Nils Asther

If I Were Free, 1933

2011-12-02T21:51:00.000-08:00

Topsy and Eva, 1927

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First, a disclaimer. Urgh - blackface! That's a pretty sensible modern-day reaction, I think, to Topsy and Eva, 1927, the first movie Nils Asther did after he sailed the seas from Europe to the golden land of Hollywood.

Hal Erickson in the New York Times comments that:

Worthless as entertainment, Topsy and Eva is nonetheless an invaluable record of the sorry state of race relations in the 1920s.

The Duncan sisters had been vaudeville stars for several years already touring the stage show of the same name, written specially for them by Catherine Chisholm Cushing in 1923. The sisters estimated that throughout their career they performed at least 1,800 shows of Topsy and Eva, and continued to adapt aspects of it for their repertoire right up to the 1950s.

Topsy and Eva were originally minor characters in the anti-slavery novel Uncle Tom's Cabin. In the stage show, the sentimental story of the friendship between the two girls took centre stage, with most of the social commentary of the original was ditched in favour of slapstick, maudlin sentiment and close-harmony songs. Musical hits included Rememb'ring, I Never Had A Mammy, Mean Cicero Blues and She Fell On Her Credenza.


Topsy and Eva music score for Rememb'ring, their biggest hit

Topsy and Eva as a movie was a box office flop, but it was used for some time after as cheap children's matinee fodder. A 2-in-1 transformation toy, the 'Topsy and Eva' doll, became popular among girls, which changed character when its skirt was flipped. All combined with the long-running stage show, Topsy and Eva left long-term cultural effects.

John Sullivan at the University of Virginia notes:

A review of the stage play by The Boston Globe critic in 1925... pointed out that while "every American" had heard about Uncle Tom's Cabin, it was unlikely that "more than a small percentage of the present younger generation of theatre goers in the large cities of the country have ever witnessed a performance of the play" -- let alone read the novel.... In a way Topsy and Eva became the origin story for those who had neither read the novel nor were aware of its aims.

Vivian Duncan with a Topsy doll, 1926 (image University of Virginia)

Topsy and Eva doll transfer pattern by Vogart, sold after 1941

These dolls were popular right up to WWII and examples are still easy to find.

Nils Asther was cast in Topsy and Eva as

Lobby card: Topsy indulges in comic foolery by dressing up as Santa Claus


A typically melodramatic scene: The villainous Simon Legree (Gibson Gowland) whips Uncle Tom (Noble Johnson) while George Shelby (Nils Asther) protects little Topsy (Rosetta Duncan)

Nils Asther was

http://www.freewebs.com/looking-for-mabel/duncan.htm

http://www.freewebs.com/looking-for-mabel/gemauction.htm
December 7, 8 1931
Mabel’s friends Rosetta & Vivian Duncan, who at one point were said to be worth over $4,000,000 were now bankrupt according to Vivian …”Gold mines with no gold, worthless stock, the fickleness of Wall Street and signatures on too many dotted lines’ were responsible.

Nils Asther with the Duncan sisters as Topsy and Eva in 1931

Shrine charity benefit show, Los Angeles

Los Angeles Examiner Louella G. Parsons 17 June 1927

Duncan Sisters Score Brilliant Triumph at Gala Egyptian Premiere

'TOPSY AND EVA' RIOT OF LAUGHS, BOTH IN FILM AND PROLOGUE

By Louella G. Parsons

THE efferverscent personality of the incomparable Duncans permeated the atmosphere of Grauman's Egyptian Theater last night. Long before the curtain rose on a scene of picturesque old Southland, there was an electric air of expectancy. Rosetta and Vivian were presenting their first motion picture, "Topsy and Eva," to their severest critics, the Hollywood film colony. Moreover, they were being starred in the prologue, and the Duncan following would travel miles to hear those "two gals" sing.
Rosetta's blackface Topsy and Vivian's angel face Eva are an old story, so far as the stage is concerned, but the motion picture is for the sisters a new and untried experiment. I felt reasonably sure when Sid Grauman elected to play "Topsy and Eva" at his theater it had merit, but I did not dream that a female Charlie Chaplin in black-face was to make her debut. Rosetta Duncan is a discovery. Her pantomime, her transition from nonsense to pathos, is something that has been needed in the comedy field.

ROSETTA UNEQUALED

  Vivian, with her fluffy blonde hair, is likewise good in her way. Although the comedy is all Rosetta's, Vivian photographs unusally well, and is what the producers would call camera material.
  I am getting the cart ahead of the horse. I should really have gone into a detailed description of the prologue before I so much as mentioned the Duncans' work in the movie.
  To tell the truth, I was so delighted with Rosetta's Al Jolson stuff, that I had to get it out of my system. Rosetta is to the screen what Al Jolson is to the stage, a black-face artist without an equal.
  The Duncans and Sid Grauman are a great trio. The Duncans furnish the sparkling comedy and Sid offers the Graumanesque touch, now recognized as the Tiffany of showmanship. Certainly he took advantage of the way-down-south motive by giving us a generous measure of plantation life. There were the jubilee singers, tuneful and melodious; southern belles in their quaint costumes. Even the Mississippi flowed gently in the background.

SONGS ALL GOOD

  Rosetta and Vivian just had to sing "Rememb'ring" along with the new numbers especially composed for this occasion. The audience not only expected it, but demanded it. Then there was that old favorite, "She Fell Down On Her Cadenza." The applause that greeted this effort must make the girls realize that no matter how many new songs they have, they must always keep a few old-time favorites in their repetoire.
  Of the new songs, I like "I'm Glad My Mammy Don't Know Where I'm At." But any of their songs are good. It's not so much what the Duncans sing, as they way they sing. Their comedy is unfailing. Their burlesque on Aimee would make the saddest man in the world forget his troubles. It is riotously funny. As for their potpourri burlesqueing grand opera, I must hear it again.
  The prologue, mind you, lasted an hour and ten minutes. An evening's entertainment in itself. Larry Cabellos' dance presentation and "The Rounders" were especially pleasing. Marguerite Ricard, a girl with a voice, deserves special mention for her solo work. Al and Ray Samuels, Eleanor Bingham, Claire Van Nostrand, Esther Campbell, Norm Rathert and the Duncans were called out again and again, showing that sprightliness in these prologues is the better part of real success.
  "Topsy and Eva" is so short, at least it seemed to me, that one does not feel the lengthy prologue in this case is stealing precious time from the celluloid entertainment. Too often we jealously object to too much attention being given to the prologue.
  Who but the Duncans would have thought of taking Harriet Beecher Stowe's serious propaganda against slavery and making a comedy out of "Uncle Tom's Cabin"? The curious part is, the poignant note of pathos here and there is almost akin to hilarious fun. Catherine Chisholm Cushing is credited with the authorship of "Topsy and Eva," but the movie idea, I feel safe in saying, emanates from that wise little head of Topsy Duncan.
  It is remarkable that a production built of such flimsy material carries the interest through to the end. This is due entirely to the Duncans, whose charm and vivacity would support a much less frail scenario structure. The slapstick touches, I think, we can credit to Del Lord. There are a number that can be favorably compared to any slapstick comedy yet produced—then, there are a few that are not so funny. But even these are saved by Topsy, who never fails to get a laugh out of any situation.

GRIFFITH'S TOUCHES

  David Wark Griffith was called in to add a little drama. I am willing to wager his part in "Topsy and Eva" was the great love between the ethereal Eva and her colored slavey. There are unmistakable Griffith bits here and there that have saved the picture from too much horseplay.
  The titles by Dudley Early are good. They please this reviewer because they are not unnecessarily wisecracking, a thing that always ruins a comedy.
  There just couldn't be a version of "Uncle Tom's Cabin" without Simon Legree. He is present in the person of Gibson Gowland, ferocious and cruel enough to satisfy anyone. Henry Victor makes an aristocratic and kindly Mr. St. Clare. Myrtle Ferguson is pleasing in the part of Aunt Ophelia, while Nils Asher and Marjorie Daw furnish the love interest in roles that are not particularly big, but they do register. Noble Johnson's Uncle Tom seemed to me to be far too elegant and young. However, this Uncle Tom is only a background.
  "Topsy and Eva" does one thing for us. It makes us eager to see the Duncans in other comedies—and I have an idea that Joseph Schenck, who is releasing their first through United Artists, will see that this wish is gratified. Everyone in filmland was there last night—all of them properly introduced by Hollywood's master of ceremonies, Fred Niblo.

Clips from Topsy and Eva featuring Nils Asther:

Clip 1 Introducing the characters at the start of the film - Uncle Sam and family, Marietta, ward of the villain Simon Legree, and George Shelby (Nils Asther).
Clip 2 Topsy comes down the chimney at Christmas dressed as Santa Claus. The assembled party laugh.
Clip 3 Topsy and Uncle Tom are carried away by Tom's owner, Simon Legree, in a sled through the snow. Eva, unable to bear the thought of Topsy leaving, runs after them until she falls in a fit. George Shelby (Asther) picks her up and carries her back to her house.

Further Information:

The University of Virginia: 'Uncle Tom's Cabin and American Culture
All Movie Talk: Blackface in the 1920s

Picture of the day: what difference whether girl or man?

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Greta Garbo and Nils Asther in The Single Standard, 1929.

Asther plays a rich artist with a yacht. Garbo is a young socialite who resolves to reject hypocritical and out of date moral standards (The Single Standard) and so takes Asther as her lover and sails with him through tropical seas.

Picture of the day: invitation to bed

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Nils Asther invites Loretta Young to rest in his bedroom in the silent movie Laugh, Clown, Laugh (1928)

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Picture of the day: Nils Asther as Schubert

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Nils Asther and Pat Paterson in Love Time (Serenade),

biopic of the composer Franz Schubert

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Picture of the day: composer

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Nils Asther as Italian composer Lambardi in Dr Kildare's Wedding Day (Mary Names the Day), 1941

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Picture of the day: tuxedo

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Nils Asther, probably 1930s

Picture of the day: embrace with Garbo

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Nils Asther, Greta Garbo, Wild Orchids 1929

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Picture of the day: Nils the sailor and his pipe

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Nils Asther, on set of The Single Standard, 1929

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The Crime Doctor (1934)

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Nils Asther in The Crime Doctor, 1934

Nils Asther in court as his character is accused of murder

In The Crime Doctor, Asther plays the clandestine lover of Karen Morley whose husband, criminologist Otto Kruger, has revenge on their affair by designing the perfect murder so that Asther is implicated.

New York Times, 1934 review

May 11, 1934

In the new picture at the Rialto, the perfect crime is engineered with such skill and imagination by a criminologist [Otto Kruger], who is also a jealous husband, that it becomes a fascinating thing to watch. Dan Gifford, long the scourge of careless murderers, forges each link in the homicide with such cold and deadly precision that his wife's lover [Nils Asther] is inescapably trapped in a circumstantial case. Even the victim seems to doubt his own innocence, so damning is the evidence against him. Unhappily for the cause of the perfect murder, Gifford finally confesses and shoots himself when he realizes the depth of his wife's affection for the doomed man.

Otto Kruger, who has not been so fortunate in his previous encounters with the cinema, helps "The Crime Doctor" measurably with the venomously exciting performance that he provides as the assassin. Asking no quarter from his audience by diluting the sheer reptilian quality of his behavior with sympathetic undertones, he provides a murderer who is admirably calm, cruel and intelligent.

Gifford plans the crime—contradicting his own theory that a clueless murder is impossible—when his wife [Karen Morley] informs him that she loves Eric Anderson, an author. He plants a woman in an adjoining apartment, ostensibly to gather evidence of his wife's infidelity. The woman tries to blackmail the author, as Gifford knows she will, and the criminologist graciously offers to help the man he hates. When, finally, he puts two bullets into the woman with the author's gun, he has arranged the plot so neatly that on every point of motivation, clue and evidence Anderson seems to be the killer.

When it is all over and the audience is properly lost in admiration and excitement, it turns out that the whole story is just something the criminologist has written—a piece of detective fiction. That is an unfortunate epilogue. It seems such a shame to excuse a crime so expertly managed. The players who support Mr. Kruger are entirely effective. Karen Morley is the wife, Nils Asther the lover and William Frawley a sleuth who solves the murder.

Picture of the day: jealous bellhop

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Nils Asther, Jetta Goudal and Marion Davies in The Cardboard Lover, 1928

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Picture of the day: subtle, powerful attraction

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Greta Garbo, Nils Asther, Wild Orchids, 1929

Caption: "She responded to the subtle, powerful attraction of the Prince"

So much to enjoy here.

Forced Landing (1941)

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Nils Asther and Eva Gabor in Forced Landing, 1941

From 1941-3, Nils Asther acted in a total of three war dramas for Pine-Thomas Productions, all with Richard Arlen as the hero and Asther doing service as chief villain, marked from the start by his suave manners and thick European accent.

Forced Landing, 1941, was the first of these films. Asther played Colonel Jan Golas, a Pacific islands dictator vying with Richard Arlen for the affections of the beautiful Eva Gabor (in her first US picture). Ever treacherous, Asther decides that the best way to clear a path for himself is by sending Arlen on a suicide mission.

In subsequent films, Asther was to repeat his role of untrustworthy foreigner.

In Flying Blind, 1941, he became Erik Karolek, a spy attempting to hijack Arlen's honeymooner charter plane after stealing military secrets. Later, in Submarine Alert, 1943, Asther was Dr Huneker, locking Arlen in a room with toxic gas for discovering his secret Nazi identity.

Night Monster (House of Mystery) 1942

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In this B-picture horror, Nils Asther plays Agor Singh, a mystic who is summoned along with other specialists to the creepy mansion of a rich paraplegic. Also present are Bela Lugosi (the stiff butler) Lief Erikson (an over-sexed chauffeur) Irene Hervey (a psychologist) and Lionel Atwill (as a sleazy doctor).

Police are investigating a series of murders in the neighbouring countryside, and the scares, shadows and sudden deaths soon begin to pile up inside the old house.

The suave mystic explains his methods:

“A little knowledge of the occult is dangerous. Unless it’s used for good, disaster will follow its way, that is cosmic law.”

Agor Singh (Asther) summons a skeleton

using his amazing power of 'cosmic substance control'

Watch Agor Singh (Nils Asther) demonstrating his powers in this clip

Bela Lugosi, Lief Erikson, Nils Asther, Irene Hervey, Don Porter,
Ralph Morgan in wheelchair

Trailer for Night Monster, 1942

The Blue Danube (Honor Above All) 1928

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Nils Asther, promotional card for Honor Above All (The Blue Danube), 1928

In this silent romantic melodrama, Asther plays Erich von Statzen, a young Hungarian baron who is called away to WWI on the eve of his wedding day to Marguerite (Leatrice Joy). Marguerite is then left alone to fend off the lies peddled by Ludwig, an elderly violin maker, who tries to convince her that the baron has been unfaithful and she should marry him instead.

Cecil B D Mille was executive producer and a copy of this film is kept in the Library of Congress.

Leatrice Joy and Nils Asther

Ludwig (Joseph Schildkraut) has eyes for tavern girl Marguerite (Leatrice Joy)

New York Times review from 1928:

April 30, 1928

'BLUE DANUBE' IS SHOWN; Film at the Strand Employs Girl and-Hunchback Theme.

This picture is another reiteration of the sentimental Marguerite theme, made a bit more pleasant than most by the actors in the three leading rôles.

Like its sisters, which are legion, the plot concerns itself with Marguerite, the daughter of an innkeeper, the baron of the district and the village hunchback. The baron and the girl fall in love while the orchestra plays "The Blue Danube" Waltz, but before they can be married the young man departs for war. He tries to send messages back by Ludwig, the hunchback, but they never arrive. An uncle of the baron complicates matters by forcing Marguerite to marry Ludwig. It ends cheerfully, with the hunchback stabbing himself, and the girl and her baron falling into each other's arms.

Miss Joy has the chief rôle and manages to instill a manner into the threadbare character which makes it not only graceful but intelligent. Her baron, Mr. Asther, ranges quite well from tenderness to bravery without losing his stride in the process.

About Mr. Schildkraut, in the difficult part of Ludwig the hunchback, there is something of Germanic symbolism. Ludwig is by trade a violin maker and as he sits and meditates on his love and on his wrongs, the knife and small hammer are never idle. His eyes stare fitfully, changing from sorrow to the glare of intense hatred.

There are in the picture certain bits of good direction—things fading out and merging into others of similar nature. Many ideas are suggested lightly rather than being heavily painted in the "stop-go" manner.

Promotional sheet music for the film

Listen to an 1928 LP record of this theme music on YouTube

Poster Tagline: "DECEIVED by those she trusted, she became the spite-bride of the creature she loathed. Don't fail to see this, the most enthralling love romance ever screened."

Picture of the day: hand tinted card

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Nils Asther, hand tinted (colorised) film star card by Ross Verlag, Berlin

Original photograph by Clarence Sinclair Bull for MGM Studios, c 1920s

Picture of the day: photo by Clarence Sinclair Bull

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Nils Asther, photo by Clarence Sinclair Bull for MGM Studios c 1928

Picture of the day: that white suit again

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More pictures of Nils Asther in that rather wonderful white suit.

I've just noticed this is a different white suit. Even more dashing.

I'm guessing these photos are from the early 1930s. I don't know which film(s) he is promoting.

Picture of the day: Chinese general 1933

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Walter Connolly, unnamed actress, and Nils Asther in The Bitter Tea of General Yen, 1933

for more about this film (and about Asther's 'Chinese' makeup) click here

Picture of the day: 1929 prizefighter, sailor, painter

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Nils Asther on the set of The Single Standard, 1929

more about this film (review coming eventually)

Asther plays Packy Cannon

Greta Garbo, Nils Asther in The Single Standard

(I love this film.)

Picture of the day: dinner jacket, 1934

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Nils Asther, promotional photo for Madame Spy, 1934, Universal

for more about the film Madame Spy with Nils Asther and Fay Wray, click here

Picture of the day: sailing with Garbo, 1929

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Greta Garbo, Nils Asther in Wild Orchids, 1929

Asther plays the Prince de Gace, who seduces Garbo away from her older husband while on board ship sailing to Java.

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Picture of the day: kissing her feet

2011-09-24T05:32:00.000-07:00

Nils Asther and Loretta Young in Laugh, Clown, Laugh, 1928

Detail of a lobby card

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Picture of the day: by Clarence Sinclair Bull

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Nils Asther

Photograph by Clarence Sinclair Bull for MGM Studios,

probably taken late 1920s or early 1930s.

The Man in Half Moon Street, 1945

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Nils Asther and Helen Walker in The Man in Half Moon Street, 1945, Paramount Pictures

Asther plays a 120 year old London doctor who has found a way to prolong life.

watch this film in full on YouTube

Picture of the day: Caribbean sponge diver, 1930

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Raquel Torres and Nils Asther in The Sea Bat, 1931

Torres cradles her brother, Asther, who has come a cropper while diving for sponges off the West Indies island of Portuga.

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Picture of the day: the spaghetti-addicted composer

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Nils Asther in Mary Names The Day, 1941, MGM (also known as Dr Kildare's Wedding Day).

In this movie, Asther plays an Italian orchestral conductor, Labardi, who presents the medical staff with an unusual complaint - he is losing his hearing due to eating too much spaghetti. I really have no words on the surreality of this storyline.

Love Time (1934)

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Nils Asther and Pat Patterson in Love Time, 1934, Fox Film Productions, (also known as Serenade, Serenad, Al Compas Del Amor).

Asther played the composer Franz Schubert.

Picture of the day: citizen-deputy of the revolution

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Nils Asther, signed publicity still for The Marriage of Corbal, 1936, an English-financed film in which he played Varennes, Citizen-Deputy of the French revolution

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Picture of the day: Bluebeard 1944

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Bluebeard, 1944. Nils Asther as the police inspector investigating Bluebeard's crimes, Jean Parker as the seamstress Lucille, Teal Loring as her sister Francine.

see this film in full on youtube

Picture of the day: dancing with Joan Crawford

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Joan Crawford with Nils Asther, in Letty Lynton, 1932

click the image to see it bigger

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Picture of the day: holding hands with Marion Davies

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Nils Asther, Marion Davies, The Cardboard Lover, 1928

click on the image to see it much bigger

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Nils Asther and Kay Francis: in the dressing room

2011-08-31T02:56:00.000-07:00

Nils Asther and Kay Francis acted together in two films, Storm at Daybreak (1933) and The Man Who Lost Himself (1941).

From Kay Francis: a passionate life and career by By Lynn Kear, John Rossman, McFarland, 2006

Career difficulties, in addition to marital problems, loomed over Kay in the summer... That same month [June 1933], Kay wrote about visiting Nils Asther in his MGM studio dressing room and having a kissing session.

Kay had previously kissed Asther at a party about two weeks before. Quite handsome, Nils was gay, and though he was no doubt flattered, there was no chance of a full-blown romance. They had worked together on Storm at Daybreak, which was filmed in the spring of 1933.

Nils Asther and Kay Francis in The Man Who Lost Himself, 1941

Waiting for a scene to be filmed, 1941

Bluebeard 1944: film in full

2011-08-30T10:03:00.000-07:00

I just found Bluebeard in full on youtube. Hooray!

Here is the first part of Bluebeard, 1944.

It's also available dubbed in Spanish

Other Nils Asther films in full on YouTube:

- Laugh, Clown, Laugh 1928

- The Man In Half Moon Street 1945

- If I Were Free 1933
- Submarine Alert 1941

On StageVu
- The Feathered Serpent 1948

Nils Asther films, entirely copyright free, on the Internet Archive:
Flying Blind 1941
Bluebeard 1944
Submarine Alert 1941
*

Picture of the day: The Right to Romance

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Nils Asther as Dr 'Heppie' Heppling (they sure how to name their characters in those days) The Right to Romance, 1933

This has got to be the most miscast Asther ever was - he's supposed to be a sweet, timid medical researcher. And although his dialogue is geeky and shy, his body language is all wrong. He's practically all over the leading lady (Ann Harding), you nearly need a spatula to get him off her. Ever heard of personal space, sir?

In this scene he's watching the woman of his dreams get married to someone else - and he's agreed to give her away in place of a father figure. Woe and angst.

You can watch this film - here and - here.

Review: Graham Greene, 1936

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Hugh Sinclair and Nils Asther in The Marriage of Corbal, 1936

Graham Greene writing in The Spectator 5 June 1936:

What is an English film? There are times when one cannot help brooding with acute distress on the cheap silly international pictures exported under that label. The Marriage of Corbal is a fairly harmless example. It is incredibly silly and incredibly badly written but there is a kind of wide-eyed innocence about this story of the French revolution which is almost endearing. But an English film? Is that a fair description of a picture derived from a novel by Rafael Sabatini, directed by Karl Grune and F Brunn, photographed by Otto Kanturek, and edited by E Stokvis [sic] with a cast which includes Nils Asther, Ernst Deutsch and the American, Noah Berry? The result is appalling... England, of course, has always been the home of the exiled; but one may at least express a wich that émigrés would set up trades in which their ignorance of our language and our culture was less of a handicap; it would not grieve me to see Mr Alexander Korda seated before a cottage loom in an Eastern country, following an older and a better tradition. The Quota Act has played into foreign hands, and as far as I know, there is nothing to prevent an English film unit being completely staffed by technicians of foreign blood. We have saved the British film industry from American competition only to surrender it to a far more alien control.

Nils Asther: to Graham Greene's eyes in 1936, a distressing alien in the British film industry

more about this film

'Quota Quickies' by Vic Pratt

The Cinematograph Films Act (1927) was introduced to stem the flood of American films into British cinemas. This protective legislation obliged exhibitors to programme a certain percentage of home-produced film. Intended to encourage quality filmmaking, the actual result of the Act was a plethora of short, cheap, quickly shot supporting features - 'quota quickies' - derided by critics at the time as a disgrace to British cinema. In retrospect, it can be seen that the 'quickies' provided a valuable training ground for filmmakers, technicians and actors who would later go on to greater things in 'quality' British cinema (including such notable figures as Michael Powell and David Lean). New legislation was introduced in 1938.

Nils Asther sponsors this omelet

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Nils Asther

'Bachelor Omelet'

Favorite Recipes of the Movie Stars, 1931

'The sponsor of this omelet is no longer a bachelor. But his wife, Vivian Duncan, decided that this recipe was too good to be lost so she passes it on to you.'

picture of the day: amazing

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Nils Asther by Clarence Sinclair Bull for MGM studios, probably c1927

I think I've posted this picture before but I don't care. It's amazing and timeless.

Picture of the day: suave 1940s

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Nils Asther, signed photograph, probably from the 1940s

when he returned to Hollywood after working in England for a few years

click the image to see it bigger

Picture of the day: pinstripe

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Nils Asther

Orami series movie star card, photo Ernst Schneider studio

probably taken in 1926 when Asther made several movies in Berlin

clicking on images makes them bigger

Nils Asther: coffee advertisement

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Nils Asther coffee advertisement, May 1930

Just 'plain folks' at home... these glamorous successes find dated coffee luxuriously satisfying.

"No Swedish dinner is complete without a cup of good coffee," says NILS ASTHER, Metro-Goldwyn-Mayer star. "That's why I use Chase & Sandborn's. I know that it is as fresh as it is pleasing to the taste and one never grows tired of it."

Nils Asther and dogs

2011-08-26T16:33:00.000-07:00

I noticed that there are quite a few pictures of Nils Asther with dogs.

German cigarette card, Ross Verlag

MGM publicity shot by Ruth Harriet Louise, probably 1927.
This appears to be the same dog, but older, so perhaps it was his own.

Asther's first American film, Topsy and Eva, 1927. Asther is top left.

The St Bernard at the front took part in the film and belonged to Vivian Duncan, later Asther's wife, middle left.

Storm at Daybreak, 1933

'Nils Asther takes time out to play with his new pet, eight month old Great Dane, Eric.'

Son of Lassie, 1945

Laddie (son of Lassie), Nils Asther, Peter Lawford

Asther spent most of his scenes in this film playing against the lead canine star, supposedly rescuing Laddie from the Nazis, and then tending to the dog, spoon feeding him and generally lolling around on the floor of their Norwegian hut together (actually filmed in Banff National Park, Canada). Asther seemed right at home.

Picture of the day: this one's huge

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Nils Asther, English card.
Unknown photographer, I'd guess a promotional studio shot taken in the late 1920s. (On further research the photo is by Irving Chidnoff, New York.)

Click on the photos and you'll see them a lot bigger and more beautiful.

This card is similar and marked United Artists.

In 1927, Asther left Europe for America.

He was in London when his 1926 German film, Der Goldene Schmetterling, was seen in Hollywood and he was offered contracts.

At first he made Sorrell and Son in England for United Artists. Then they invited him to come over. It seems he stopped off in New York to have these photos taken before he arrived.

United Artists were not the first studio with which Asther had signed. At first he accepted a contract with Paramount. "A few days later came an offer from United Artists," he told Katherine Albert in Photoplay, 1929. "I explained that I was already signed and they bought the first contract. Other studios offered me contracts, as well."

more about the English film, Sorrell and Son

critical reviews from 1927

blog rot! and favourite Asther films

2011-08-26T02:36:00.000-07:00

Last night there was an attack of page rot on this blog, for no apparent reason. I lost information from the end of my blog pages in a very random way. That means the pictures, links and information I had gathered about all of Nils Asther's films from about 1932 onwards were deleted. It seems to be unrecovereable.

I backed up everything that is left relating to his early films left on the pages, but it was a bit of a shock.

Anyway, I'm taking it as an excuse to reorganise the pages and hopefully they'll be better than ever when I'm finished.

As a cheer-me-up, I've been making a list in my head and deciding on my 5 favourite Nils Asther films of all time:

1. The Bitter Tea of General Yen (1933)

WHY: It's beautiful, complex and sexy. And it takes me on a thoughtful journey every time. At the start, it genuinely seems to be borderline racist, with the missionaries in their own little self-enclosed, superior world, not to mention with Asther playing Chinese. Then it twists and turns and becomes intensely philosophical with a plea for mutual understanding.

2. The Single Standard, 1929

WHY: Okay, it's not the most complex of stories. Young attractive woman has love affair. But Arden's (Garbo's) decision to go for freedom and equality in love uplifts me every time, especially when you consider that was the 20s. And Garbo is breathtaking, and she sizzles onscreen with Asther.

3. The Cardboard Lover, 1928

WHY: Okay, I've not actually seen this one yet. But it's still my third favourite because it looks so funny and amazing, and Marion Davies is a hoot. Plus I totally have a thing for men who can do comedy, and Asther totally can.

4. Laugh, Clown, Laugh, 1928

WHY: The tragic ending of this moves me every time. Frankly, Asther is acted off the screen by Loretta Young and Lon Chaney, but that's why it's so good. There is that one shocking pre-code moment where Asther goes in for a bit of a fumble with Loretta Young... totally in character, but still. Wowzers. I think he was a bit of a bad boy.

5. By Candlelight, 1934

WHY: This is a polished little gem of a comedy from director James Whale, and it's guaranteed to make me feel better on any dismal soggy afternoon. I do tend to skip the rest and only watch Asther's scenes... just being honest. He's the best thing in it. So suave and adept at farce.

Other films of his I've seen so far (or part seen, with rough appreciation ratings)

Starring Roles

Make-Up **

The Man in Half Moon Street ***

Submarine Alert **

The Marriage of Corbal **

The Right to Romance **

Supporting Roles

Son of Lassie ***

Behold we Live **

The Cossacks ***

Topsy and Eva *

Himmelskibbet ****

Samson and Delilah **** (he's only on screen for 30 sec)

Do I want to see them all? You bet.

Picture of the day: balcony scene

2011-08-25T05:03:00.000-07:00

Nils Asther and Leatrice Joy in The Blue Danube (also known as Honour Above All) 1928

More pictures from this film

Picture of the day: 1920s photo

2011-08-24T05:07:00.000-07:00

Nils Asther, 1920s

Poll - what would you like to see?

2011-08-22T15:54:00.000-07:00

I noticed that I've had nearly 900 page views since I've started 'NilsAsther'.

Breaking that down by country (fascinating, but don't worry I don't know any more about you than that), most readers who end up here are from the US, unsurprisingly. I've also had ones from Japan, Australia, Indonesia, France, Latvia, Sweden, Germany, Canada, the Netherlands, Italy and more.

So I added a poll to the right of the page >>>>>

What would you like to see? If there's a particular film I haven't covered, actor/actress that starred with Nils Asther, or aspect of early film making that you'd like me to write about, please go ahead and ask.

I'll try to leave my own comment on this post now to make sure all is skipitydoo with that function and how easy it is to sign in without an account.

La Grande Muraille (General Yen) 1933

2011-08-22T15:32:00.000-07:00

Cine Miroir Magazine, 8 June 1934

Nils Asther and Barbara Stanwyck in The Bitter Tea of General Yen

More about this film

picture of the day: modern love in 1929

2011-07-26T13:35:00.000-07:00

Greta Garbo and Nils Asther

a publicity still from The Single Standard, 1929

This is one of my favourite Nils Asther films.

His character is an idiot, but the direction is skilful, Garbo is radiant,

and the themes are surprisingly fresh and modern even though it's a silent movie.

I'm going to write a review soon.

picture of the day: in uniform, 1934

2011-07-21T06:46:00.000-07:00

Nils Asther, Madame Spy, 1934

more about this film with Fay Wray

picture of the day: fun with Marion Davies

2011-07-20T06:29:00.000-07:00

Nils Asther and Marion Davies in The Cardboard Lover, 1928

I found some more stills from this film. It looks pretty fun.

This would be the scene at the start where she asks him for his autograph.

picture of the day: publicity stills 1932

2011-07-19T02:52:00.000-07:00

Nils Asther, MGM publicity stills (by George Hurrell?) for the upcoming film Letty Lynton, 1932

picture of the day: with Lon Chaney and Loretta Young, 1928

2011-07-18T04:07:00.000-07:00

Lon Chaney, Loretta Young and Nils Asther

in Laugh, Clown, Laugh (1928) MGM

more about this film

The Man Who Lost Himself (1941)

2011-07-17T16:21:00.000-07:00

Nils Asther and Kay Francis on the set of The Man Who Lost Himself, 1941.

Kay Francis wears one of her many Vera West gowns throughout the picture.

Synopsis:

Malcolm Scott (Brian Aherne) is a wealthy, disliked man who escapes from an insane asylum. He meets John Evans (also Brian Aherne), his exact double, and persuades him to take his place to deal with the unpleasantness of his upcoming divorce. Meanwhile, Scott's wife, Adrienne (Kay Francis) already has a new boyfriend, Peter Ransome (Nils Asther).

This film was made during the Production Code and was subject to alteration. The censor objected to certain lovemaking scenes with Brian Aherne and Kay Frances, in which although they were playing husband and wife, Brian Aherne seemed to believe Kay Francis had been fooled into believing it was his double. This was enough to break the Code rule against adultery. Additional heavy-handed asides and winks to the camera had to be filmed, to show the husband assumed his wife was stringing him along all the time.

This was Nils Asther's first American film for seven years. That was with the film Storm at Daybreak, 1934, MGM, also with Kay Francis.

Information:

Kay Francis Films

Turner Classic Movies

picture of the day: Submarine Alert poster

2011-07-16T08:02:00.000-07:00

Nils Asther as a Nazi spy in the wartime film Submarine Alert, Paramount, 1943

for a review of this film click here

for the whole film copyright free at the Internet Archive click here

Nils Asther: 1933 publicity by Clarence Bull

2011-07-14T03:51:00.000-07:00

Nils Asther, publicity photographs by Clarence Sinclair Bull for MGM.

On the reverse of the photos is text about his upcoming film, Strange Rhapsody, which by the time of release had been retitled Storm at Daybreak.

This was the last film Asther did before he left his MGM contract and went freelance.

Nils Asther in Storm at Daybreak, 1933

picture of the day: reverse butler

2011-07-12T02:16:00.000-07:00

By Candlelight (dir James Whale) 1933

Butler Josef (Paul Lukas) is aghast when his employer Prince von Rommer (Nils Asther) comes home unexpectedly to find him entertaining a young lady and pretending to be the master. The Prince finds it amusing and decides to play along and become butler for the night.

more about this film

picture of the day: La Grande Muraille, 1933

2011-07-11T01:56:00.000-07:00

The Bitter Tea of General Yen, French poster, 1933

(La Grande Muraille - literal translation The Great Wall)

Nils Asther as General Yen, Barbara Stanwyck as the missionary Megan Davies

Director Frank Capra with Nils Asther and Barbara Stanwyck

Loves of An Actress, Pola Negri, 1928

2011-07-10T05:00:00.000-07:00

Loves of an Actress, 1928, starring Pola Negri, Nils Asther and Mary McAllister is a a lost film - all surviving prints are gone and with it, the plot, except what can be gleaned from promotional stills, cinema posters and contemporary reviews.

By 1928, when it was made, the era of silent pictures was coming to an end. Loves of an Actress did not have what we we would nowadays call a soundtrack - instead smatterings of sound effects were played at certain moments, like a baby's cry or animal noises.

1928 review of Loves of An Actress, from the New York Times:

Pola Negri's latest offering seems to prove that there is, after all, a day of atonement for the errors of youth. Unfortunately, however, "Loves of an Actress," despite the enchantment of the plural, can be called only another motion picture.

The background or the play is France in the middle of the last century. Miss Negri takes the part of an actress who has risen to being the toast of Paris—risen chiefly through her affairs with three important gentlemen—a banker, a newspaper owner and a count.

It inevitably happens that at the height of her career she falls in love with a young man who is soon to become an Ambassador to Russia. Two of her former gentlemen friends grin and bear it; the third states sullenly that he loves her still. To prove it, he threatens to publish her letters in the columns which previously had been devoted to praising her acting.

The actress, Rachel, first of all dares him to go ahead, but on sober second thought she realizes that not only will that be the end of her career but it will ruin her fiancé's as well. She breaks the engagement. Not long afterward she dies of a broken heart—first, however, playing a death scene in such a manner as to wring the greatest praise from her public.

The chief trouble with "Loves of an Actress" is that it is too long. The story is not new, and as there is no suspense it all comes down to a question of waiting for the expected to happen. And then it develops so slowly as to be a little tiresome.
There are scenes scattered here and there, however, which show Miss Negri's acting ability to good advantage. She gives a good portrait of an actress—if not necessarily of midnineteenth century France—and her relationships with her several admirers are well done. Nils Asther, as Raoul—the man she loves—cannot quite curb a tendency to overact his part; otherwise the supporting cast is acceptable.

"Loves of an Actress" demonstrates ad absurdam the potentialities of synchnorization. The varied noises taking part in the action of the picture range from the squealing effect when a baby is shown crying through sundry barnyard effects early one morning to vocal selections. An orchestra in the pit would have been better.

On the stage there is Paul Ash and the Paramount Orchestra exploiting Broadway. They are assisted by Fred Bernard, Helen Honan, the Collette Sisters, Sally Starr, Du Calion and some Gamby-Hale Girls.

Music score for the film's hit song, Sunbeams (bring dreams of you)

Film stills from AliceJapan on flickr

Promotional stills for the film

Mary McAllister and Nils Asther

Pola Negri and Nils Asther

Cigarette cards promoting the film - these were included in packs by tobacco companies

picture of the day: postage stamp, Nils Asther & Marion Davies

2011-07-10T01:47:00.000-07:00

Marion Davies and Nils Asther on a postage stamp from Benin, 2009,

in a scene from the silent comedy The Cardboard Lover, 1928.

click the image to make it bigger

Storm at Daybreak (1933) - posters

2011-07-09T15:54:00.000-07:00

Storm at Daybreak (1933)

In 1914, after the assassination of the Archduke Ferdinand by a Serb, a Hungarian soldier (Nils Asther) gets involved with the wife (Kay Francis) of a Serbian mayor of a Hungarian town (Walter Huston).

Walter Huston, Kay Francis and Nils Asther with Richard Boleslavsky, director

click the images to make them bigger

picture of the day: photos by Hurrell

2011-07-09T06:11:00.000-07:00

Nils Asther, promotional publicity taken for Letty Lynton

by George Hurrell for MGM, 1932

On reverse of photo:

NILS ASTHER, famous Swedish screen star, who, since mastering the English language, has returned to the talkies, appears in the romantic role of 'Renaul' with Jean Crawford in Metro-Goldwyn-Meyer's Letty Lynton, directed by Clarence Brown.

Nils Asther and Joan Crawford in Letty Lynton

- all photos by George Hurrell

picture of the day: black tie

2011-07-08T11:49:00.000-07:00

Nils Asther
Publicity for Sorrell and Son, 1927 (England)

Matte paintings in The Bitter Tea of General Yen, 1933

2011-07-08T08:58:00.000-07:00

The Bitter Tea of General Yen is an extraordinarily beautiful movie.

Capra, its director, intended the film as a serious project - "Art with a capital A," he described it as later, admitting it to be his open attempt at an Oscar. He was not to win an Academy Award until two years later, and with an entirely different film, the screwball It Happened One Night. Still, Capra was proud of it until the end of his career, saying it "has more real movie in it than any other I did."

Everything on the film was carefully arranged. Joseph Walker, the cinematographer, used a variety of lenses, including portrait lenses for the numerous, exquisite close-ups, and a diffusion device of his own design.

Matte paintings were also used lavishly. Often these mattes are so skilful that it's not apparent until a third or fourth viewing that there is even a painting there. These large-scale works were traditionally done in oil paints or pastels on glass and then combined with the live-action elements so the result blended seamlessly.

In The Bitter Tea of General Yen, the matte paintings were often combined with extra lighting to make them come alive. For example, in the night time scenes of civil war, there are fire effects, and when Megan (Barbara Stanwyck) looks out from General Yen's palace and sees couples by the river, it is softly illumined by lanterns and moonlight.

Megan (Barbara Stanwyck) and General Yen (Nils Asther) in the moonlight - a matte painting with lighting effects

Megan watches the lantern-lit revelries going on

in the square below from her high balcony at the palace

- the background being a matte painting

The people of Shanghai panic as the buildings catch fire,

shown using matte paintings with lighting effects

Rain effects as well as lighting help this matte painting come alive

Arrival at Yen's palace.

Even in bright daylight, the matte paintings in this film are so fine

they can easily be mistaken for the real thing.

The amazing interior of Yen's summer palace - again a matte painting

Information and images from:
Turner Classic Movies
Matte Shot Blogspot
Matte painting - Wikipedia

click on photos to make them bigger

picture of the day: Dream of Love, 1928

2011-07-07T11:29:00.000-07:00

Dream of Love, 1928

Prince Maurice (Nils Asther) is called upon to make love to the Duchess (Aileen Pringle) for diplomatic reasons. Meanwhile, in secret he has fallen for the gypsy girl Adrienne (Joan Crawford).

Cigarette Cards and Postcards, Nils Asther

2011-07-07T02:49:00.000-07:00

I updated the page on promotional cigarette cards and postcards featuring Nils Asther.

There are about 50 images now. Click here to see.

Or click the 'Postcards' tab at the top of this blog.

Click here to see more

picture of the day: white suit

2011-07-06T01:47:00.000-07:00

picture of the day: Flying Blind 1941

2011-07-05T10:37:00.000-07:00

Flying Blind, 1941, Paramount

Nils Asther as Eric Karolek, Kay Sutton as Miss Danila

This film is available to download, copyright free, on the Internet Archive

Madame Spy (1934)

2011-07-05T03:54:00.000-07:00

Madame Spy (1934) with Fay Wray and Nils Asther

Original strapline: "The dazzling Career of an Adventuress!"

The screenplay was based on the novel Unter falsche Flagge by Max Kimmich.

It was remade by Universal in 1942 under the same name.

Maria (Fay Wray) is married to Captain Franck (Nils Asther) of German Intelligence. He does not know she is a Russian assigned to spy on him. When he is told to uncover a leak, he vows revenge on his wife. (IMDb)

1934 review by the New York Times:

It is a romantic melodrama which, notwithstanding that it is scarcely credible, succeeds in tickling one's fancy. If there be a weak spot Mr. Freund atones for it by his direction and his remarkable eye for camera angles. The story deals with a somewhat delicate situation in secret-service work during the World War, for a bride happens to be spying on her husband. She is a Russian and he a German, for the time being in Austria.

It is one of those cases in which truth and fiction are quite adroitly blended. Fay Wray acts Maria, a nurse, who soon after the narrative opens becomes the wife of Captain Franck, played by Nils Asther. Franck has assigned to him two Austrian spy experts, Captain Weber and Mr. Schulz, who are just as keen as the German on apprehending an agent referred to as B-24. Naturally, the audience is permitted to know that Maria is the mysterious espion, but this does not alter the fact that the tale is unwound with shrewdness and a certain suspense. Governmental departments may not sign their telegrams "Secret Service," but what of it? Maria is doing her utmost to help Russia and Franz is lending his brains to Germany and Austria.

Mr. Freund has evidently learned something about intelligence activities, for here and there one discovers an ingenious trick. One of the most interesting episodes takes place in Russia, and the persons involved are General Philipow, neatly acted by Noah Beery, Maria, and Franz, the latter having risked being backed up against a wall before a firing squad to see Maria, who had fled to her native heath.
There are some excellent war glimpses here, and at one moment the beautiful Maria is beheld crawling through the mud and mire of No Man's Land and finally reaching friendly trenches.

Miss Wray does well in her rôle and Mr. Asther is capable in his. Noah Beery is excellent as the elderly Russian roué, General Philipow. But the star of the picture is its director, Mr. Freund, who long ago made the camera talk without the aid of the microphone.

Fay Wray and Nils Asther

picture of the day: with Marion Davies

2011-07-04T10:27:00.000-07:00

The Cardboard Lover, 1928, MGM

Ditzy American Marion Davies is hired by European tennis champ Nils Asther to be his 'cardboard lover' and fool his vamp ex-girlfriend;

butler Tenen Holtz looks on.

more about this film

picture of the day: The Single Standard

2011-07-03T20:04:00.000-07:00

Nils Asther and Greta Garbo in The Single Standard, 1929

picture of the day: my favourite picture

2011-07-02T01:18:00.000-07:00

From The Bitter Tea of General Yen, 1933, directed by Frank Capra

Probably my favourite ever picture of Asther.

His uniform was designed to emphasise his height, but that huge hexagonal window makes him look like a speck. He's big and small at the same time, and it moves me.

As a plus, that disturbing makeup blurs with distance, becoming less like west passing off as east, but instead of another land entirely, one step through the silver of the screen.