The Fox and the Hound (1981)

Walt Disney's animated classic The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981) is a beautiful film about friendship and the complexities of conflicting loyalties. It was Disney's 24th animated feature, and we think it's an underrated classic.


Italian postcard by Grafiche Biondetti, Verona, no. 128/2. Image: Walt Disney Productions, 1980. Photo: publicity still for The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981).


Belgian postcard by Edicorna. Image: Walt Disney Productions, 1980. Image: publicity still for The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981).


French postcard by Editions G. Ricard, Paris, no. WD 12/57. Image: Walt Disney Productions. Photo: publicity still for The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981). The French film title is Rox et Rouky.

Two old comrades forced to become enemies

The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981), based on the book by Daniel P. Mannix, is about Tod and Copper, an adopted red fox and a to-be hunting hound. It was produced by Ron Miller, Wolfgang Reitherman, and Art Stevens.

After a young red fox is orphaned, Big Mama the owl and her friends, Dinky the sparrow and Boomer the woodpecker, arrange for him to be adopted by a kindly farmer named Widow Tweed, who names him Tod. The kindly old widow nurses Tod back to health.

Right next door, bitter old hunter Amos Slade brings home a young hound puppy named Copper to be groomed as a hunting dog. He introduces him to his old hunting dog, Chief, who is at first annoyed by him but then learns to love him. One day, Tod and Copper meet, and the two pups become inseparable playmates, pledging eternal friendship.

Amos grows frustrated at Copper for constantly wandering off to play and places him on a leash. While playing with Copper outside his barrel, Tod accidentally awakens Chief. Amos and Chief chase him until they are stopped by Tweed. After an argument, Amos threatens to kill Tod if he trespasses on his property again. Hunting season comes, and Amos takes Chief and Copper into the wilderness for the interim. Meanwhile, Big Mama, Dinky, and Boomer attempt to explain to Tod that Copper will soon become his enemy. However, he naively insists that they will remain friends forever.

The following spring, Tod and Copper reach adulthood. Copper returns as an expert hunting dog who is expected to track down foxes. Late at night, Tod sneaks over to visit him. Their conversation awakens Chief, who alerts Amos. A chase ensues, and Copper catches Tod but lets him go while diverting Amos. Chief catches Tod as he attempts an escape on a railroad track, but an oncoming train strikes him, resulting in him falling into the river below and breaking his leg. Enraged by this, Copper and Amos blame Tod for the accident and vow vengeance. Realising Tod is no longer safe with her, Tweed leaves him at a game reserve. After a disastrous night on his own in the woods, Big Mama introduces him to Vixey, a female fox who helps him adapt to life there.


Italian postcard by Grafiche Biondetti, Verona, no. 128/1. Image: Walt Disney Productions. Publicity still for The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981).


Belgian postcard by Edicorna, 1980. Photo: Walt Disney Productions. Image: publicity still for The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981). Sent by mail in 1986.


Belgian postcard by Edicorna. Image: Walt Disney Productions, 1980. Image: publicity still for The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981).

A charming film that is vastly underrated

The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981) lacks the proverbial Disney happy ending and feel-good formula that is the framework for most Disney films. Thanks to its bittersweet delivery and surprising realism, The Fox and the Hound is one of the better Disney productions after the death of Walt Disney.

Walt Disney Productions first obtained the film rights to the novel by Daniel P. Mannix in 1967. Ten years later, actual development on the film would start in spring 1977. It marked the last involvement of the remaining members of Disney's Nine Old Men, which included Frank Thomas and Ollie Johnston. Though they had involvement in the early development of the film, it was ultimately handed over to a new generation of animators following the retirement of the old animators. As such, it was the first film for future directors, including Tim Burton, John Musker, Henry Selick, Brad Bird, and John Lasseter.

The production of the film was troubled. Halfway through production, Don Bluth left Disney, taking many of Disney's best animators with him. Other animators resigned or passed away, and some drawings were stolen. New animators were hired and promoted to fill the ranks. To compensate for the lack of experience of the new animators, much of the quality control would rely upon a network of veteran assistant animators. Further concerns were raised over the handling of the scene in which Chief is hit by a train, which was originally planned to result in his death. After debating the handling of the scene, the filmmakers decided to change the death into a non-fatal injury, by which he merely suffers a broken leg. The film's release was delayed from Christmas 1980 to summer 1981. Though Bluth and his team had animated substantial scenes, they asked not to receive screen credit.

Four years after production started, the film was released to cinemas by Buena Vista Distribution. The American voice actors are remarkable. Keith Mitchell and Corey Feldman provided the voices of Young Tod and Young Copper. Pearl Bailey was the kind-hearted teacher to Tod, Big Mama. Jeanette Nolan was the second choice for Widow Tweed after Helen Hayes turned down the role. An odd choice was Mickey Rooney for Tod. Eli Copperman at IMDb: "But he's able to come off as brash and young as ever in his sly role, and Kurt Russell gives off a brooding yet innocent presence of Copper maturing in his later years." At the time of its release, it was the most expensive animated film produced to date, costing $12 million. The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981) was a financial success, earning $39.9 million domestically. It was nominated for three awards, of which it won one. It was re-released to theatres in 1988. An intermediate follow-up, The Fox and the Hound 2 (Jim Kammerud, 2006), was released directly-to-DVD.

At the time, reviews were mixed, but at IMDb, the reviewers are more positive. Eli Copperman at IMDb: "The Fox and the Hound feels like a fascinating case study of the Disney studio getting itself back up on its feet after the death of its founder. While it might not have been as strong in its execution as its concept, it does at least have its moments of impact that understandably resonated with its own generation." Bethany Cox at IMDb: "I found the ending when Copper saves Tod's life and vice versa very moving, as well as the scenes in the forest - Widow Tweed taking leave of Tod is a real tearjerker. It did actually show that friendship isn't always forever, which is true to some extent, but loyalty is. I have heard complaints about Boomer and his friends slowing the film down, but I honestly thought their antics were really funny and actually added to the charm that the film already had. This was one of my favourites, and still moves me, but in conclusion to me now, it is a charming film that is vastly underrated." We agree, this is an underrated classic.


Italian postcard by Grafiche Biondetti, Verona. Photo: Walt Disney Productions. Image: publicity still for The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981).


French postcard by Editions G. Picard, Paris, no. WD 12/59. Image: Walt Disney Productions. Photo: publicity still for The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981). The French title was Rox et Rouky.


French postcard by Editions G. Picard, Paris, no. WD 13/62. Image: Walt Disney Productions. Photo: publicity still for The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981). The French title is Rox et Rouky.


Italian postcard by Grafiche Biondetti, Verona, no. 128/3. Image: Disney. Image: publicity still for The Fox and the Hound (Ted Berman, Richard Rich, Art Stevens, 1981).

Sources: Eli Copperman (IMDb), Bethany Cox (IMDb), Wikipedia (English and Dutch) and IMDb.

Sleeping Beauty (1959)

Sleeping Beauty (1959) is an American animated film produced by Walt Disney Productions and released by Buena Vista Film Distribution. The film is loosely based on Charles Perrault's 1697 fairy tale 'La Belle au bois dormant'. It was Walt Disney's sixteenth feature-length animated film. The production was supervised by Clyde Geronimi and was directed by Wolfgang Reitherman, Eric Larson, and Les Clark.


French postcard by La Presse de Belville, Paris, no. 281, 1984. Image: Walt Disney Productions, 1964. Scene from Sleeping Beauty (Clyde Geronimi, 1959). Caption: Aurora dances with the old owl. The French film title is La Belle au bois dormant.


American postcard by Animated Animation in the Awaken the Romance series. Image: Walt Disney Productions. Scene from Sleeping Beauty (Clyde Geronimi, 1959). Caption: Dream Duet.


Vintage postcard in the Disney Classics series by European Greetings, no. 535552. Image: Disney. Scene from Sleeping Beauty (Clyde Geronimi, 1959).

The princess will die when she pricks herself

In an unnamed kingdom in the 14th century, King Stefan and his wife Queen Leah have ruled for many years, but they still have no heir to the throne. The joy in the land is therefore very great when their daughter Aurora is born. A grand celebration is held. Also present at this celebration is Hugo, the king of the neighbouring country. His son, Philip, is betrothed to Aurora so that their two kingdoms will one day become one great empire.

Aurora is also visited by the three good fairies, Flora, Fauna and Merryweather, who each want to give her a special gift. Aurora thus receives two special gifts: first, that of beauty, and second, the ability to sing beautifully. Then, unexpectedly, the evil fairy Maleficent, who lives in the forbidden mountains, enters. Angry because she was not invited to the party, she casts a curse on Aurora: on her sixteenth birthday, the princess will die when she pricks herself on the spindle of a spinning wheel.

This curse cannot be lifted by anyone else. However, the blue fairy, who had not yet bestowed her gift on Aurora, does what she can and uses her magic to soften the curse: instead of dying, Aurora will fall into a deep sleep from which a true love's kiss can awaken her.

King Stefan has all the spinning wheels in the country burned as a precaution, but the fairies fear that this will not be enough to stop the curse. They come up with a plan to hide Aurora in a cottage in the forest and keep her there until her sixteenth birthday. To ensure that Maleficent does not find out, they give up their magic and live as ordinary people for all those years.

The plan seems to succeed because Maleficent does not find Aurora until the day of her sixteenth birthday. There was also a downside: King Stefan reported Aurora missing. The fairies give Aurora the alias Sleeping Beauty. On the very day the fairies are finally going to reveal who she really is, Aurora meets Prince Philip. Neither of them knows who the other really is, but they fall in love instantly. That evening, the fairies reveal the truth to Aurora.


Belgian postcard by Editions Corna, Brussels, no. 6/3308. Image: Walt Disney Productions. Scene from Sleeping Beauty (Clyde Geronimi, 1959).


Belgian postcard by Editions Corna, Brussels, no. 6/3308. Image: Walt Disney Productions. Scene from Sleeping Beauty (Clyde Geronimi, 1959).


French postcard by Edition Cres, Paris, no. 282. Image: Walt Disney Productions, 1964. Scene from Sleeping Beauty (Clyde Geronimi, 1959). Caption: A happy ending. The French film title is La Belle au bois dormant.

The masterpiece of the Disney Studios' postwar style

Walt Disney first considered making an animated version of Charles Perrault's 1697 fairy tale 'Sleeping Beauty' in 1938. Joe Grant submitted preliminary artwork, but the project did not move forward. Disney registered Sleeping Beauty as a planned production title with the Motion Picture Association of America in 1950, after a preview audience's positive response to Cinderella (Wilfred Jackson, Hamilton Luske, Clyde Geronimi, 1950). Work on the film began as early as 1951. Disney envisioned Sleeping Beauty as the pinnacle of his studio's achievements in animation and was willing to pool all resources needed to achieve that.

The first voices were recorded in 1952. The animation was done between 1953 and 1958, and the music was composed in 1957. It is the last full-length Disney animated film to be made using hand-coloured cells. From the next feature film, 101 Dalmatians (1961), xerography would be used for this purpose. Disney had already made two animated films based on classic fairy tales, Snow White (1937) and Cinderella (1950), and he wanted this film to be visually distinct from the previous two. The backgrounds were given more detailed and complex artwork than in previous films. Disney's regular production designer, Ken Anderson, was in charge of the project. Eyvind Earle was allowed to design the sets for the film and was given a lot of freedom by Disney. Painting the detailed backgrounds in the film often took more than a week.

Before the drawing began, each scene from the film was acted out by actors to give the artists a good starting point for how the characters should move. Ed Kemmer acted out the scenes for the role of Prince Phillip. Helene Stanley was the live-action reference for Princess Aurora. For the script of this film, Disney based itself broadly on both the version of the original fairy tale as recorded in the 17th century by Charles Perrault and the later version by the Brothers Grimm, with some far-reaching changes. For example, Aurora's magical sleep in the film lasts only about one day, whereas in the original fairy tale, she sleeps for 100 years. Also, in the original fairy tale, most of the main and secondary characters have no names, unlike the characters in the film. Originally, there were to be seven good fairies in the film, as in the fairy tale. This was later reduced to three. Walt Disney initially wanted the three fairies to look very similar, but animators Frank Thomas and Ollie Johnston opposed this plan because they believed it would not be interesting for the audience.

Some scenes from the film, such as Phillip being captured and later escaping from Maleficent's castle, were originally conceived for Disney's very first animated feature film, Snow White. In the original script, the prince was to be captured by Snow White's evil stepmother. The final scene, in which Aurora and Phillip are seen dancing together in the clouds, was originally planned for Snow White and later for Cinderella, but did not end up in either of these two earlier films. The name of the protagonist, Aurora, comes from Pyotr Tchaikovsky's 1889 ballet 'The Sleeping Beauty'. Her alias, Sleeping Beauty, is the name by which the fairy tale and its protagonist are better known today. Sleeping Beauty's castle is based on Neuschwanstein Castle in Bavaria. The castle from the film has since become an icon. It has been replicated in three Disney parks: Disneyland (in California), Hong Kong Disneyland and Disneyland Paris.

With a production budget of $6 million, Sleeping Beauty was the most expensive Disney film at the time, and was over twice as expensive as each of the preceding three Disney animated features: Alice in Wonderland (1951), Peter Pan (1953), and Lady and the Tramp (1955). The film received mixed reviews from critics. They found the story too slow and the character development not strong enough. During its original release, the film grossed approximately $5.3 million (the distributor's share of the box office gross) in the United States and Canada. It was considered a box-office bomb, and Buena Vista Distribution (Disney's distribution division) lost $900,000. The film was re-released in 1970, 1986, 1993, 1995 and in limited release in 2008. Total revenue amounted to $478.22 million. When the film was re-released in 1979, Roger Ebert praised the animation, describing the film as a "lively and playful retelling of a favourite fairy tale." In 1985, Dave Kehr of the Chicago Reader described Sleeping Beauty as "the masterpiece of the Disney Studios' postwar style"; he praised its use of the Super Technirama 70 process, particularly in the final battle scene. In 2014, the film Maleficent (Robert Stromberg, 2014) with Angelina Jolie in the lead role and Elle Fanning as Aurora was released in cinemas. It tells the fairy tale from the perspective of Maleficent.


French postcard by Croissant, Paris, no. 3669. Photo: Pathé Frères. Scene from La belle au bois dormant / The Sleeping Beauty (Lucien Nonguet, Ferdinand Zecca, 1902). Caption: Que c'est joli, une quenouille! (How nice, a spinning wheel!).


French postcard by Croissant, Paris, no. 3669. Photo: Pathé Frères. Scene from La belle au bois dormant / The Sleeping Beauty (Lucien Nonguet, Ferdinand Zecca, 1902). Caption: Le sommeil durera cent ans (The sleep will last for a hundred years).


Italian postcard by GT, no. 6/33084. Image: Walt Disney Productions. Scene from Sleeping Beauty (Clyde Geronimi, 1959). Sent by mail in France in 1978.


Belgian postcard by Editions Corna, Brussels, no. 00157. Image: Walt Disney Productions. Scene from Sleeping Beauty (Clyde Geronimi, 1959).


Dutch postcard by Interstat, Amsterdam, in the Disney Princess series. Image: Disney. Scene from Sleeping Beauty (Clyde Geronimi, 1959). Caption: Dream Duet.

Source: Wikipedia (Dutch and English) and IMDb.

In hoc signo vinces (1913)

Ivo Blom, co-editor of EFSP, is also the author of 'Jean Desmet and the Early Dutch Film Trade'. Jean Desmet was a Dutch cinema owner and film distributor, whose estate is a jewel of the collection of Eye Filmmuseum. Desmet's relatives once gave Ivo a series of stills (prints) and a Dutch programme for the Roman Antiquity epic In hoc signo vinces / The Triumph of an Emperor (1913). This early silent film was directed by Nino Oxilia for Savoia Film in Turin. It was internationally distributed by the French company Eclair and in the Netherlands by Jean Desmet. The film, scripted by Giovanni Alessio based on a text by E.S.F. Darga, culminates in the famous Battle at the Milvio Bridge (312 A.D.). After it, the Edict of Milan was signed by Constantine and Licinius, granting complete freedom to Christianity.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). The love between Licinius (Annibale Durelli) and Constance (Maria Jacobini).


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). Licinius (Annibale Durelli) and Constance (Maria Jacobini) become Christians, receiving the blessing from bishop Maternus (Mario Mariani). In the back, Fausta (Adriana Costamagna) mockingly laughs at them. In the film, she is not visible in this scene, only the other three.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). Fausta (Adriana Costamagna) is at the orgy at Maximian's palace in Milan.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). Fausta (Adriana Costamagna) tries to seduce Constance (Maria Jacobini) to join her in an orgy at Maximian's, so that Maximian may possess her.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). Constance (Maria Jacobini) prays, instead of being drawn into a Roman orgy.

In this sign, you will conquer

In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913) is situated in Milan during the early 4th century. The Roman Empire was ruled by four tetrarchs. The local governor Licinius / Licinio (Annibale Durelli) rejects the advances of Fausta (Adriana Costamagna), wife of Emperor Constantine / Costantino (Arturo Garzes). Licinius is a faithful follower of Constantine, and moreover, in love with Constance / Costanza, the half-sister of Constantine (Maria Jacobini).

Both Licinius and Constance became Christians. Fausta's father, Maximian / Massimiano (Dillo Lombardi), enters Milan and desires to possess Constance. Fausta helps him by attracting Constance to a wild orgy at Maximian's palace, but the young woman abhors this. She retires in prayer and finally has herself baptised. Maximian explodes, tears the edict permitting the Christians religious freedom, and has three of his soldiers killed when they prove to be Christians. Their bodies are drawn through the streets, which Constance, shocked, witnesses from her balcony.

Constance is also forced to witness the terrible killings of Christian martyrs in the arena, after a spectacle of gladiators and chariot races. When a soldier openly tells that he is a Christian, he is killed on the spot. At night, bishop Maternus / Materno (Mario Marani) and other Christians bury the bodies. Meanwhile, Constance flees to her brother Constantine, pursued by Maximian and Fausta.

Constantine explodes when he hears about Maximian's beastly behaviour. Fausta manages to seduce a centurion, Helvus Brutus / Elvo Bruto (Indo Garrone), to assassinate Constantine, but Constance has overheard the plot and the emperor is substituted by a dummy. When, before the whole army, Maximian cries that Constantine is dead, Constantine himself makes clear he is alive, and the culprit is killed.

Fausta hasn't given up and goes to her brother, Maxentius / Massenzio (Francesco Bonino), to set him up against Constantine. Constantine's army crosses the Alps, and he gets a vision of a Cross, the symbol of Christianity. Jesus appears to him and gives him a new standard, with a cross instead of an eagle, telling him: 'In hoc signo vinces (In This Sign You will Conquer). Helvus Brutus tries a second attack on Constantine but is caught and decapitated. His head is sent to Fausta, who realises her machinations are over.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). Constance (Maria Jacobini) is baptised as a Christian.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). The bodies of dead gladiators are taken away. Mark the arch above. The scene reminds one of Juan Luna's painting 'Spoliarium' and Jean-Léon Gérôme's painting 'Ave Caesar', in which dead gladiators are dragged away.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). On this card, the persecutions of the Christians in the arena are shown, as well as the decapitation of a Christian soldier.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). Constance (Maria Jacobini) arrives in Constantine's camp after having fled from Maximian's clutches.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). Constance (Maria Jacobini) overhears the conspirators and warns her brother.

The era of catacombs and secrecy is over

Maxentius leads his army against that of Constantine. For a while, the war has been undecided. Yet, when a fire breaks out in Maxentius' camp, his army retreats on an improvised bridge, which collapses under the weight of the soldiers, and Maxentius and many others drown.

The rest of his troops retreat to the Ponte Milvio, but this is already occupied by Constantine's troops, who 'finish the job'. Constantine's victory put an end to the persecution of the Christians. In 313 A.D., which was extensively commemorated in 1913, the year the film came out, the Edict of Milan was signed by Constantine and Licinius, granting complete freedom to Christianity. The era of catacombs and secrecy is over.

In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913) was scripted by Giovanni Alessio based on a text by E.S.F. Darga. The Early German Database credits Alessio as the scenographer and Darga as the scriptwriter, who based himself on a text by C. Darlington. However, the cinematographer was Augusto Navone.

Eye Filmmuseum in Amsterdam only possesses the first three - beautifully tinted - reels of In hoc signo vinces / The Triumph of an Emperor. The second part of the film is considered lost. Ivo Blom followed the content description of the Dutch programme, published by Jean Desmet, and the photos in the programme and the stills in this post. He concluded that the first part of the film also lacks several scenes, such as those in the arena, the orgy and Constance's prayer.

The last still of the series in this post may represent a moment earlier in the film, when Constance arrives at her brother's court begging him to help her and Constantine and his mother show charity to the poor, but there is no real card symbolising the epilogue of the plot. So we used a picture from the programme. Needless to say, Constance and Licinius lived happily ever after. Yet, the historical Constantine would later get into a big conflict with the real Licinius.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). Constance (Maria Jacobini) and Constantine (Arturo Garzes) overhear the conspirators who plot to murder Constantine.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). Constantine (Arturo Garzes) shows he isn't dead at all, despite what Maximian claims.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). Licinius (Annibale Durelli) greets Constance (Maria Jacobini) farewell before going to war.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). Constantine's army crosses the Alps. As Savoia Film was a Turinese production company, the real Alps were not far away.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). The attempt on the life of Constantine (Arturo Garzes) by the traitor Helvus (Elvus) Brutus (Indo Garrone).


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). Probably Constantine's cavalry is hunting Maxentius' army through the Tiber.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). A fight between the armies of Maxentius and Constantine.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). The battle on the improvised bridge, where Maxentius and many of his army will drown when the bridge collapses - a spectacular scene lauded in the press at the time.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). The film culminates in the famous Battle at the Milvio Bridge (312 a.D.). On this card, Maxentius' army flees.


Italian still by Savoia Film / Agence Cinema Eclair. Scene from In hoc signo vinces / The Triumph of an Emperor (Nino Oxilio, 1913). Charity at the court of Constantine (Arturo Garzes). He is flanked by his sister Constance (Maria Jacobini) and his mother Helena (Jeanne Bay). This still probably represents a moment earlier in the film.


Illustration from a vintage Dutch programme booklet for In hoc signo vinces (Nino Oxilia, 1913). Constantine's vision. Constantine is played by Arturo Garzes.


Cover of Dutch programme booklet for In hoc signo vinces (Nino Oxilia, Savoia 1913). Distributed by Jean Desmet. Printed by T.A.D. Visscher heirs, Amsterdam.

Sources: Aldo Bernardini / Vittorio Martinelli (Il cinema muto italiano, 1913, Vol. 1), the Dutch-written programme booklet for the film release in the Netherlands, Wikimedia, Early German Database and IMDb.

Christmas 2025 with the stars

We wish you all: Gelukkig kerstfeest! Frohe Weihnachten! God Jul! Joyeux Noël! ¡Feliz Navidad! Buon Natale! Feliz Natal! Sretan Božić! Веселого Різдва! Καλά Χριστούγεννα! Boldog karácsonyt! Gleðileg jól! Nollaig Shona! Priecīgus Ziemassvētkus! Linksmų Kalėdų! Среќен Божиќ God jul! Wesołych Świąt! Crăciun fericit! С Рождеством Срећан Божић veselé Vianoce! Vesel božič! Nadolig Llawen! Gëzuar Krishtlindjet! Eguberri! Merry Christmas!


German postcard by Ross Verlag, no. 3861/1, 1928-1929. Photo: Defina / First National.

Stunningly beautiful and highly photogenic Billie Dove (1903-1997) was one of the most popular Hollywood actresses of the 1920s. She was dubbed The American Beauty, after the title of one of her films.


German postcard by Ross Verlag, no. 7231/1, 1932-1933. Photo: Paramount. Collection: Marlène Pilaete.

Mitzi Green made her first steps on stage at age 3 and, within a few years, was featured in her own vaudeville act. She later became a child star in films. When pitted against such scene stealers as Zasu Pitts, Leon Erroll, Edna May Oliver, Louise Fazenda or Wheeler and Wolsey, she more than held her own. A seasoned trouper from an early age, she knew how not to be overshadowed. As was the case for many child stars, her movie career declined as she reached adolescence. But it was not a problem for Mitzi, who would bounce back on stage.


Dutch postcard, no. 123. Photo: Metro-Goldwyn-Mayer.

Blonde and voluptuous Lana Turner (1921-1995) was one of the most glamorous superstars of Hollywood's golden era. In the mid-1940s, she was one of the highest-paid women in the United States, and one of MGM's biggest stars, with her films earning the studio over $50 million during her eighteen-year contract with them. Unfortunately, her tumultuous private life sometimes overshadowed her professional accomplishments.


Spanish postcard by Ediciones Europacolor, no. 240. Collection: Marlene Pilaete.

Stunning Shirley Eaton (1937) played a cockney bombshell in British films throughout the 1950s and 1960s. She became famous as the golden girl Jill Masterson in the third 007 adventure, Goldfinger (1964). Five years later, Eaton retired.


Dutch postcard by Imagine / United International Pictures (UIP). Photo: Universal. Jim Carrey as The Grinch in How the Grinch Stole Christmas (Ron Howard, 2000). Caption: De groene griezel die de kerst verpest (The green creep that crushes Christmas).

Arguably the top screen comedian of the 1990s, Canadian-born entertainer Jim Carrey (1962) has combined equal parts of his idol Jerry Lewis, his spiritual ancestor Harry Ritz, and the loose-limbed Ray Bolger into a gleefully uninhibited screen image that is uniquely his own. He rose to fame in the sketch comedy series In Living Color (1990) and leading roles in the comedies Ace Ventura: Pet Detective (1994), Dumb and Dumber (1994), and The Mask (1994) established him as a bankable film star.


German postcard by Ross Verlag, no. A 1483/4, 1937-1938. Photo: 20th Century Fox.

Shirley Temple (1928-2014) was an American film and television actress, singer, dancer, and public servant, but everybody knows her as the most famous child star of the 1930s. Shirley could do it all: act, sing, and dance, and all at the age of five! Four years in a row, between 1935 and 1938, she was the top box-office draw for Hollywood. As an adult, she entered politics and became a diplomat, serving as United States Ambassador to Ghana and later to Czechoslovakia, and as Chief of Protocol of the United States.


Italian postcard by Nannina, Milano.

Petite American actress Mari Blanchard (1927–1970) was known for her roles as a B-movie femme fatale in American films of the 1950s and early 1960s.


Big autograph card.

Beautiful brunette actress Barbara Rush (1927) was the epitome of poise, charm, style, and grace in Hollywood films of the 1950s. In 1954, she won the Golden Globe Award as Most Promising Female Newcomer for the Science Fiction film It Came from Outer Space (1953). She played the female lead in such films as The Young Philadelphians, The Young Lions, and Hombre. Later in her career, Rush guest-starred on TV in such series as Peyton Place, All My Children and 7th Heaven.


French postcard by Sip, no. 2500. Caption: Reutlinger, Paris. Sent by mail in 1909. Miss Campton.


British postcard by Odeon Cinemas. Photo: Meg Ryan and Billy Crystal in When Harry Met Sally... (Rob Reiner, 1989). Caption: Season's Greetings from Harry and Sally and everyone at Odeon Cinemas. The hit comedy of the year, starring Billy Crystal, Meg Ryan, When Harry Met Sally..., a new comedy by Rob Reiner. "A clear winner", Jonathan King - The Sun. "Touching, hilarious, honest...There hasn't been a more satisfying film this year"- 20/20. At Odeon Cinemas from Jan 5th.


Hungarian postcard. Image: Disney. Caption: Merry Christmas!


German postcard by Ross Verlag, no. 8419/1, 1933-1934. Photo: Ufa / Frhr. von Gudenberg. Wolf Albach-Retty.


German postcard by Ross Verlag, no. 9720/1, 1935-1936. Photo: Ufa. Lil Dagover.


Small Dutch collector card. Jane Powell.


Small Dutch collector card. Belinda Lee.


Vintage postcard, no. A.X. 292. Photo: Metro-Goldwyn-Mayer. Ann Miller.


Dutch postcard by Uitg. Takken, Utrecht. Photo: J. Arthur Rank Organ. Jean Simmons.


Italian postcard by Rotalfoto, Milano, no. 611.

Italian actress Forella Mari (1928) was the leading lady in a dozen European films of the 1950s. She retired at the end of the decade.


French postcard by Editions Crès, Paris, no. 202, 1964. Caption: The Reunion. Image: Walt Disney Productions. Publicity still for Lady and the Tramp (Clyde Geronimi, Wilfred Jackson, Hamilton Luske, 1955).


German postcard. Ross Verlag, no. 667/1. Photo: Neumann. The Nativity Scene with Henny Porten as Mary in the Biblical film I.N.R.I. (Robert Wiene, 1923).


Esther Williams. German postcard by Kunst und Bild, Berlin, no. A 190. Photo: Keystone.


Dutch postcard. Caption: Marie McDonald with a friend's daughter.

American singer and actress Marie McDonald (1923–1965) was nicknamed 'The Body'. During World War II, she became one of Hollywood's most popular pin-up girls.


Margareta Pislaru. Romanian postcard by Casa Filmului Acin.


Romanian postcard by Casa Filmului Acin, no. 126. Elizabeth Taylor in The Comedians (Peter Glenville, 1967). Sent by mail in 1971.


Sophia Loren. Romanian postcard by Casa Filmului Acin.


Rocío Dúrcal. Spanish postcard by Ediciones Tarjet-Fher / Ediciones Mandolina, no. 216. Photo: Epoca Films.


Mireille Darc. Romanian postcard by Casa Filmului Acin, no. 436.


Patricia Roc. Dutch postcard. Photo: British Lion.


Käthe von Nagy. German postcard by Ross Verlag, no. 7282/1. Photo: Ufa. Released in Italy by Ed. Ballerini & Fratini, Firenze.


Elizabeth Taylor. French postcard by Editions P.I., Paris, no. 1051. Photo: John Everton / Ufa.


Dutch postcard by the Rialto Theatre, Amsterdam, 1934. Photo: Remaco Radio Picture. Publicity still for Little Women (George Cukor, 1933). In the picture are Katharine Hepburn, Joan Bennett, Frances Dee, Jean Parker, and Spring Byington. The Dutch title of the film and the book by Louise M. Alcott is Onder moeders vleugels.


Lien Deyers. German postcard by Ross Verlag, no. 7058/1, 1932-1933. Photo: Atelier Balász, Berlin.


Dutch postcard by Muziek Parade, Amsterdam, no. AX 7249.

In the late 1960s and the early 1970s, sweet little Wilma (1957) was a popular Dutch child star. At 11, she had hits in both the Netherlands and Germany and also appeared in some Schlager films.


Marta Eggerth. Dutch postcard by JosPe, no. 593.


Marta Toren. Dutch postcard, no. 3374. Photo: Universal International / Fotoarchief Film en Toneel.


Vintage postcard, no. 2022.

Cyd Charisse 1921-2008) was born to be a dancer. She became one of the top female dancers in the golden era of the musical. Her films include Singin' in the Rain (1952), The Band Wagon (1953), Brigadoon (1954) and Silk Stockings (1957). She was one of the few actresses to have danced with both Fred Astaire and Gene Kelly.


Robertino. French postcard by Editions Publistar, Marseille, no. 811. Photo: President.


Kermit. Dutch postcard by Interstat, Amsterdam. Photo: The Jim Henson Company.


Dany Robin. French postcard by Editions P.I., Paris, no. 1004. Photo: Sam Lévin.


Romy Schneider & Horst Buchholz. Dutch postcard by Uitg. Takken, Utrecht, no. 3572.


Jayne Mansfield. French postcard by Edition a la carte. Photo: Filmhistorisches Bildarchiv Peter W. Engelmeier.


Heintje Simons. German postcard by Modern Times. Photo: Interfoto. Caption: Alles schlampen, ausser mama (All bitches, except mama).


Nadja Tiller. German promotion card for Luxor.


German postcard by Rotophot in the Film Sterne series, no. 542/1. Photo: Messter-Film. Viggo Larsen in Der Sohn des Hannibal / The Son of Hannibal (Viggo Larsen, 1918).


Dutch postcard by Het Maastheater, Rotterdam. Photo: Hans de Jong, Rotterdam. Caption: Nénette et Les Zezettes. You are welcome.

Loes Luca (1953) is a Dutch actress and comedienne known for the act Nénette et les Zézettes and for comedy films such as Abel/Voyeur (1986), Ja zuster, nee zuster / Yes Nurse! No Nurse! (2002), De Marathon (2012), Huisvrouwen bestaan niet / No Such Thing as Housewives (2017), Mi vida/My Life (2019) and Ome Cor (2022).


Dutch postcard by Gebr. Spanjersberg, Capelle ad IJssel / Brasschaat. Image: Joop Geesink's Dollywood, 1988. Loekie de Leeuw. Caption: Merry Christmas and Happy New Year. Sent by mail in 1989.