11 October 2026

Gay Portraits

'Gay Portraits, A Book of Postcards' (1990) contained 30 black-and-white postcards of outstanding men and women who have made important contributions to literature, music, dance, theatre and politics. I bought this book some 35 years ago. From the introduction: "Worldwide persecution of gays, once commonplace and even proper, is today recognised for what it is: bigotry as base as any other. With enlightenment comes reevaluation and fresh discovery of gay contributions to culture and history." Much has changed since then. The word ‘gay’ has been replaced by ‘LGBTQ+’, which also includes transgender, intersex and asexual people. Yet acceptance is on the decline, whilst violence against ‘queers’ is on the rise. The women and men on the postcards are from the 19th and 20th centuries. They left a mark on their times, and were also 'gay'. Most of them lived in a time when sexual openness was unthinkable, but they tried to and contributed to change. Today is National Coming Out Day, a great opportunity to showcase 21 portraits from this postcard book at EFSP.

Alla Nazimova
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Rice. Collection: Motion Picture and Television Archive. Caption: Alla Nazimova (Russian, 1878-1945) studied with Stanislavsky in Russia (1898) and became a star of the American stage (1906) before heading for success in Hollywood (1916).

J.M. Barrie
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Barraud, 1891 / Popperfoto, London. Caption: J.M. Barrie (Sir Michael Matthew, Scottish, 1860-1937). A playwright and novelist, he wrote nostalgic novels of the Scottish countryside, but is best known for the play 'Peter Pan' (1904).

In 1901 and 1902, J.M. Barrie had two back-to-back successes. In 'Quality Street', a respectable, responsible old maid poses as her own flirtatious niece to try to win the attention of a former suitor returned from the war. The play's initial London run lasted for 459 performances. In the social commentary 'The Admirable Crichton', the play inverts the social order of an aristocratic family and their household servants after they are shipwrecked on a desert island. Critic Max Beerbohm thought it "quite the best thing that has happened, in my time, to the British theatre". This satire on class relationships ran 828 performances. In 1902, Barrie introduced Peter Pan, which became his most popular creation. He liked contrasting the typical middle-class life of the Edwardian era with the adventurous life and ambivalent morality of the fictional Neverland. His play 'Peter Pan, or The Boy Who Wouldn't Grow Up' had its first stage performance on 27 December 1904 at the West End’s Duke of York's Theatre. Peter Pan returned in the novel 'Peter Pan in Kensington Gardens' (1906), the play 'When Wendy Grew Up - An Afterthought' (1908), and the novel 'Peter and Wendy' (1911). Many film versions of Peter Pan followed. Johnny Depp played J.M. Barrie in Finding Neverland (Marc Forster, 2004), about the creation of Peter Pan. The film also starred Dustin Hoffman, who had played Captain Hook in Steven Spielberg's Hook (1991), which depicted an adult Peter Pan. From 1928 onward, all royalties from Peter Pan were donated to the Great Ormond Street Hospital. Barrie raised 5 surrogate sons and acted as a surrogate uncle to several other children. By all accounts, he liked kids. Following his death, there were rumours that he was sexually interested in children. Barrie's surrogate son Nicholas Llewelyn Davies vehemently denied this. According to Nicholas, Barrie never felt sexual attraction to anyone: "man, woman, or child".

Gertrude Stein and Alice B. Toklas
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: University Research Library. Caption: Gertrude Stein (American, 1874-1946) and Alice B. Toklas (American, 1877-1967). Stein was an experimental writer who undid language in an effort to revivify dead words and capture "the living moment". Wrote 'The Autobiography of Alice B. Toklas' (1933). Toklas wrote her own story in 'What is remembered' (1963).

Gertrude Stein lived in Paris for 40 years and was a patron of artists Pablo Picasso, Georges Braque, Henri Matisse and Paul Cézanne. The art collection of 'The Mother Goose of Montparnasse' became enormous. In her literary work, she experimented with stream-of-consciousness in her own deconstructive style, and by using words as rhythmical brushstrokes. Her literary secretary, Alice B. Toklas, was her lifetime companion. They met in 1907 and lived together from 1911 until Gertrude died in 1946. They travelled in Spain together, while Stein worked on the book 'Tender Buttons' (1914). During WWI, Stein drove their Ford, and they helped wounded soldiers. She and Alice were honoured for this work. 'The Autobiography of Alice B. Toklas' (1933) became a bestseller and turned Stein into a celebrity. In 1940, Stein and Toklas, both Jewish, barely escaped the Nazi concentration camps, protected by their French neighbours. They returned to Paris in 1944 and found their precious art collection untouched. The collection is now in major museums. Several films were made about Stein and Toklas, including the short Hubby/Wifey (Todd Hughes, 2005). Kathy Bates portrayed Stein in Woody Allen's delicious comedy Midnight in Paris (2011).

Edmund White
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Caption: Edmund White (American, b. 1940). Fine, sensitive and sometimes baroque gay novelist acclaimed for 'Nocturnes for the King of Naples' (1978) and 'A Boy's Own Story' (1983).

Edmund White, who passed away in 2025, was a pioneering figure in LGBTQ and especially gay literature after the Stonewall riots. He wrote with rare candour about gay identity, relationships, and sex. His work helped to reshape public narratives at a time when coming out was still a dangerous, even radical act. His intimate and elegant novels include the semi-autobiographical trilogy 'A Boy's Own Story' (1982), 'The Beautiful Room Is Empty' (1988), and 'The Farewell Symphony' (1997). He also co-authored 'The Joy of Gay Sex' (1977), celebrated for its sex-positive tone. Just before his death, White was interviewed for the upcoming documentary Utterly Shameless, directed by journalist Brian Montopoli and former Out magazine editor Aaron Hicklin. The film offers a candid portrait of Edmund White and positions him as both architect of and witness to the queer experience. The filmmakers were the last to interview White before he died at age 85.

Sal Mineo
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Michael Ochs Archives. Caption: Sal Mineo (American, 1939-1976). Diminutive actor worked on Broadway as a child before going to Hollywood. Films include Rebel Without a Cause (1955) and Exodus (1960).

E.M. Forster
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Topham / The Image Works. Caption: E.M. Forster (English, 1879-1970). Acclaimed for 'A Room With A View' (1908) and 'A Passage to India' (1924), his themes were the hypocrisy and conventionality of the middle classes.

E.M. Forster's last novel, 'Maurice', is a tale of homosexual love in early 20th-century England. Completed in 1914, the novel was only published in 1971, the year after his death. Many of his novels were adapted for cinema, beginning with David Lean's well-received film A Passage to India (1984) starring Alec Guinness and Judy Davis, followed by Merchant Ivory Productions' A Room with a View (1985) starring Helena Bonham Carter, Maggie Smith, and Julian Sands, Maurice (1987), starring James Wilby, Hugh Grant and Rupert Graves, and Howards End (1992), starring Emma Thompson and Anthony Hopkins.

Cole Porter
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Michael Ochs Archives. Photo circa 1940. Caption: Cole Porter (American, 1893-1964). Prolific lyricist and composer of many sophisticated Broadway hits like 'Anything Goes' (1934), songs 'Night and Day', 'I've Got You Under My Skin', and movies like Can-Can(1953) and High Society (1956).

Cole Porter's grandfather, J.G. Cole, was a multi-millionaire who made his fortune in the coal and western timber business. Classically trained, Cole Porter was drawn to musical theatre. In 1917, he went to France and distributed foodstuffs to war-ravaged villages. Porter maintained a luxury apartment in Paris, where his parties were extravagant and scandalous, with "much gay and bisexual activity". In 1918, at a breakfast reception at the Ritz Hotel, he met Linda Lee Thomas, a rich divorcée eight years his senior. The couple married the next year. She was in no doubt about Porter's homosexuality, but it was mutually advantageous for them to marry. For Linda, it offered continued social status and a partner who was the antithesis of her abusive first husband, a newspaper publisher. For Porter, it brought a respectable heterosexual front in an era when homosexuality was not publicly acknowledged. After a slow start, Porter had his first successes in the 1920s. By the 1930s, he was one of Broadway's major songwriters. Unlike his colleagues, Porter wrote the lyrics and the music for his songs. In the early 1940s, his shows lacked the lasting hits of the 1920s and 1930s. In 1948, he made a triumphant comeback with his most successful musical, 'Kiss Me, Kate'. It won the first Tony Award for Best Musical. Cole and his wife Linda were genuinely devoted to each other and remained married until she died in 1954. Porter's life has been dramatised several times. The biopic Night and Day (Michael Curtiz, 1946), starring Cary Grant as Porter, was highly embellished. More realistic is De-Lovely (Irwin Winkler, 2004), starring Kevin Kline as Porter and Ashley Judd as Linda. Porter is also a character in Woody Allen's Midnight in Paris (2011).

Willa Cather
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Historical Pictures Service, Chicago. Caption: Willa Cather (American, 1873-1947). Journalist and novelist best known for her book 'My Antonia' (1918), who wrote of the American frontier and vigorous working women who defied the stereotype of feminine fragility. Shown here in 1926 signing copies of 'My Mortal Enemy'.

In her youth, Willa Cather cut her hair short and wore trousers to her fashionable mother's chagrin. Shortly after graduating from the University of Nebraska, she moved to Pittsburgh for 10 years. She supported herself as a magazine editor and high school English teacher. At 33, she moved to New York City, where she stayed for the rest of her life. She spent her last 39 years with her partner, Edith Lewis. Cather and Lewis are buried together in Jaffrey, New Hampshire. In 1923, she was awarded the Pulitzer Prize for 'One of Ours', a novel set during World War I. Her early novels focused on the destruction of provincial life and the death of the pioneering tradition, but her later novels, including 'The Professor's House' (1925), 'My Mortal Enemy' (1926), and 'Death Comes for the Archbishop' (1927), reflected the personal despair that followed her commercial success. Several films were based on her books. In 1924, Irene Rich starred in the silent film A Lost Lady (Harry Beaumont, 1924). Ten years later, it was filmed with sound as A Lost Lady (Alfred E. Green, Phil Rosen, 1934), now starring Barbara Stanwyck. Later examples are the TV Movies Spring Awakening (Jack Gold, 1994) with Sherilee Fenn, and The Song of the Lark (Karen Arthur, 2001), starring Alison Elliott.

André Gide
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Popperfoto, London. Caption: André Gide (French, 1869-1951), author (The Counterfeiters, 1926), whose career was marked by controversy because of his frank defence of homosexuality; he received the Nobel Prize for Literature in 1947.

In 1893 and 1894, André Gide travelled to North Africa, where he learned different moral and sexual conventions. In Algiers, he met Oscar Wilde and the two became close friends. Gide's early collection of prose and poetry, 'Les nourritues terrestres' (Fruits of the Earth, 1897), gained popularity. It influenced Guillaume Apollinaire, Albert Camus, and Jean-Paul Sartre, as well as a generation of young writers. His serious illness and a near-death experience in Algiers gave him material for his 'twin' psychological novels 'L'immoraliste' (The Immoralist, 1902) and 'La porte etroite' (Strait is the Gate, 1909). In his 'La symphonie pastorale' (The Pastoral Symphony, 1919), Gide revealed the hypocrisy behind the mask of a pastor who adopted a blind orphan girl. The pastor seduces the girl on the eve of her eye surgery. She opens her eyes only to see the ugly truth about people, then commits suicide. In 'Les faux-monnayeurs' and 'Le journal des faux-monnayeurs' (The Counterfeiters, 1926), he exposed the self-deception and counterfeit personality of the protagonist, Edouard, who falls in love with his nephew. Gide alluded to his own relationship with his adopted son, Marc Allegret, with whom he eloped to London in 1916. Gide wrote and produced Allegret's debut Voyage au Congo / Travels in the Congo (Marc Allegret, 1927). Many films were based on his books, including La Symphonie pastorale / Pastoral Symphony (Jean Delannoy, 1946) starring Pierre Blanchar and Michèle Morgan, and Les faux-monnayeurs / The Counterfeiters (Benoît Jacquot, 2010), starring Melvil Poupaud.

Charles Laughton in The Private Life of Henry VIII (1933)
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Popperfoto, London. Charles Laughton in The Private Life of Henry VIII (Alexander Korda, 1933). Caption: Charles Laughton (English, 1899-1962). Here as the king in The Private Life of Henry VIII (1933). Laughton performed primarily in American films. He also directed the classic thriller The Night of the Hunter (1955).

In a memoir written after his death, Charles Laughton's widow, Elsa Lanchester, stated that they never had children because he was homosexual. According to Elsa, Laughton confessed he was gay just two years into their marriage. The revelation allegedly occurred after he was caught with a male prostitute. Rather than divorcing him, the Bohemian Lanchester chose to stay. Mr. and Mrs. Laughton were known in Hollywood as a famous eccentric couple. They were the subject of a tabloid story entitled "The Strange Pair", and Time contrasted Charles’ "plump effeminacy" with Elsa’s "mannish" dress in a 1935 article. In the 1940s, their household included composer Forman Brown, whom Laughton viewed as an integral part of their unconventional but largely happy family. Elsa and Charles shared a profound emotional bond that made them fiercely loyal to one another until Laughton died in 1962.

Bessie Smith
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Elcha, New York. Collection: Michael Ochs Archives. Caption: Bessie Smith (American, 1895-1937). Protégée of pioneer blues singer Ma Rainey, in the '20s, Smith was the most successful black entertainer in America. The 'Empress of Jazz' made over 150 recordings.

Bessie Smith starred in the short film St. Louis Blues (Dudley Murphy, 1929). In her only known film appearance, she witnesses her lover's betrayal, then sings a powerful rendition of the title song. The film is a fascinating glimpse at a legend and the world she lived in. The storyline painfully mirrors Smith's own life and offers an interesting glimpse at black American life at the dusk of the Jazz Age. Despite the film's erratic nature, sketchy pacing and music, it is a marvel to glimpse and hear Smith at her peak.

James Baldwin
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Michael Ochs Archives. Photo circa mid-1950s. Caption: James Baldwin (American, 1924-1987). His writing expressed the anger of both the gay and black communities in prose of quiet, controlled rage. 'Go Tell it to the Mountain' (1953), 'Giovanni's Room' (1956), 'Another Country' (1962).

James Baldwin's fiction posed fundamental personal questions and dilemmas amid complex social and psychological pressures. Themes of masculinity, sexuality, race, and class intertwine to create intricate narratives that influenced both the civil rights movement and the gay liberation movement in mid-20th-century America. His protagonists are often, but not exclusively, African-American, and gay and bisexual men feature prominently in his work, as in his 1956 novel 'Giovanni's Room. His characters typically face internal and external obstacles in their search for self- and social acceptance. Baldwin's work continues to influence artists and writers. His unfinished manuscript 'Remember This House' was expanded and adapted as the documentary film I Am Not Your Negro (Raoul Peck, 2016), winning the BAFTA Award for Best Documentary. Narrated by Samuel L. Jackson, the film explores the history of racism in the United States through Baldwin's recollections of civil rights movement leaders such as Medgar Evers, Malcolm X and Martin Luther King Jr., as well as his personal observations of American history. I Am Not Your Negro was nominated for Best Documentary Feature at the 89th Academy Awards and won the BAFTA Award for Best Documentary. Baldwin's 1974 novel 'If Beale Street Could Talk' was adapted into the film If Beale Street Could Talk (Barry Jenkins, 2018). It follows a young woman who, with her family's support, seeks to clear the name of her wrongly charged lover and prove his innocence before the birth of their child. The film was nominated for Best Motion Picture – Drama and Best Screenplay at the 76th Golden Globe Awards, and Best Adapted Screenplay and Best Original Score at the 91st Academy Awards. Regina King won the Best Supporting Actress award at both the Academy Awards and Golden Globes.

Oscar Wilde
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Library of Congress. Caption: Oscar Wilde (English, 1854-1900). High Victorian poet (Intentions 1891), dramatist of brilliant wit (The Importance of Being Earnest 1895). Wilde was also an aesthete, dandy and cause célèbre.

After writing in different literary styles throughout the 1880s, Oscar Wilde became one of the most popular and influential dramatists in London in the early 1890s. He was a key figure in the emerging Aestheticism movement of the late 19th century and is widely regarded as the greatest playwright of the Victorian era. Wilde is best known for his Gothic novel 'The Picture of Dorian Gray' (1890), his epigrams, plays and bedtime stories for children, as well as his criminal conviction in 1895 for gross indecency and for practising homosexual acts. Stephen Fry played Oscar Wilde in the wonderful biopic Wilde (Brian Gilbert, 1997). Julian Mitchell based his screenplay on Richard Ellmann's 1987 biography of Wilde. Fry received a Best Actor nomination at the 56th Golden Globe Awards. In 2017, Wilde was among an estimated 50,000 men who were pardoned for homosexual acts that were no longer considered offences under the Policing and Crime Act 2017 (homosexuality was decriminalised in England and Wales in 1967). The 2017 Act implemented what is known informally as the Alan Turing law. Rupert Everett starred as Wilde in, and wrote the screenplay for, The Happy Prince (Rupert Everett, 2018), a biographical drama film about Wilde following his release from prison.

Ramon Novarro
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: George E. Hurrell / Motion Picture and Television Archive. Caption: Ramon Novarro (Mexican, 1899-1968). Romantic leading man of the 20s in Hollywood; later came back as a character actor. Films include Ben-Hur (1925) and Call of the Flesh (1930).

Serge Diaghilev
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: The New York Public Library Dance Collection. A New York photographer took the picture probably in 1911, when the Ballet Russes performed at the Metropolitan Opera. Caption: Sergei Diaghilev (Russian, 1872-1929). Impresario of genius who founded the Ballet Russes, which employed the talents of Picasso, Matisse, Stravinsky, Ravel, Cocteau, Nijinsky, Bakst and Chaliapin among many others.

Sergei Diaghilev's company, the Ballet Russes, premiered the original productions of Stravinsky's 'The Firebird', 'Petrouchka' and 'Le Sacre du Printemps' (The Rite of Spring), as well as the ballet versions of Debussy's 'Prelude to the Afternoon of a Faun' and Rimsky-Korsakov's 'Scheherazade'. Diaghilev's life and the Ballet Russes were inextricably entwined. His most famous lover was Vaslav Nijinsky. However, according to Serge Lifar, of all Diaghilev's lovers, only Léonide Massine, who replaced Nijinsky, provided him with "so many moments of happiness or anguish". Diaghilev's other lovers included Anton Dolin, Serge Lifar and his secretary and librettist Boris Kochno. Dancers such as Alicia Markova, Tamara Karsavina, Serge Lifar, and Lydia Sokolova remembered Diaghilev fondly as a stern but kind father-figure who put his dancers and company above himself. He lived from paycheck to paycheck to finance his company, and he spent considerably on a splendid collection of rare books. Several sources cited Diaghilev and the Ballets Russes as inspiration for the film classic The Red Shoes (Michael Powell, Emeric Pressburger, 1948).

Thomas Edward Lawrence
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Popperfoto, London. Caption: Thomas Edward Lawrence (English, 1888-1935). Soldier and scholar, best remembered for his exploits in the Middle East during World War I, earning him the epithet 'Lawrence of Arabia'.

T.E. Lawrence was a prolific writer throughout his life. Most of his writing was epistolary. He often sent several letters a day, and some collections of his letters have been published. He corresponded with many notable figures, including George Bernard Shaw, Noël Coward, and E. M. Forster. Lawrence published three major texts in his lifetime. Significant was his account of the Arab Revolt in 'Seven Pillars of Wisdom'. He also translated Homer's 'The Odyssey'. Lawrence lived in a period of strong official opposition to homosexuality, but his writing on the subject was tolerant. His biographers have discussed his sexuality at considerable length. There is no direct evidence for consensual sexual intimacy between Lawrence and any person. His friends have expressed the opinion that he was asexual, and Lawrence himself specifically denied any personal experience of sex in multiple private letters. More than 25 years after his death, Lawrence of Arabia (David Lean, 1962) was released. Peter O'Toole was nominated for the Oscar for Best Actor for his portrayal of Lawrence. In 2002, Sight and Sound ranked the film in the top ten films of all time.

Sylvia Beach and Adrienne Monnier
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Sylvia Beach Collection, Princeton University Library. Caption: Sylvia Beach (American, 1887-1962) and Adrienne Monnier (American, 1887-1962). An important player in the Paris literary scene of the '20s. Beach published James Joyce's controversial 'Ulysses' (1922), ran an English-language bookshop with Monnier, and wrote of it all in 'Shakespeare and Company' (1959).

While conducting research at the Bibliothèque Nationale, Sylvia Beach read in a French literary journal about a lending library and bookshop, La Maison des Amis des Livres (The House of Friends of Books) in Paris. There, she met the owner, Adrienne Monnier, who was one of the first women in France to found her own bookstore. The two became lovers. Inspired by the Left Bank's literary life and Monnier's efforts to promote innovative writing, Beach dreamed of a branch of Monnier's bookshop in New York with contemporary French works for American readers. Her only capital, which her mother gave her from her savings, was not enough for such a venture. However, Paris rents were much cheaper and the exchange rates favourable, so with Monnier's help, she opened an English-language bookstore and lending library that she named 'Shakespeare and Company'. Sylvia Beach and Adrienne Monnier lived together for 36 years until Monnier's suicide in 1955.

Stephen Spender
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits' (1990). Photo: Jerry Bauer. Caption: Sir Stephen Spender (British, b. 1909). A poet of the Auden generation, a man of the left who fought with the Loyalists in the Spanish Civil War; today he is a cultural critic and celebrated man of letters ('The Temple' 1988).

Sir Stephen Spender CBE (1909-1995) was an English poet, novelist and essayist whose work concentrated on themes of social injustice and the class struggle. He was appointed U.S. Poet Laureate Consultant in Poetry to the Library of Congress in 1965. Spender had multiple relationships with both men and women during his life. In 1933, he fell in love with Tony Hyndman, and they lived together from 1935 to 1936. In 1934, Spender had an affair with Muriel Gardiner. In a letter to Christopher Isherwood in September 1934, he wrote, "I find boys much more attractive, in fact I am rather more than usually susceptible, but actually I find the actual sexual act with women more satisfactory, more terrible, more disgusting, and, in fact, more everything". In December 1936, shortly after his relationship with Hyndman, Spender fell in love with and married Inez Pearn after a three-week engagement. The marriage broke down in 1939. In 1941, Spender married Natasha Litvin, a concert pianist. The marriage lasted until his death. Spender wrote the script for the film The Fool and the Princess (William C. Hammond, 1949).

Truman Capote
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Popperfoto, London. Caption: Truman Capote (American, 1924-1984). Author and celebrity, he is best known for 'Breakfast at Tiffany's' and his non-fiction crime novel Ín Cold Blood'.

In the early 1950s, Truman Capote took on Broadway and films. He adapted his 1951 novella, 'The Grass Harp', into a 1952 play of the same name. In 1971, he turned it into a musical, and in 1995, Charles Matthau made the film version. In the fall of 1952, film producer David O. Selznick hired Capote alongside two Hollywood screenwriters for the script of Stazione Termini / Terminal Station (Vittorio De Sica, 1953) starring Jennifer Jones. A few months later, in early 1953, John Huston hired him for Beat the Devil (1953), starring Humphrey Bogart. In 1960, while writing 'In Cold Blood', Jack Clayton approached him to rewrite the script for The Innocents (1961). Capote set aside his novel and in eight weeks produced the script used for the final film. Capote's work and life story have inspired more than 20 films and television productions.

Vaslav Nijinsky
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: Popperfoto, London. Caption: Vaslav Nijinsky (Russian, 1890-1950). Legendary dancer, he is shown in costume for 'The Afternoon of the Faun', first performed for Sergei Diaghilev's Ballets Russes in Paris, 1912.

Serge Diaghilev was deeply involved in directing and managing Vaslav Nijinsky's career. Nijinsky became the Ballets Russes' star male dancer, causing an enormous stir amongst audiences whenever he performed. For Diaghilev, Vaslav Nijinsky choreographed such influential ballets as 'L'après-midi d'un faune' (1912), 'Le Sacre du Printemps' (1913), 'Jeux' (1913), and 'Till Eulenspiegel' (1916). He was celebrated for his virtuosity and for the depth and intensity of his characterisations. He could dance en pointe, a rare skill among male dancers at the time, and was admired for his seemingly gravity-defying leaps. In 1980, Herbert Ross directed the film Nijinsky (1980), starring professional dancers George de la Peña as Nijinsky and Leslie Browne as Romola, with Alan Bates as Diaghilev and Jeremy Irons as Fokine. Romola Nijinsky had a writing credit for the film. In 2001, followed The Diaries of Vaslav Nijinsky (2001), written, shot, edited and directed by Paul Cox. He based the screenplay on Nijinsky's diaries, narrated by Derek Jacobi, with related imagery, including several Leigh Warren Dancers portraying Nijinsky.

Virginia Woolf
American postcard by Pomegranate, Petaluma, CA. Postcard from the book 'Gay Portraits'. Photo: The Illustrated London News. Caption: Virginia Woolf (English, 1882-1941). Prolific writer of genius and formidable intellect, a priestess of the modernist movement. Works include 'To the Lighthouse' (1927) and 'The Waves' (1931).

Virginia Woolf began publishing professionally in 1904 and rose to prominence during the interwar period with novels including 'Mrs Dalloway' (1925), 'To the Lighthouse' (1927), and 'Orlando' (1928). She also wrote the influential feminist essay 'A Room of One's Own' (1929), followed by 'Three Guineas' (1938), which explores the roots of fascism in society. Her work became central to 1970s feminist criticism and remains influential worldwide. Woolf had several affairs with women, the most notable being with Vita Sackville-West. The two women developed a deep connection; Vita was arguably one of the few people in Virginia's adult life that she was truly close to. Several of Woolf's works were filmed. Dutch director Annette Apon made a film version of 'The Waves', Golven / Waves (1982). Sally Potter adapted 'Orlando' for the screen, Orlando (1992), starring Tilda Swinton. Dutch film director Marleen Gorris made a film version of 'Mrs Dalloway', Mrs Dalloway (1997), with Vanessa Redgrave and Natascha McElhone in the title role.

Gay Portraits
Cover of 'Gay Portraits, A Book of Postcards' by Pomegranate Artbooks, San Francisco, no. A555, 1990. Cover design: Katie Burke.

Gay Portraits, Flip Side
Back cover of 'Gay Portraits, A Book of Postcards' by Pomegranate Artbooks, San Francisco, no. A555, 1990.

Sources: Steve Shelokhonov (IMDb), Dimos I (IMDb), Christine L. DeSimone (IMDb), Walter Yablonsky (Facebook), Philip Fagan (Thee Bat City Vangarde), Wikipedia and IMDb.

10 October 2026

Directed by Robert Wiene

Ivo Blom is in Italy to attend the 45th edition of 'Le Giornate del Cinema Muto' in Pordenone. One of the programme sections of this silent film festival is 'Weimar Uncensored'. One of the films is Genuine (1920), an expressionist silent film starring Fern Andra. The maker is the Hungarian-Czechoslovak film director and screenwriter Robert Wiene (1873-1938), who became particularly famous for another expressionist film, Das Kabinett des Dr. Caligari / The Cabinet of Dr Caligari (1919), a milestone in film history.

Fern Andra and Hans Heinrich von Twardowski in Genuine (1920)
German postcard by Ross Verlag, no. 643/10. Photo: Decla. Fern Andra and Hans Heinrich von Twardowski in Genuine (Robert Wiene, 1920).

Conrad Veidt and Lil Dagover in Das Kabinett des Dr. Caligari (1920)
Swiss-German-British postcard by News Productions, Baulmes / Filmwelt Berlin, Bakede / News Productions, Stroud, no. 56535. Photo: Collection Cinémathèque Suisse, Lausanne. Conrad Veidt and Lil Dagover in Das Kabinett des Dr. Caligari / The Cabinet of Dr. Caligari (Robert Wiene, 1920), produced by Decla Film, Berlin - Bolz und Cie.

Henny Porten in I.N.R.I. (1923)
German postcard by Ross Verlag, no. 666/1. Photo: Neumann. Henny Porten as Mary in the Biblical film I.N.R.I. (Robert Wiene, 1923).

Henny Porten and Asta Nielsen in I.N.R.I. (1923)
German postcard by Ross Verlag, Berlin, no. 667/4. Photo: Neumann. Asta Nielsen as Mary Magdalen and Henny Porten as the Virgin Mary in the Biblical film I.N.R.I. (Robert Wiene, 1923).

Grigori Chmara in Raskolnikow (1923)
German postcard by Ross Verlag, Berlin, no. 1005/2, 1927-1928. Photo: Oertel, Berlin. Grigori Chmara in Raskolnikow (Robert Wiene, 1923).

Turning his attention to the new medium of film


Robert Wiene was born in 1873 in Breslau, in the German Province of Silesia (now the city of Wrocław in Poland). He was born into a family of artists. His parents were Pauline Loevy and Karl Wiene, who later became a Royal Saxon Court Actor. His younger brother, Conrad Wiene, also became a theatre actor and film director. From 1894 on, he studied law in Vienna. He then enrolled at Humboldt University in Berlin to continue his studies of law. He developed an interest in the theatre and appeared in minor roles. Wiene practised law in Weimar until 1908, when he moved back to Vienna to manage two small theatres in succession, the Kleines Schauspielhaus and the Neue Wiener Bühne. Wiene turned his attention to the new medium of film. From 1912, he worked in Germany and Austria as a writer and director in the film business. His first involvement with film was writing and (possibly) co-directing Die Waffen der Jugend / The Weapons of Youth (Friedrich Müller, 1913). Another early work as director was the German comedy of mistaken identity, Er rechts – sie links / He on the Right – She on the Left (Robert Wiene, 1914), with Otto Treptow and Manny Ziener. The story was based on the play 'Separate Bedrooms' by Adolf Glinger and Otto Taussig, who also wrote the screenplay.

From 1915, he worked as a writer and dramaturg for Messter Film, where he also directed the comedy Die Konservenbraut / The Canned Bride (Robert Wiene, 1915) with Paul Biensfeldt and Guido Herzfeld. For Messter, he also directed Erna Morena and Emil Jannings in his first leading role in the melodrama Frau Eva / Mrs. Eva (Robert Wiene, 1916). Wiene directed popular star Henny Porten in Die Räuberbraut / The Robber Bride (Robert Wiene, 1916) and in the comedy Die Prinzessin von Neutralien / The Princess of Neutralia (Robert Wiene, 1917). He also wrote the scripts for a series of 18 films starring Porten, including Gräfin Küchenfee / Countess Kitchenmaid (Rudolf Biebrach, 1918), Edelsteine / Precious Stones (Rudolf Biebrach, 1918), Auf Probe gestellt / Put to the Test (Rudolf Biebrach, 1918), Das Geschlecht derer von Ringwall / The Ringwall Family (Rudolf Biebrach, 1918), Agnes Arnau und ihre drei Freier / Agnes Arnau and Her Three Suitors (Rudolf Biebrach, 1918), Die Heimkehr des Odysseus / The Homecoming of Odysseus (Rudolf Biebrach, 1918), Die Dame, der Teufel und die Probiermamsell / The Lady, the Devil and the Model (Rudolf Biebrach, 1918), and Ihr Sport / Her Sport (Rudolf Biebrach, 1919).

Robert Wiene is best known as the director of the Expressionist classic Das Cabinet des Dr. Caligari / The Cabinet of Dr Caligari (1919), although the extent of his specific contribution to the film remains a matter of debate to this day. Producer Erich Pommer approached him to adapt the screenplay by Carl Mayer and Hans Janowitz for Decla-Film. Conrad Veidt plays a sleepwalker who is paraded around as a fairground attraction by the shady Dr Caligari (Werner Krauss) during the day and who commits murders at night. In a parallel narrative, this story is recounted by an inmate of a mental asylum who accuses his director of being none other than Dr Caligari himself. The film became famous for its extraordinary and innovative style, which combined painted and constructed, grotesquely distorted sets with high-contrast lighting and painted light and shadow. It is often cited as a prime example of Expressionist cinema. The sets for the film were designed by Walter Reimann, Hermann Warm and Walter Röhrig. Upon its release in Germany, the film was a huge success before being screened all over the world. The Cabinet of Dr Caligari was the first film to be screened in the United States after the end of the First World War. The film's success helped German cinema achieve international artistic recognition and had a significant impact on its ‘image’.

He continued to collaborate with Carl Mayer and subsequently directed Genuine (Robert Wiene, 1920), also set against an Expressionist backdrop. The film begins with a framing narrative: a painter is obsessed with a painting he has created himself – the portrait of a young woman in exotic dress, the heroine of an ancient legend. His friends are concerned for his sanity and try to persuade him to sell the painting, but he refuses. Whilst reading the story of the woman depicted in a book, he falls asleep. At that moment, the painting comes to life: the young woman, Genuine (Fern Andra), steps out of the frame and leans over the sleeping painter. Genuine is a priestess of an esoteric Eastern sect. Fern Andra's costumes were specially designed for her by painter Cesar Klein. He turned her mysterious priest into one of the most stylised characters of German Expressionism. The film did not do well at the box office. Wiene also wrote the script for F.W. Murnau's drama Satanas (1920), which is now considered lost.

Also remarkable is Robert Wiene’s third expressionist film, Raskolnikow / Raskolnikov (1923), an adaptation of Fyodor Dostoevsky's 'Crime and Punishment' starring Gregori Chmara. According to German Wikipedia, it marked the second high point of Wiene's career. The sets were designed by Andrei Andreyev, who created a labyrinthine and distorted set in the style of The Cabinet of Dr Caligari. The actors all came from Stanislavski’s Moscow Art Theatre (MChAT). Chmara also starred as Jesus Christ in I.N.R.I. – Ein Film der Menschlichkeit / I.N.R.I. – A Film of Humanity (Robert Wiene, 1923), in which Wiene adapted the Passion of Christ for the screen, based on a novel by Peter Rosegger. Wiene's last film of the ‘Caligarism’ era was the Horror film Orlac’s Hände / The Hands of Orlac (Robert Wiene, 1924), based on the fantastic novella by Maurice Renard. Conrad Veidt plays a genius pianist who, after an accident, is transplanted with the hands of a murderer and starts to believe that he is also a murderer. Wiene had returned to form with this 1924 opus, but German Wikipedia writes that he would make only rather second-rate films from now on.

Emil Jannings in Fromont Junior, Risler Senior a.k.a. Frau Eva (1915-1916)
German collector card by Ross Verlag in the series Vom Werden Deutscher Filmkunst - Der Stumme Film, no, 29, Group 43. Photo: publicity still for Arme Eva (Robert Wiene, 1914). Caption: Emil Jannings, jung und schön, in seinem ersten Film, Fromont junior, Risler senior. (Emil Jannings, young and handsome, in his first film, Fromont junior, Risler senior. According to other sources, Arme Eva (Robert Wiene, 1914), featuring Erna Morena, was his first film. IMDb mentions two Eva-films, both by Wiene and both starring Morena and Jannings: Arme Eva (1914) and Frau Eva (1916) - a sequel, a remake or just the same film? However, IMDb mentions that the second was based on a play by Alphonse Daudet! And yes, Revolvy confirms: "It was based on the 1874 novel Fromont and Risler by Alphonse Daudet." And at the German Early Film Database and Filmportal.de, there is no mention of Arme Eva, just Frau Eva (1915-1916). At Filmportal.de, this picture illustrates the film page...

Henny Porten in Die Rauberbraut
German postcard in the Film Sterne series by Rotophot, no. 500/1. Photo: Messter Film, Berlin. Henny Porten in Die Räuberbraut / The Robber Bride (Robert Wiene 1916).

Henny Porten and Bruno Decarli in Das wandernde Licht (1916)
German postcard in the Film-Sterne series by Rotophot, no. 500/8. Photo: Messter Film, Berlin. Henny Porten and Bruno Decarli in Das wandernde Licht / The Wandering Light (Robert Wiene, 1916).

Henny Porten in Der Liebesbrief der Königin
German postcard by Rotophot in the Film-Sterne series, no. 500/11. Photo: Messter-Film, Berlin. Henny Porten in Der Liebesbrief der Königin / The Queen's Love Letter (Robert Wiene, 1916).

Henny Porten in Grafin Küchenfee (1918)
German postcard in the Film Sterne series by Rotophot, no. 507/1. Photo: Messter Film, Berlin. Henny Porten in Gräfin Küchenfee / Countess Kitchen Fairy (Robert Wiene, 1918).

A dismissal as undeserved as the extravagant praise


In 1919 Robert Wiene founded with Heinz Hanus the Filmbund (Film Union), a professional association of film directors, which he managed until 1922. It was one of the first organisations of its kind in Europe. In 1924, Wiene returned to Vienna, where he became the artistic director of Pan-Film AG together with the writer Ludwig Nerz. In the late 1920s and 1930s, Wiene directed many light-hearted entertainment films for Pan-Film.

Interesting is Der Rosenkavalier / The Knight of the Rose (Robert Wiene, 1926), his film adaptation of Richard Strauss’s opera. The film stars a French-German cast including Huguette Duflos, Paul Hartmann and Jaque Catelain. The film was produced in collaboration with the composer and the librettist Hugo von Hofmannsthal. Hofmannsthal considerably changed the storyline for the film version, which included a final scene in the formal gardens behind the Field Marshal's residence, and Strauss' score included music not only from the opera but also sections of his Couperin Suite and a march for the Field Marshal, who appears in this version. For Pan-Film, Wiene also directed the court romance Die Geliebte / The Loved One (1926) with Harry Liedtke, Die Frau auf der Folter / Scandal in Paris (Robert Wiene, 1928) and Die große Abenteuerin / The Amateur Adventure (Robert Wiene, 1928), both starring Lily Damita in the leading role.

His first sound film, Der Andere / The Other (Robert Wiene, 1930) was a remake of Max Mack's film from 1913. It is a variation on the Jekyll & Hyde motif, starring Fritz Kortner in the leading role of attorney Hallers. Four months after the National Socialists’ rise to power, Wiene's latest film, the drama Taifun / Typhoon (Robert Wiene, 1933) starring Liane Haid and Viktor de Kowa, was banned on 3 May 1933. The film was banned for several reasons, particularly what was perceived as the unflattering portrayal of Europeans in contrast to the noble Asian characters. The censors were also concerned that the incompetence of the French justice system would be taken by audiences to mean the German one, undermining their faith in it. Robert Wiene, who was of Jewish descent, was forced to go into exile. A Hungarian film company had been inviting German directors to come to Budapest to make films in simultaneous German/Hungarian versions. In 1934, given his uncertain career prospects under the Nazi regime, he left the Third Reich for Hungary, then Britain and finally France.

In Budapest, he directed the operetta film Eine Nacht in Venedig / One Night in Venice (Robert Wiene, 1934), starring Tino Pattiera. It was made at the Hunnia Studios with three weeks of location shooting in Venice. In common with the practice of multi-language versions at the time, the film was also made in a separate Hungarian language version, Egy éj Velencében, based on the same screenplay. The Hunnia Studios specialised in such co-productions during the era. The two versions were shot simultaneously. The Hungarian version was co-directed by Wiene and Géza von Cziffra and used a separate cast of Hungarian actors. The film appears to have been popular with Austrian and German audiences, although its critical reception was less enthusiastic.

During the next four years, Wiene struggled to raise financing in London and Paris for his projects and did not make a single film. In Paris, he tried to produce a sound remake of The Cabinet of Dr. Caligari, together with Jean Cocteau. The attempt failed. Suffering from cancer, he was unable to complete his final film, the French period drama Ultimatum (1938) starring Dita Parlo and Erich von Stroheim. The film's plot is set in 1914 against the backdrop of the July Crisis between the assassination of Archduke Franz Ferdinand and the beginning of the First World War. It focuses on the relationship between a Serbian officer and his Austrian-born wife and their involvement in espionage between the countries. The film was finished by another exiled director, Wiene's friend Robert Siodmak. Robert Wiene died at the Rémusat Clinic in the 16th arrondissement of Paris on 15 July 1938. He was 65. His grave is located at the Bagneux cemetery in Paris. Only around 20 of the more than 90 films on which Wiene worked still exist today. His surviving output is uneven. After World War II, historians re-evaluated Wiene and dismissed his role in Das Cabinet des Dr. Caligari / The Cabinet of Dr Caligari (1919). IMDb: "[Historians] attributed the brilliance of 'Caligari' to everyone involved except the director - a dismissal as undeserved as the extravagant praise. (...) Wiene's oeuvre exhibits a surprising versatility and quality."

I.N.R.I.
German postcard by Ross Verlag, Berlin, no. 666/6. Photo: Neumann. Theodor Becker as the Roman captain in the Biblical film I.N.R.I. / Crown of Thorns (Robert Wiene, 1923).

Jaque Catelain in Der Rosenkavalier (1925)
German postcard by Ross Verlag, no. 47/1. Photo: Bruckmann-Verleih / Robert Wiene-Produktion der Pan-Film A.-G., Vienna. Jaque Catelain and Elli Felicie Berger in Der Rosenkavalier / The Knight of the Rose (Robert Wiene, 1925).

Jaque Catelain and Huguette Duflos in Der Rosenkavalier (1925)
German postcard by Ross Verlag, no. 47/2. Photo: Bruckmann-Verleih / Robert Wiene-Produktion der Pan-Film A.-G., Vienna. Huguette Duflos and Jaque Catelain in the Austrian silent film Der Rosenkavalier (Robert Wiene, 1925), adapted from the opera by Richard Strauss with libretto by Hugo von Hofmannsthal.

Maria Corda and Alfred Abel in Der Gardeoffizier
Former Kingdom of Yugoslavia (Croatian) postcard by Jos. Caklovic, Zagreb, no. 59. Photo: Pan Film, Zagreb. Maria Corda and Alfred Abel in Der Gardeoffizier / The Guardsman (Robert Wiene, 1927), based on the play 'A testör' by Ferenc Molnár. The man kneeling and begging for forgiveness is Abel. The man in the back may be Anton Edthofer, who plays a critic.

Erich von Stroheim
French promotion card in the Les Vedettes de l'Ecran series. Erich von Stroheim in Ultimatum (Robert Wiene, Robert Siodmak, 1938).

Fern Andra and Hans Heinrich von Twardowski in Genuine (1920)
Italian promotion card for Le Giornate del Cinema Muto / Pordenone Silent Film Festival 45. Photo: Collection La Cinémathèque française. Fern Andra and Hans Heinrich von Twardowski in Genuine (Robert Wiene, 1920).

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

09 October 2026

Weimar Uncensored

One of the fascinating sections at the Podenone Silent Film Festival, Le Giornate del Cinema Muto 2026, is Weimar Uncensored. Very popular in Germany and Austria during the late 1910s and the early 1920s were 'Aufklärungsfilme'. These were educational films on prostitution, venereal diseases, the white slave trade, drugs and homosexuality. The first Aufklärungsfilm was produced during the First World War. Commissioned by the German War Ministry, Richard Oswald made Es werde Licht! / Let There Be Light! in 1917, about sexually transmitted diseases. This film was followed by three more educational productions. Oswald's Anders als die Andern / Different from the Others (1919) was the first film to address and criticise the societal discrimination against homosexuals. After the end of the First World War, in the Weimar Republic was initially no film censorship until 1920. 'Sittenfilme'(voyeuristic films) began to appear alongside the more serious Aufklärungsfilme. These films were produced purely for commercial gain. They advertised themselves with sensational titles like Hyänen der Lust / Hyenas of Lust (1919) and appealed primarily to male viewers who expected explicit scenes and nudity. Often, such films pretended to be 'Aufklärungsfilme'. One example is Tänze des Grauens und Lasters / Dances of Horror and Vice (1923), featuring a boisterous, semi-nude Anita Berber. The wave of Aufklärungsfilme ended before 1925, when the Sittenfilme pushed it out of cinemas.

Richard Oswald
German postcard by Photochemie, Berlin, no. K. 220. Photo: A. Binder, Berlin. Richard Oswald (1880-1963) is considered the founder of the so-called 'Aufklärungsfilme' (enlightenment films). With the participation of the sex researcher Magnus Hirschfeld, he devoted himself towards the end of the First World War to taboo subjects and punishable acts in the four-part film cycle Es werde Licht! / Let There Be Light (Richard Oswald, 1916-1918). The films were a protest against Germany's anti-abortion law and also touched on the dangers of syphilis and other venereal diseases. Es werde Licht! is considered the forefather of all sex education films.

Theodor Loos and Eva Speyer in Es werde Licht, Part II
German postcard by Verlag Hermann Leiser, Berlin, no. 3207. Photo: Richard Oswald-Film. Theodor Loos and Eva Speyer in Es werde Licht II / Let There Be Light!, Part II (Richard Oswald, 1918).

Es werde Licht, II (1918)
German postcard by Verlag Hermann Leiser, Berlin, no. 3208. Photo: Richard Oswald-Film. Bernd Aldor and Paul Hartmann in the Aufklärungsfilm Es werde Licht! II / Let There Be Light, part II (Richard Oswald, 1918). Part II was shot in 1917 and premiered in Berlin in January 1918. Part II of this four-part film on syphilis raises a moral question: namely, to what extent should the disease be regarded as a human disgrace? The protagonist, a young doctor (Theodor Loos), believes that only people of poor character can fall prey to the disease through reprehensible acts. At a gathering in honour of a venereologist, a heated dispute erupts between the doctor, who applies moral judgments, and a colleague who argues on a more objective basis [Aldor?]. Two events cause the dogmatic young doctor to reflect: his sister (Rita Clermont) marries a man with syphilis who has not yet fully recovered [Hartmann?], and he himself contracts the disease after being kissed by a young woman who also suffers from syphilis. However, the doctor is cured and reevaluates his previous stance.

Charlotte Böcklin in Das Schicksal der Anne Wolter (1918)
German postcard in the Film-Sterne series by Rotophot, no. 555/3. Photo: Decla. Charlotte Böcklin (far right) in Der Weg, der zur Verdammnis führt, I. Das Schicksal der Anne Wolter / The Fate of Anne Wolter (Otto Rippert, 1918). Der Weg, der zur Verdammnis führt / The Road to Damnation (1918) was a two-part ' Sittenfilm ', an exploitation film about white slavery. Both parts were directed by Rippert, and the second part was called Hyänen der Lust / Hyenas of Lust (1919). They were both box-office hits.

Charlotte Böcklin in Das Schicksal der Anne Wolter (1918)
German postcard by Rotophot in the Film-Sterne series, no. 555/7. Photo: Decla. Charlotte Böcklin in Der Weg, der zur Verdammnis führt, I. Das Schicksal der Anne Wolter / The Fate of Anne Wolter (Otto Rippert, 1918). Anne Wolter (Charlotte Böcklin) falls into the hands of scheming white slave traders. She is taken to a bordello in Cairo, where she does not survive her tortures. In name, the film was made by the Gesellschaft zur Bekämpfung des Mädchenhandels (Society for the Struggle Against White Slavery) to inform the public about the trafficking of European girls and their impressment into prostitution, often in South America.

Reinhold Schünzel and Ilka Grüning in Die sich verkaufen
German postcard by Ross Verlag, Berlin, no. 616/2. Photo: Richard-Oswald-Film. Reinhold Schünzel and Ilka Grüning in Die sich verkaufen, part 2 of the series Prostitution (Richard Oswald, 1919).

Erna Morena in Das Tagebuch einer Verlorenen (1918)
German postcard by Rotophot in the Film Sterne series, no. 529/2. Photo: Richard Oswald-Film. Erna Morena in Das Tagebuch einer Verlorenen / The Diary of a Lost Woman (Richard Oswald, 1918). The pharmacist's daughter Thymian Gotteball (Morena) is seduced and made pregnant by Provisor Meinert (Werner Krauss), an employee of her father (Paul Rehkopf). After the birth of her child, she is rejected by her own family and sent to an educational institution. As a result, she is becoming increasingly marginalised. The film was offered to the German censor in July 1918, but despite many cuts, it was forbidden for the remainder of the war. Still, one month before the armistice ended the First World War, in October 1918, the film premiered in Berlin.

Erna Morena and Reinhold Schünzel in Das Tagebuch einer Verlorenen
German postcard in the Film Sterne series by Rotophot, no. 529/4. Photo: Richard Oswald-Film. Erna Morena and Reinhold Schünzel in Das Tagebuch einer Verlorenen / The Diary of a Lost Woman (Richard Oswald, 1918), based on the homonymous novel (1905) by Margarete Böhme. Among Oswald's Aufklärungsfilme are Das Tagebuch einer Verlorenen / The Diary of a Lost Woman (Richard Oswald, 1918) and the sadomasochistic case study Dida Ibsens Geschichte / Dida Ibsen's Story (Richard Oswald, 1918), starring Oswald's star Anita Berber. In 1929, G.W. Pabst would film another adaptation of Das Tagebuch einer Verlorenen / The Diary of a Lost Woman, starring Louise Brooks, while already in 1912 an earlier adaptation by Fritz Bernhardt had taken place.

Anita Berber
German postcard by Verlag Ross, Berlin, no. 279/1. Photo: Becker & Maass. Expressionistic dancer and film actress Anita Berber (1899–1928) challenged many taboos during the Weimar period. With her drug and booze addiction and her bisexual affairs, she epitomised the decadence of 1920s Berlin. Her charcoaled eyes, black lipstick and bright red, bobbed hair featured in her famous portrait by Otto Dix and in silent films by Richard Oswald and Fritz Lang.

Bernd Aldor in Das Bildnis des Dorian Gray (1917)
German postcard by Verlag Hermann Leiser, Berlin, no. 3151. Photo: Richard-Oswald-Produktion. Bernd Aldor as Dorian Gray in Das Bildnis des Dorian Gray (Richard Oswald, 1917), an adaptation of Oscar Wilde's 'The Picture of Dorian Gray'. In Victorian England, Lord Henry Wotton observes his friend, artist Basil Hallward, painting the portrait of Dorian Gray, a wealthy young man who is Basil's ultimate muse. The hedonistic Lord Henry thinks that beauty is the only aspect of life worth pursuing, prompting Dorian to wish that his portrait would age instead of himself.

Bernd Aldor in Das Bildnis des Dorian Gray (1917)
German postcard by Hermann Leiser Verlag, Berlin, no. 3152. Photo: Richard-Oswald-Produktion. Bernd Aldor in Das Bildnis des Dorian Gray / The Picture of Dorian Gray (Richard Oswald, 1917). The novel's representation of homoeroticism is subtle yet present by manifesting itself through interactions between male characters in a way that challenges the strict social norms of Victorian England.

Conrad Veidt
German postcard by Ross Verlag, no. 501/1, 1919-1924. Photo: Curt Meyer, Berlin. Conrad Veidt (1893–1943) was the most highly strung and romantically handsome of the German expressionist actors. He was the star of one of the most high-profile Aufklärungsfilm was Anders als die Andern / Different from the others (Richard Oswald, 1919), with Conrad Veidt and Reinhold Schünzel. The film was intended as a polemic against the then-current laws under Germany's Paragraph 175, which made homosexuality a criminal offence. Anders als die Andern is one of the first sympathetic portrayals of homosexuals in cinema. Censorship laws were enacted in reaction to films like Anders als die Andern, and by October 1920 only doctors and medical researchers could view it. Prints of the film were among the many "decadent" works burned by the Nazis after they came to power in 1933.

Ellen Kurty in Mädchen, die man nicht heiratet (1924)
Yugoslav postcard by Jos. Caklovic Bromografia, Zagreb, no. 3. Photo: Pan-Film, Zagreb. Ellen Kurty in Mädchen, die man nicht heiratet / Girls You Don't Marry (Géza von Bolváry, 1924).

Asta Nielsen in Die freudlose Gasse (1925)
German postcard by Ross Verlag, no. 1020/1. Photo: Curt Oertel, Berlin. Asta Nielsen in Die freudlose Gasse / Joyless Street (G.W. Pabst, 1925). In 1929, Dutch painter Pyke Koch painted Nielsen's portrait, using one of Oertel's photos. The painting is now at the Centraal Museum, Utrecht.

Source: Wikipedia (German and English) and IMDb.