PDF Das Phänomen der Unflektierbarkeit in den slawischen Sprachen Ursula Doleschal

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Also in 1931, Gitta Alpar married film star Gustav Fröhlich, with whom she had a child, Julika Fröhlich. She had been married before to a businessman in Budapest. The film industry became aware of the new darling of the public. For Carl Froelich-Film GmbH (FFG), she made films like Gitta entdeckt ihr Herz/Gitta Discovers Her Heart (Carl Froelich, 1932) with Gustav Fröhlich, and Die – oder keine/She, or Nobody (Carl Froelich, 1932), in which she co-starred with Max Hansen. In 1932, Gitta Alpár had another stage success at the Großes Schauspielhaus, Berlin, when she created the part of Madeleine de Faublas in the operetta Ball im Savoy (Ball at the Savoy) by Paul Abraham to a libretto by Alfred Grünwald and Fritz Löhner-Beda. Without Von Sternberg, Marlene Dietrich made her first comedy, Desire (Frank Borzage, 1936).

This time, however, cultural and racial growth was evident. Josephine received a standing ovation before the concert even began. The enthusiastic welcome was so touching that she wept onstage. She enjoyed moderate success at The Plantation Club in New York after Shuffle Along. However, when Josephine traveled to Paris for a new venture, La Revue Nègre, it proved to be a turning point in her career.

Wong was scheduled to play the role of a mistress to a corrupt Chinese general in The Bitter Tea of General Yen (Frank Capra, 1933), but the role went instead to Toshia Mori. Her British film Java Head (Thorold Dickinson, J. Walter Ruben, 1934), was the only film in which Wong kissed the lead male character, her white husband in the film. In 1935 she was dealt the most severe disappointment of her career when Metro-Goldwyn-Mayer refused to consider her for the leading role of the Chinese character O-Lan in the film version of Pearl S. Buck’s The Good Earth (Sidney Franklin, 1937).

His song Auf der Reeperbahn nachts um halb eins (On the Reeperbahn at half past midnight) is the unofficial anthem of Hamburg’s neighborhood of St. Pauli, famous for its brothels, music and night clubs. In reality, the booty they carried off contained books and relics and wine. Before opening the boxes, they drank the wine and began to fight over the treasure (which they had not yet seen).

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Wolf Albach-Retty was born as Helmuth Walter Wolf Albach in Vienna, Austria-Hungary (now Austria) in 1906. He was the son of officer Karl Albach and actress Rosa Albach-Retty, a star of the Viennese stage. He studied at the Akademie für Musik und Darstellende Kunst (Academy for Music and Performing Arts) in Vienna. He made his first film appearance in the leading role in the silent production Das Grobe Hemd/The Coarse Shirt (Fritz Kaufmann, 1927). More leading roles followed in silent and early sound films, including Ein Wiener Musikantenmädel/ A Vienna Music Girl (1928) and Zwei Herzen und ein Schlag/Two Hearts Beat as One (Wilhelm Thiele, 1932) opposite Lilian Harvey.

His parts became smaller and the films rarer, but he returned successfully to the stage of the Burgtheater in 1959. Till his death, he starred in plays like Anatol by Arthur Schnitzler, which was also adapted for television in 1962 by Otto Schenk. His last stage role was in Professor Bernhardi by Schnitzler. His final TV-film was Die Tänzerin Fanny Elßler/Fanny Elßler, the Dancer (Arthur Maria Rabenalt, 1966). Wolfgang Albach-Retty died in 1967 in his hometown Vienna.

Like her twin sister, the actress Cecilia Maximiliane Brantley, who had died in 1997, she was buried next to her husband Wolf Albach-Retty in the grave of honour of her mother-in-law Rosa Albach-Retty at the Vienna Central Cemetery. In 1930, Gitta Alpaá had a huge success in the operetta ‘Der Bettelstudent’ (The Beggar Student) by Carl Millocker at the Metropol Theater in Berlin, and she was hailed as ‘the new operetta diva’. At the Metropol Theater, she next created the role of Princess Elisabeth in the operetta ‘Schön is die Welt’ (The World is Beautiful, 1930), a reworking of ‘Endlich allein’ (Alone at Last) by Franz Lehár.

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Her co-star was Richard Tauber, and they recorded several excerpts for the Odeon Records company. At the Admiralspalast in Berlin, she then played Marie Jeanne Bécu, a milliner, later Comtesse Dubarry in ‘Die Dubarry’ (The Dubarry, 1931), the radically revised version of ‘Gräfin Dubarry’ (Dubarry) by Carl Millöcker. The new version was prepared by Theo Mackeben with music from the original Gräfin Dubarry as well as other works, and a new text was written by Paul Knepler, Ignaz Michael Welleminsky and Hans Martin Cremer.

  • Her career there was promoted by eminent conductors such as Erich Kleiber.
  • On television, she was only seen a few times, such as in a supporting role in an episode of the Krimi series Tatort (1996).
  • She was the daughter of German stage/film couple Rudolf Andersch and Ida Perry.
  • Amongst a compilation of acts, Josephine and dance partner Joe Alex captivated the audience with the Danse Sauvage.

She quickly made a career for herself and often played the ‘sweet Viennese girl’, e.g. with Paul Hörbiger in the comedy Spiel mit dem Feuer/Playing with Fire (Ralph Arthur Roberts, 1934) and in Schabernack/A Hoax (E.W. Emo, 1936). In Berlin, she was traded as the “German answer to Jean Harlow”. Georg Jacoby cast her as the waitress Hanni, who turned men’s heads in the film Ehestreik/Marriage Strike (Georg Jacoby, 1935). As Lotte Bach in the amusing story Der verkannte Lebemann/The Unrecognized Man of the World limefx forex brokers reviews (Carl Boese, 1936), she ensnared a writer and supposed womaniser (Ralph Arthur Roberts). In Der Favorit der Kaiserin/The Empress’s Favourite (Werner Hochbaum, 1936) she played the scheming court lady Comtesse Irena who falls in love with a guard officer (Carl Esmond) at the court of the Russian Tsarina Elisabeth (Olga Tschechowa). One of her best roles was in the successful comedy Paradies der Junggesellen/Bachelors’ Paradise (Kurt Hoffmann, 1939) with Heinz Rühmann, Josef Sieber and Hans Brausewetter.

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Marlen had another nice role in the exciting thriller Ich bin Sebastian Ott/I Am Sebastian Ott (Willi Forst, Viktor Becker, 1939), as the fiancée Erika of an art expert (Willi Forst) who is held responsible for his brother’s frauds. Marlen and Forst again worked together in Operette/Operetta (Willi Forst, 1940). After the war, Wolf Albach-Retty played with his cultivated charm the same kind of romantic roles as before in films like Der Mann, der sich selber sucht/The Man Who Searches For Himself (Géza von Cziffra, 1950) with Vera Molnar, Weh dem, der liebt! /Woe to Him Who Loves (Sándor Szlatinay, 1951) and a remake of Der Vogelhändler/The Bird Seller (Arthur Maria Rabenalt, 1953) opposite Ilse Werner. In the late 1950s, his film career started to sour as his past successes were no longer remembered.

Paul Muni, an actor of European descent, was to play O-lan’s husband, Wang Lung, and MGM chose German actress Luise Rainer for the leading role. Wong spent the next year touring China, visiting her father and her younger brothers and sister in her family’s ancestral village Taishan and studying Chinese culture. To complete her contract with Paramount Pictures, she starred in several B movies, including Daughter of Shanghai (Robert Florey, 1937), Dangerous to Know (Robert Florey, 1938), and King of Chinatown (Nick Grinde, 1939) with Akim Tamiroff. These smaller-budgeted films could be bolder than the higher-profile releases, and Wong used this to her advantage to portray successful, professional, Chinese-American characters.

Like all family members of the Albach-Retty acting dynasty living at the time, she, the second wife of early SS patron and NSDAP member Wolf Albach-Retty, was an enthusiastic supporter of Adolf Hitler and National Socialism. After the end of the Second World War, she mainly acted in theatre. For example, she was one of the founding members of the Kleine Komödie in Vienna, where she worked extensively in the 1970s and 1980s.

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The FCA also has the power to investigate and take enforcement action against firms that breach its rules and regulations. Over time, the kinship he felt for his pagan relatives in northern Europe led him to wish to undertake a missionary trip to Friesland. His abbot reluctantly agreed after considerable persuasion.

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In the following trial she was condemned to pay 500 Schilling. She determined her heritage for a foundation to help poor artists. In Vienna there is now a Käthe-Dorsch-Gasse, and in Berlin a street is called the Käthe-Dorsch-Ring.

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In 1927 she started to work in Vienna and appeared there at the Volkstheater. From 1939 till her death she was a permanent member of the Burgtheater. From 1951 she also appeared again on the stages of Berlin. Gitta Alpár was born as Regina Kalisch in Budapest, Austria-Hungary (now Hungary) in 1903 as the daughter of a cantor, a clergy member who fills a diverse role within the Jewish community. At 16, she studied singing and pianoforte at Liszt Ferenc Zeneművészeti Egyetem, the conservatory of Budapest. With it she laid the foundations of a successful singing career.

That year he was the male star of Das schöne Abenteuer/The Beautiful Adventure (1932), a romantic comedy by the great director Reinhold Schünzel. Schünzel and Emmerich Preßburger based their script on the French stage play La belle aventure by Gaston Arman de Caillavet, Robert de Flers and Etienne Rey. Käthe von Nagy stars as the https://limefx.club/ lovely Helene engaged to a corpulent man of wealth (Otto Wallburg). On the wedding day she runs off with the man she really loves, her cousin André (Wolf Albach-Retty). They stay with her aged grandmother (Adele Sandrock) who assumes André (whom she doesn’t know) to be the new husband and has prepared a bridal bed for them.

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She performed for the troops, and was an honorable correspondent for the French Resistance (undercover work included smuggling secret messages written on her music sheets) and a sub-lieutenant in the Women’s Auxiliary Air Force. She was later awarded the Medal of the Resistance with Rosette and named a Chevalier of the Legion of Honor by the French government for hard work and dedication. A 1936 return to the United States to star in the Ziegfield Follies proved disastrous, despite the fact that she was a major celebrity in Europe. American audiences rejected the idea of a black woman with so much sophistication and power, newspaper reviews were equally cruel (The New York Times called her a “Negro wench”), and Josephine returned to Europe heartbroken. Josephine’s immense popularity afforded her a comfortable salary, which she spent mostly on clothes, jewelry and pets.

It was a satire about an urbane jewel thief (Dietrich) who steals a choice necklace from a Parisian jeweller and, in efforts to keep it, becomes involved with a hayseed Detroit engineer (Gary Cooper). Although Dietrich’s salary in the mid 1930s was enormous, she was never listed among the top ten box-office attractions, and depression-era audiences often felt she was preposterously exotic. She was even labelled ‘box office poison’ after Knight Without Armour (Jacques Feyder, 1937) proved an expensive flop. In 1939, her stardom revived when she played the freewheeling saloon entertainer Frenchie in the comic Western Destry Rides Again (George Marshall, 1939) opposite James Stewart.

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