actor. Beery appeared in some 250 films in a 36-year career. He was the brother of actor Noah Beery, Sr. and uncle of actor Noah Beery, Jr.


Spanish postcard in the Estrellas del cine series, no. 119. Photo: Columbia.

Jack Holt, originally Charles John Holt Jr. (1888–1951), was an American motion-picture actor in both silent and sound movies, particularly Westerns.


Spanish postcard in the Estrellas del cine series, no. 125. Photo: Fox Film.

Austrian-born actress and writer Elissa Landi (1904-1948) was (falsely) rumoured to be a descendant of Emperor Franz Joseph of Austria. During the 1920s, she appeared in British, French, and German films before travelling to the United States. In Hollywood, she became a popular star of the 1930s.


Spanish postcard in the Estrellas del cine series, no. 133. Photo: Vitaphone (Warner).

Irène Bordoni (1885-1953) was a Franco-American actress and singer. She began her career at a very young age at the Théâtre des Variétés in Paris and starred with Stacia Napierkowska in silent films under the direction of René Leprince at Pathé Frères in the early 1910s. Having moved to the States, she quickly became a Broadway star as the coquettish and vivacious French woman. In 1929, Bordoni's Broadway play 'Paris' was adapted to a talkie, also called Paris (Clarence G. Badger, 1929), for which she reprised her starring role.


Spanish postcard in the Estrellas del cine series, no. 147. Photo: UFA.

Dignified German-Russian actress Olga Tschechova (1897-1980) was one of the most popular stars of the silent film era. She remained a mysterious person throughout her life.


Spanish postcard in the Estrellas del cine series, no. 162. Photo: Paramount Film.

Elegant French actress Arlette Marchal (1902-1984) started as a fashion model. Between 1922 and 1951, she starred in 41 European and American films. From the 1950s on, she dedicated herself mostly to her fashion enterprise.


Spanish postcard in the Estrellas del cine series, no. 169. Photo: United Artists.

Norma Talmadge (1894-1957) was an American actress and film producer of the silent era. A major box-office draw for more than a decade, her career reached a peak in the early 1920s, when she ranked among the most popular idols of the American screen.


Spanish postcard in the Estrellas del cine series, no. 170. Photo: Warner Bros.

American film actress Dolores Costello (1903-1979) was 'The Goddess of the Silent Screen'. She was Hollywood royalty: the daughter of popular matinee idol Maurice Costello, wife of John Barrymore and grandmother of Drew Barrymore.


Spanish postcard in the Estrellas del cine series, no. 181. Photo: Columbia.

Bertram 'Bert' Lytell (1885-1954) was an American actor, film and stage producer, director and screenwriter. Lytell was most active during the silent era, appearing in forty-nine American films released between 1917 and 1927.


Spanish postcard in the Estrellas del cine series, no. 183. Photo: Fox.

David Rollins (1907-1997) was an American actor whose film career lasted only from 1927 to 1932, during which time he appeared in sixteen feature films.


Spanish postcard in the Estrellas del cine series, no. 184. Photo: Metro-Goldwyn-Mayer.

British actor and director Ray Milland (1905-1986) had a screen career that ran from 1929 to 1985. He appeared in many Hollywood movies as the archetypal, unflappable British gentleman. Milland is best remembered for his gut-wrenching, Academy Award–winning portrayal of an alcoholic writer in The Lost Weekend (1945), the murder-plotting husband in Dial M for Murder (1954), and as The Man With the X-ray Eyes (1963).

See also our earlier posts on Estrellas del Cine of 29 April 2021 and 18 July 2025. Paco Moncho Pascual made on his Spanish site Prospectos de Cine a full list of the Estrellas del Cine series.

Source: Wikipedia (English).

Lotte Neumann

Lotte Neumann (1896-1977) was one of the most successful actresses in the early days of the German silent cinema, and she also worked as a screenwriter and a producer. Neumann was the lovely star in the Ernst Lubitsch comedy Romeo und Julia im Schnee / Romeo and Juliet in the Snow (1920).


German postcard by Ross Verlag, no. 636/1. Photo: Maxim Film. Publicity still for the Ernst Lubitsch comedy Romeo und Julia im Schnee / Romeo and Juliet in the Snow (1920). The man on the left, dressed as an antique hero, is Julius Falkenstein as Paris. The others are Jakob Tiedtke (Herr Capulethofer), Marga Köhler (his wife), Lotte Neumann (Julia) and Gustav von Wangenheim (Romeo Montekugerl).


German postcard by Rotophot in the Film-sterne series, no. 94/2. Photo: NBFMB / Karl Schenker.


German postcard by Ross Verlag, Berlin, no. 340/5, 1919-1924. Photo: Becker & Maass / Maxim Film.


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 5694. Photo: Atelier Eberth, Berlin.


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 9894. Photo: J. Braae Photokunst, 1917.


German postcard by Rotophot, Berlin, in the Film-Sterne Series, no. 150/1, 1925-1935. Photo: Becker & Maass.


German postcard by Photochemie, Berlin, no. K. 2095. Photo: Lotte Neumann-Film. Lotte Neumann in Die Richterin / The Judge (Paul von Woringen, 1917).

Sherlock Holmes

Lotte Neumann was born as Charlotte Pötler in Berlin, Germany, in 1896.

She attended the Königliche Luisenschule (Royal Louise School) in Berlin, after which the Wagnersche-Klinkhardsche Höhere Mädchenschule (Wagnerian-Klinkhardsche Higher School for Girls).

She began her theatrical career as a 13-year-old choir singer at the Komische Oper (Comic Opera) and at the Komödienhaus (Comedy House) in Berlin.

In 1912, director Max Mack gave her her first film role in Die Launen des Schicksals / Whims of Fate (Max Mack, 1912) with Hanni Weisse.

In the following years, she acted in productions of the German Mutoscope and Biograph GmbH like Ketten der Vergangenheit / Chains of the Past (N.N., 1914), the Sherlock Holmes-film Ein seltsamer Fall / An Unusual Case (Max Mack, 1914), Der eiserne Ring / The Iron Ring (Paul von Woringen, 1915) and In letzter Sekunde / In the Last Second (Walter Schmidthässler, 1916).


German postcard by Photochemie, Berlin, no. K. 2091. Photo: Lotte Neumann-Film, Berlin. Lotte Neumann in Der Mut zum Glück / The Courage to Happiness (Paul von Woringen, 1917). This was the first film Neumann produced herself with her company, Lotte Neumann-Film.


German postcard by Photochemie, Berlin, K. 2096. Photo: Lotte Neumann-Film, Berlin. Lotte Neumann and Ernst Rückert in Hinter verschlossenen Türen / Behind Closed Doors (Paul von Woringen, 1917).


German postcard by Photochemie, Berlin, no. K. 2103. Photo: Lotte Neumann-Film, Berlin. Lotte Neumann in Der Geigenspieler / The Violin Player (Paul von Woringen, 1917).


German postcard by Photochemie, Berlin, no. K. 2168. Photo: Lotte Neumann-Film, Berlin. Lotte Neumann in Die Ehe der Charlotte von Brakel / The Marriage of Charlotte von Brakel (Paul von Woringen, 1918).


German postcard by Ross Verlag, Berlin, no. 631/3, 1919-1924. Photo: Maxim Film. Lotte Neumann in Das Schicksal der Carola von Geldern / The Fate of Carola von Geldern (Carl Froelich, 1919).


German postcard by Ross Verlag, Berlin, no. 620/1, 1919-1924. Photo: Maxim Film. Publicity still for Arme Thea / Poor Thea (Carl Froelich, 1919).

Shadows of the past

Lotte Neumann also appeared as a singer and actress on Berlin stages. Soon, she was so well-known that the studio shot a series of Lotte Neumann films.

In 1916, she founded the Lotte Neumann Film GmbH, which existed until 1919.

To these productions belong Hinter verschlossenen Türen / Behind Closed Doors (Paul von Woringen, 1917), Die Richterin / The Judge (Paul von Woringen, 1917), Das Schweigen im Walde / The Silence in the Forest (Paul von Woringen, 1918), Das Spiel mit dem Feuer / The Play With Fire (Paul von Woringen, 1918) and Schatten der Vergangenheit / Shadows of the Past (Paul von Woringen, 1919) - for which she was also the producer.

In 1918, she wrote her first screenplay, for Die Töchter des Herrn Dornberg / The Daughters of Mr. Dornberg (Paul von Woringen, 1918).

From 1919 on, she was committed to the Ufa.


German postcard by Photochemie, no. 5881. Photo: Willingen. Alice Hechy (here as Alice Scheel-Hechy), Lotte Neumann (here as Lotti Neumann), and Georg Baselt in the stage comedy 'Hochherrschaftliche Wohnungen' (Stately Homes) (1913), performed at the Komödienhaus, and written by Toni Impekoven. Caption: Are there at the Kadewe [department store] only such pretty ladies? Under the pseudonym Peter Panter, Kurt Tucholsky wrote a review of the play in Die Schaubühne (16, 17.04.1913).


German postcard by Photochemie, Berlin, no. K. 1812.


German postcard by Ross Verlag, Berlin, no. 339/1, 1919-1924. Photo: Becker & Maass / Maxim Film.


German postcard by Ross Verlag, Berlin, no. 339/2, 1919-1924. Photo: Becker & Maass / Maxim Film.


German postcard by Ross Verlag, no. 320/2, 1919-1924. Photo: Rembrandt / Maxim Film. Caption: Lotte Neumann in ihrer garderobe (Lotte Neumann in her wardrobe).


German postcard by Ross Verlag, Berlin, no. 320/6, 1919-1924. Photo: Rembrandt / Maxim Film. Caption: Lotte Neumann in ihrer garderobe (Lotte Neumann in her wardrobe).

Protracted divorce case

During the 1920s, Lotte Neumann remained a popular film actress who embodied aristocratic young women.

In 1920, she acted under the direction of Ernst Lubitsch in the comedy Romeo und Julia im Schnee / Romeo and Juliet in the Snow (1920), set in a 19th-century Alpine village.

Her biggest successes include the film operetta Die Brigantin von New York / The Brigantine, New York (Hans Werckmeister, 1924), Die Frau für 24 Stunden / The Woman for 24 hours (Reinhold Schünzel, 1925) with Harry Liedtke, and Der gute Ruf / The Good Reputation (Pierre Marodon, 1926).

She had film contracts in Austria, Italy and the Balkan States, for example, with Gaumont-Aubert in Paris and with Maldaria in Prague.

Because of her protracted divorce case, which ran from 1929 to 1932, she had to end her career as an actress. Her last film was Die Liebesfiliale (Carl Heinz Wolff, 1931) before she retired from the screen.


German postcard in the Film Sterne series by Rotophot, no. 150/4. Photo: Becker & Maass.


German postcard in the Film Sterne series by Rotophot, no. 150/5. Photo: Becker & Maass.


German postcard by Ross Verlag, Berlin, no. 338/3, 1919-1924. Photo: Maxim Film / Becker & Maass.


German postcard by Verlag Hermann Leiser, Berlin.


German postcard by Photochemie, Berlin, no. K. 1789. Photo: Berliner Illustrierte Ges. [Gesellschaft], Berlin.


German postcard by Photochemie, Berlin, no. K. 1799. Photo: Berlin Illustrierte Ges., Berlin.


German postcard by Ross Verlag, no. 276/6, 1919-1924. Photo: Alex Binder.

Screenplays

From 1933, Lotte Neumann worked as a film writer under the pseudonym C.H. Diller. Diller was the maiden name of her mother.

In 1935, she married screenwriter Walter Wassermann and also started a professional partnership with him, which lasted until 1944.

She wrote a total of 25 screenplays, including Kora Terry (Georg Jacobi, 1940) for Ufa; Friedrich Schiller (Herbert Maisch, 1939) for Tobis; together with Walter Wassermann, Die Nacht in Venedig / The Night in Venice (Paul Verhoeven, 1941), and Altes Herz wird wieder jung / Old Heart Young Again (Erich Engel, 1942), both for Tobis.

After the war, she continued her work with two more screenplays for small productions until 1958.

She went to live at the residence of her mother in Gmund am Tegernsee, and later lived in Gaißach. Lotte Neumann died in 1977 in Gaißach, Germany.


German postcard by Ross Verlag, no. 276/1, 1919-1924. Photo: Alex Binder.


German postcard by Ross Verlag, no. 276/2, 1919-1924. Photo: Alex Binder.


German postcard by Rotophot in the Film-Sterne series, no. 194/1. Photo: Becker & Maass, Berlin.


German postcard by Rotophot in the Film-Sterne series, no. 150/2. Photo: Becker & Maass, Berlin.


German postcard by Ross Verlag, Berlin.


German postcard by Verlag Ross, Berlin, no. 2001/7. Photo: Becker & Maass. Also on Film Sterne, no. 194/3.


German postcard by MMB, no. 456. Part of the German colour postcards in the Moderne Künstler series by MMB, published in the late 1910s. Photo: F.J. Wesselsky.

Sources: Gabriele Hansch / Gerlinde Waz (Filmpionierinnen in Deutschland - German), Thomas Staedeli (Cyranos), Philippe Pelletier (Cineartistes - Now defunct), Wikipedia (German) and IMDb.