Of rats and autograph seekers.

What a treat in celebration of Edith Meinhard's birthday this year! News is a rarity, but thanks to a fellow fan in the Louise Brooks Society Facebook group (cheers, Susanne!), we can at last fill in some biographical gaps. In 1947, Edith married a man named Evald Verner Jensen, which tracks with listings I had previously found in West Berlin phone books in the 1960s. 

The above was taken from the 1968-69 phone book, which would be the last time she was listed. Edith passed away on June 26, 1968, at the age of 59. (Thanks also to Matthaus Edinger for this information.)

Also thanks to the LBS group, I came across a 1931 interview she had done for Mein Film magazine. Her charm and talent was recognized by many, and rightfully so. Without further ado, please enjoy!

(Unfortunately I only know a few German words, so the following has been automatically translated, then edited for clarity to the best of my ability. Apologies for any awkwardness herein, some things don't work out smoothly into English. I've also included scans of my personal copy for posterity.)

    I am extremely happy to be immortalized in your beautiful anniversary edition, and I would like to take the opportunity to tell you that I "got hooked” early on. My first film appearance was at the age of ten, and I was chosen by Maxim Film, who were filming an adaptation of Felix Hollander's novel "The Dancer", to play the role of the hero as a young boy. With my beguiling violin playing I could lure the rats out of their hiding places!

    God, was I scared of those rats! Even though I had made up my mind, oh, to be so brave, it took a while before I got used to the rats, and until the rats got used to me.

    This first role brought me great success and I was delighted to be able to admire my picture in all the postcard shops! And then came the high point of my ten-year existence: I was asked for an autograph! I was blessed! That seemed to me to be the culmination of fame!

    I have since overcome this overwhelming first request for my autograph, but I am always happy when I receive nice autograph letters. And for the fun of your kind readers, I will reproduce the following letter from two dear boys that I recently received:

Well-born, beautiful, gracious diva, you, our favorite film star, Edith Meinhardt!

Two of your biggest admirers send greetings and wish you the best of luck with all your films. We've seen such wonderful films with you and we cannot fail to write to you. We ask and implore you, beautiful diva, to give us two beautiful autographs. Please, please, be so good - there are no photos here, we beg you to provide some for us, and yet we hope that you are good to us, our joy would be immense. Please, please, if you can, I, Gustav B., would like a photo where you are already grown up [?], please, please, my dear one, where you can show more of your wonderful figure. Please see what you can do.

    Isn't that nice?

    I send my warmest greetings to your charming readers and the gracious editorial team, and I wish you continued well-deserved success!

I couldn't write her for an autograph, but I'm lucky to have one just the same.

Old Hollywood Kitchen: Glenda Farrell

For the first time in the Old Hollywood Kitchen we have a repeat celebrity, the wonderful Glenda Farrell. This is a recipe I've had tucked away for the right occasion, as mentioned in a previous post. When St. Patrick's Day rolled around last Sunday, her Irish Beef Stew was a natural choice.

Glenda Farrell's Irish Beef Stew

Meat mixture:

3/4 lb. round steak

1 cup carrots

1 cup potatoes

1 cup celery

1 tbsp. parsley

1 cup onion

1 cup beef suet (I omitted)

1/4 tsp. pepper

1 tsp. salt

Biscuit dough:

3 cups flour

3/4 tsp. salt

*3 tsp. baking powder

3 tbsp. shortening

1 cup milk

*Note that the instructions state to sift in 6 tsp. of baking powder. I'd stick with the 3 tsp. instead, though you'll see shortly that there were other problems...

This one started out easy enough. I rounded out the meat and vegetable mixture with Worchestershire sauce and black garlic powder seasoning to stave off potential blandness. I didn't substitute anything for the beef suet, and I'm wondering if 1 cup of beef or vegetable broth would have benefited the proceedings.

This is when the worry sank in.

No matter, as the biscuit dough tested both my limited skills and patience. I sifted and mixed the ingredients as directed, but the "dough" was too dry to hold together. I splashed in a tiny bit more milk...and it got so much worse. Nothing but a gluey mess to contend with and try to form into a reasonable facsimile of pie crust. Truly an amateur hour, I forgot to flour my countertop before rolling out the dough, and so resigned myself to patting sticky globs of dough at the bottom of the casserole dish and over the top of the meat mixture without attempting to balance the dough with flour (and possibly more milk). I'd had enough. I waved the white flag.

Not ready for primetime.

As with many of these older recipes, it was done in less time than specified (only needed 45 minutes of the hour). The taste test yielded no surprises: flavorful meat and crisp vegetables, buried beneath (alternately crunchy and tacky) dough that you could use to grout tile. Doubtful I will attempt this again anytime soon, not at least until I get a better handle on making biscuits. The failure here is my own, but I'm looking onward and upward. At least we'll always have that fine Devil's Food Cake.

I've recommended several of Glenda Farrell's films in her previous post, but to end on a positive note, I'll keep with the theme and highlight a short film I watched on St. Patrick's Day, the enjoyably spooky Return to Glennascaul, featuring Orson Welles, golden timbre and all, and an unusual old house in Ireland. More recipe tests forthcoming, and I guarantee more favorable results.

Old Hollywood Kitchen: Joan Blondell

The last installment of Old Hollywood Kitchen featured my beloved Glenda Farrell, so it only makes sense to follow with one of her closest friends, the equally wisecracking Joan Blondell.

Joan Blondell's Sunday Night Special
4 cans tomato sauce
4 lbs. ground beef
1 1/2 cups green peppers, chopped
2 tbsp. chili powder
1 1/2 cans corn (easier to use 1 15.25 oz. can and 1 8.75 oz. can)
1 cup onion, chopped
1 lb. shredded cheese (not specified, I used cheddar)
3 boxes pasta (again, not specified, I used macaroni)

A caveat right up front: this makes SO MUCH FOOD. I quartered the recipe and still had way too much pasta, then had to use two cans of tomato sauce as one wasn't enough to cover the dish.

Brought to you by Hideous Formica.

The "finished" product:

The concept is good and the flavors are almost there, but this is going to take some serious reworking of proportions. My biggest failure of these recipe tests thus far, but not a total loss; I'm definitely going to give this another try and will share my version here once I get it right.

It's fitting to wrap up 2018 with Joan Blondell as I spent Christmas morning watching her team up with Katharine Hepburn in Desk Set. Dated in (mostly) entertaining ways, it's a fun film for the holidays; if you're not keen, I can always recommend peak Blondell in any of her Busby Berkeley outings, particularly Gold Diggers of 1933 ("Remember My Forgotten Man" has me in tears every time). There's also her numerous pairings with Farrell, natch, my favorite of them being Havana Widows. Here's to more great food, films and fun in 2019!

Speaking of Katharine Hepburn, here's a little bonus! Her brownie recipe has been floating around the internet and I finally decided to give it a try:

Very easy to make for a relative novice like me, and with a satisfying fudgy chewiness to boot. They're too rich and dense for me to want to make on a regular basis, but will be a great recipe for future use if I need to whip up a quick dessert.

Old Hollywood Kitchen: Glenda Farrell

When I began my search for these vintage recipes, there was one star I had always hoped to find. Once I picked up a copy of What Actors Eat When They Eat, I was thrilled to see that Glenda Farrell was featured in the collection, having had no previous luck turning up one of her recipes. I plan to make that recipe sometime this winter as it's best suited for cold weather. What a pleasant surprise to chance upon another vintage cookbook, Famous Stars Favorite Foods, and flip to this page:

Glenda Farrell's Devil's Food Cake

3 squares chocolate, melted
1 cup butter
2 1/2 cups sugar
4 eggs
3 3/4 cups cake flour
2 tsp. baking soda
2 tsp. salt
2 cups milk
2 tsp. vanilla extract

I'm growing in confidence with my cooking, but baking is still largely a nerve-wracking affair. I halved the recipe for a two-layer cake, and it turned out fine though a bit on the dry side. I'm not sure what the recipe might need to add some moisture, but it's simple enough to lend itself to experimentation. I also substituted an oil and cocoa powder mixture for the chocolate since I don't keep baking chocolate around.

Topped with a simple buttercream frosting, it's just the way to satisfy that cake craving. I first baked this for Glenda's birthday back in June to complement a marathon of her films. If you haven't yet experienced her acting, any of her Warner Brothers features would be a good start, particularly the one that brought her Torchy Blane to acclaim: 1936's Smart Blonde. You can also tune in to TCM every Monday in November to celebrate her reign as Star of the Month. Long may she rule.

Old Hollywood Kitchen: Eleanor Powell

One of my goals in exploring these vintage recipes is to find successes that will become mainstays in my kitchen. I'm so enamored with today's recipe that I've already prepared it several times since my initial test...

Eleanor Powell's Beef and Beans (Cantonese Style)

1 lb. flank steak

2 1/2 lbs. string beans

3 large onions

1 bottle soy sauce

1/2 lb. lard or olive oil (olive oil is preferable here)

Salt and pepper to taste

The recipe as written yields 4 hearty portions, but I cut the recipe in half. It can take a while to trim down the green beans (in the full recipe I used about 2 lbs. of beans instead of 2 1/2), but you can save time by sauteing the beans and onions together; cooking them separately creates excess liquid and is an altogether unnecessary step. I also use garlic salt or garlic powder to season the beef, complementing the richness of the olive oil and soy sauce beautifully.

In Eleanor Powell's own words, "this dish is crisp and tender and served with steamed rice and tea makes a delicious and different dinner", and it certainly fits the bill of the "strength giving food" she she sought out. The green beans soak up the flavor nicely, and the steamed rice makes it lighter than your typical stir fry. Best of all, the leftovers are just as satisfying as when freshly cooked. Highly, highly recommended.

The only downside of this recipe is that it doesn't impart any of Powell's great dancing ability (oh, I wish!). However, you can't go wrong with any of her films if you want to see her skills on display. My pick this time around is Broadway Melody of 1940, her only collaboration (sadly) with Fred Astaire. Powell and Astaire are as perfectly matched as the beef and beans, a fine pairing for dinner and a movie.

Old Hollywood Kitchen: Helen Twelvetrees and Irene Delroy

I have a pair of recipe reports today! I usually pick up avocados when they're on sale, and when the craving for guacamole struck, it was time to test out this simplified version:

Helen Twelvetrees' Wakimoli Salad

2 avocados

1/2 onion, chopped fine

1 cup mayonnaise

1/4 teaspoon salt (omitted)

Few grains pepper (omitted- I'm not a fan of black pepper)

Dash paprika

Head of lettuce (for presentation)

Crackers (tortilla chips are a better option here)

Guacamole was not as ubiquitous in the 1930s as it is today, and it's interesting to test one that functions more like a dip. Unfortunately, the full cup (!) of mayonnaise drowned out the velvety avocado and crisp onion, and left it too runny to be satisfying. It's worth another try, cutting back on the mayonnaise (and perhaps adding some diced tomato), but no substitute for the real deal.

The second recipe, however, was a success.

Irene Delroy's Heavenly Hash

2 cups hot milk
3 tablespoons uncooked rice
2 eggs, separated
Few grains salt (optional)
1/3 cup sugar
1/2 teaspoon vanilla
1/2 cup black walnut meats
1/2 cup whipping cream (topping)

As I don't have a double boiler, I just heated the milk and rice in a saucepan, which took only 40 minutes. I was worried that either the rice would be underdone or the milk would evaporate, but checking on the rice periodically ensures that everything cooks properly. I was also unable to locate black walnuts, which have a very strong flavor, so I used regular chopped walnuts. 

It isn't until you add the vanilla that the hash starts to feel like a dessert. Very hearty and satisfying, with the vanilla lending a subtle sweetness. Next time I'll have to toast the walnuts to bring out their flavor, as they do get lost in the mix. A fine dessert for the colder months.

Normally I recommend a film by the author of each recipe I test, but Irene Delroy has a brief filmography and I've yet to see any of her work; the only Helen Twelvetrees film I've seen is Millie, though my memory of that is faint at best. I have a few more recipe tests under my belt, to be shared soon. Stay tuned.

Old Hollywood Kitchen: Mary Carlisle

In my quest to build culinary skills via vintage recipes, I have found a new ally: What Actors Eat When They Eat, compiled by actors Rex Lease and Kenneth Harlan and published in 1939.

More substantial than Favorite Recipes of the Movie Stars, I've been overwhelmed when trying to pick out test recipes. Several hearty soups, chilis, sauces, and rice dishes up for contention. Thankfully I found relief in a simple beverage recipe from Mary Carlisle, who is still going strong at the age of 104(!).

Mary Carlisle's Cafe Froid (serves 2)

1 cup cold coffee

3 tablespoons ice cream (no flavor specified- I used French vanilla)

Ginger ale (one 7.5 oz. can was sufficient for two servings)

Mix the cold coffee and ice cream in a bowl (better if you let the ice cream soften a bit) using either a whisk or a hand mixer, which creates a frothier texture. Pour the mixture into glasses and top off with the ginger ale.

At first I was wary of the ginger ale/coffee combination; it's unusual but surprisingly refreshing. I'll give it another try in the warmer weather as a pick-me-up. 

Plenty of recipes to choose from for my next test, but until then, why not raise a Cafe Froid toast to Mary Carlisle and enjoy 1935's One Frightened Night, a fun "spooky house" film in the vein of the previously-recommended The Cat and the Canary. Mary is a highlight even among a solid supporting cast, and the film is readily available online as it is in the public domain. 

Old Hollywood Kitchen: Laura La Plante

One of my goals for the new year (and beyond) is to build my cooking and baking skills and be more confident in the kitchen. What better way to experiment than to bring in my love of classic film? There are many fine websites that explore celebrity recipes, but as a relatively inexperienced cook, intimidation has kept me from trying them out myself. Until now.

Perusing my stack of cookbooks, only one stood out: a well-preserved copy of Favorite Recipes of the Movie Stars, published by Tower Books in 1931. It's a slim volume, but varied in the types of recipes it offers, from light sandwiches to stews, breakfast to dessert. I figured the easiest way to take the plunge was to test a recipe with no actual cooking involved.

The charming Laura La Plante offers her Favorite Salad, an ambrosia-like creation that she recommends serving in lettuce cups along with crackers or cheese straws. The challenge with this recipe was determining the proper proportions of ingredients. How many ounces was a can of pineapple back then? A box of marshmallows? Is 1/2 pint of cream enough? Here is the recipe as I made it, with noted modifications:

Laura La Plante's Favorite Salad (updated)

1 20 oz. can crushed pineapple, drained
1 10 oz. bag mini marshmallows (I used about half of the bag)
1/2 pint whipping cream
Crisp lettuce leaves
Small crackers or cheese straws (optional)
Mayonnaise (I omitted- the heavy cream was sufficient)
Dash of paprika

Even with my changes I followed the recipe as written, and it turned out pretty well! I had hoped to find the fruit-flavored mini marshmallows to add more color, but no luck. The next time I make this recipe I might even incorporate more fruit, like maraschino cherries. As a thank-you to Ms. La Plante I'd like to recommend one of her films: the spooky, fun silent The Cat and the Canary, wonderfully restored by Kino Lorber.

(Edit: I have since made this salad with just the crushed pineapple, whipped cream and fruit-flavored marshmallows, to great success! Lighter than your standard ambrosia salad without cloying sweetness. It's like eating a pastel Art Deco cloud, if that makes any sense.)

Are you interested in making this or other film star recipes? Do you have a tried and true favorite? Feel free to share in the comments, and enjoy!

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.

The first Glenda Farrell photo I ever purchased, featuring a dress worn in Havana Widows. I adore the beaded starburst design.

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 Big 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!

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.

Signed, sealed, delivered.

Things have been quiet on the Edith Meinhard front for a while...that is, until I found this gem on eBay:

Most Edith-related auctions that come up are either film programs or DVDs, but my jaw dropped when I saw this photo postcard. It just had to be mine. The autograph is original, and most likely done around the same time the postcard was produced (early-to-mid-1930s). It seems that Edith was well-known and well-renowned enough to have fans seeking her autograph, and how comforting to know that she received the appreciation she deserved. Who knows what other treasures may be out there?