The more Glenda, the merrier.

In continued celebration of the lovely Glenda Farrell's birthday (June 30), what better time to share more wonderful portraits?

Promotional portrait for The Secret Bride (the snipe refers to the working title of Concealment).

Swathed in stripes. Portrait by Elmer Fryer.

"Glenda Farrell, star of the films, is shown here in her latest gown for formal evening wear. It is a tuxedo suit of claret colored satin. Her tailored blouse is flesh marquisette with tiny pleated cuffs and a bow tie at the neckline. Her poke bonnet hat has a starched veil of the same shade as her suit."

"Glenda's Weakness is Black and White. Glenda Farrell, star of the shadow drama, can't resist costumes which feature the ever popular black and white motif, and in this one she found a really unique adaptation of the blending. Her dress is of black woolen cloth and the lapels, hat and high gauntlet gloves are of leather."

Promotional portrait for The Keyhole. A fantastic animal print combination that looks...
...quite familiar! Still from The Mystery of the Wax Museum.


In the cards.

While Edith Meinhard may not have been a superstar in her heyday, she did have fans who sought out her autograph, received substantial press for even minor roles, and was popular enough to be included on collectible cigarette cards. 

Borg cigarette card, ca. 1932.

Macedonia cigarette card, early 1930s. Love the hat!

These are the only two cards currently in my collection, but there is at least a third card that has been produced (number 18 in the linked Aurelia series). For anyone who may be interested, Edith's card from the Macedonia series is available for purchase on eBay (number 42 in the pulldown menu) as of the date of this post. I'm curious to learn more about the photographer behind these images, Yva. What a fascinating (though ultimately tragic) life and career.


Glad tidings.

Warmest wishes to all this holiday season! A new job (among other things) has kept me busy, but I wanted to take the time to spread some joy and cheer, this time in the form of the wonderfully hardboiled Glenda Farrell. She's become a perennial favorite and my go-to for comic relief, and she could do it in style...

Promotional portrait for Man's Castle. "The dress has a definite [bateau] neckline with a border of galyak that emphasizes the shoulders. The sleeves are modified leg-o-mutton and the belt is black suede. An unusual belt clasp has a very cute holder for a red lipstick in the center. A red pin is fastened in the black galyak trimming. Black purse, black kid shoes, black galyak hat and cream suede gloves are used with the dress."

Promotional portrait for Go Into Your Dance.

Early 1930s, most likely.

Promotional portrait for Man's Castle. "This swagger suit is fashioned of rough grey wool alternately striped in black and white and trimmed with a broad mannish collar of black Persian lamb fur. In this photograph the broad shoulders are stressed, proving once again that Hollywood creates its own fashion decrees. Miss Farrell has chosen a grey cloth hat fashioned of the same plain material as the skirt of her suit. Her other accessories for wear with this outfit are of black, resulting in an effective blend of gray, black and white."

Promotional portrait for The Shakedown. "Her fall street frock is of brown crepe trimmed with stitched white crepe, and the matching hat is created along the new Chinese trend, with a pointed peak. Orry-Kelly designed them."


Second dance.

Edith Meinhard is best known for her Weimar-era work, most notably 1929's Tagebuch einer Verlorenen (Diary of a Lost Girl), but she also held status as a featured player with major German film studio UFA in the late 1930s. Unlike the few UFA projects she completed earlier in the decade (such as 1931's Voruntersuchung), these roles were relatively minor, but she received substantial press just the same.

               Top photo, Edith is on the top left. Bottom photo, Edith is second from right (the "3"). Photo credit.

A lovely, lucky recent find.

Another acquisition, a promotional photo for 1939's Hallo Janine!


Het Weekblad, 1935

No major findings to report on the Edith Meinhard front, but while strolling the usual searches, I came across this snippet from the Dutch magazine Het Weekblad:

Interesting that it gives her birthday as November 4th instead of November 22nd, and that it names the two films for which she is still known for her most substantial roles, Diary of a Lost Girl and Voruntersuchung. It may prove useful to scope out Dutch film archives and databases...


The enchanting Jeanette.

The new year has brought another treasure to light! My latest eBay acquisition is a copy of Zeitgeschehen Unsere Illustrierte, a German publication covering current events, including upcoming film releases. This particular issue included an article on Musketier Meier III, which features Edith Meinhard in a minor role as Jeanette. Despite the bit part, she received a healthy dose of attention from the press:

Scan from Zeitgeschehen Unsere Illustrierte, featuring a lovely, rare promotional portrait of Edith (forgive the crease).

Article from Filmwoche, February 9, 1938.

Scan from the Musketier Meier III film program.


Die schleiertänzerin.

I had hoped to have a post ready for Edith Meinhard's birthday last Sunday, but family and work obligations put things on hold. New information is as scarce as ever, but I do have scans from a recently-acquired film program for Die Schleiertänzerin. The film was released in 1929, shortly after Tagebuch einer Verlorenen (Diary of a Lost Girl), and sadly is presumed lost.

The program is quite weathered and worse for wear, but it's another way to highlight the importance of preserving films and film ephemera regardless of condition. If there's sufficient interest I can and will continue to upload scans of film programs and other memorabilia. Why keep it to myself? It belongs to anyone and everyone. I'm thankful for film databases and social media groups that unite fans (and even industry professionals) and promote a continued interest in film history and the people who built it.

Also of interest, there is a new cut of Diary available from Kino. The print is crisp, clear, and luminous; Louise Brooks and Edith are both at their best. Thomas Gladysz of the Louise Brooks Society provides commentary on this edition, which includes the bonus short Windy Riley Goes Hollywood (Brooks speaks!).

More to come...