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Lotte Neumann

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posted by Truus, Bob & Jan too! alias Truus, Bob & Jan too! on Saturday 4th of July 2020 02:14:44 PM

German postcard by Verlag Ross, Berlin, no. 2001/7. Photo: Becker & Maass. Also on Film Sterne, no. 194/3. Lotte Neumann (1896-1977) was one of the most successful actresses in the early days of the German silent cinema. She also worked as a screenwriter and a producer. Lotte Neumann was born as Charlotte Pötler in Berlin, Germany, in 1896. She attended the Königliche Luisenschule (Royal Louise School) in Berlin, after which the Wagnersche-Klinkhardsche Höhere Mädchenschule (Wagnerian-Klinkhardsche Higher School for Girls). She began her theatrical career as a 13-year-old choir singer at the Komische Oper (Comic Opera) and at the Komödienhaus (Comedy House) in Berlin. In 1912, director Max Mack gave her her first film role in Die Launen des Schicksals/Whims of Fate (Max Mack, 1912) with Hanni Weisse. In the following years she acted in productions of the German Mutoscope and Biograph GmbH like Ketten der Vergangenheit/Chains of the Past (1914), the Sherlock Holmes-film Ein seltsamer Fall/An Unusual Case (Max Mack, 1914), Der eiserne Ring/The Iron Ring (Paul von Woringen, 1915) and In letzter Sekunde/In the Last Second (Walter Schmidthässler, 1916). Lotte Neumann also appeared as a singer and actress on Berlin stages. Soon she was so well-known that the studio shot a whole series of Lotte Neumann-films. In 1916 she founded the Lotte Neumann Film GmbH, which existed until 1919. To these productions belong Hinter verschlossenen Türen/Behind Closed Doors (Paul von Woringen, 1917), Die Richterin/The Judge (Paul von Woringen, 1917), Das Schweigen im Walde/The Silence in the Forest (Paul von Woringen, 1918), Das Spiel mit dem Feuer/The Play With Fire (Paul von Woringen, 1918) and Schatten der Vergangenheit/Shadows of the Past (Paul von Woringen, 1919) - for which she was also the producer. In 1918 she wrote her first screenplay, for Die Töchter des Herrn Dornberg/The daughters of Mr. Dornberg (Paul of Woringen, 1918). From 1919 on she was committed to the Ufa. During the 1920s, Lotte Neumann remained a popular film actress who embodied aristocratic young women. In 1920 she acted under the direction of Ernst Lubitsch in the comedy Romeo und Julia im Schnee/Romeo and Juliet in the Snow (1920), set in a 19th-century Alpine village. Her biggest successes include the film operetta Die brigantin von New York/The Brigantine, New York (Hans Werckmeister, 1924), Die frau für 24 Stunden/The Woman for 24 hours (Reinhold Schünzel, 1925) with Harry Liedtke, and Der gute Ruf/The Good Reputation (Pierre Marodon, 1926). She had film contracts in Austria, Italy, and the Balkan States, for example, with Gaumont-Aubert in Paris and with Maldaria in Prague. Because of her protracted divorce case, which ran from 1929 to 1932, she had to end her career as an actress. Her last film was Die Liebesfiliale (Carl Heinz Wolff, 1931) before she retired from the screen. From 1933, Lotte Neumann worked as a film writer under the pseudonym C.H. Diller. Diller was the maiden name of her mother. In 1935, she married screenwriter Walter Wassermann and also started a professional partnership with him, which lasted until 1944. She wrote a total of 25 screenplays including Kora Terry (Georg Jacobi, 1940) for Ufa; Friedrich Schiller (Herbert Maisch, 1939) for Tobis; together with Walter Wassermann Die Nacht in Venedig/The Night in Venice (Paul Verhoeven, 1941), and Altes Herz wird wieder jung/Old Heart Young Again (Erich Engel, 1942), both for Tobis. After the war, she continued her work with two more screenplays for small productions until 1958. She went to live at the residence of her mother in Gmund am Tegernsee, and later lived in Gaißach. Lotte Neumann died in 1977 in Gaißach, Germany. Sources: Gabriele Hansch/Gerlinde Waz (Filmpionierinnen in Deutschland), Thomas Staedeli (Cyranos), Philippe Pelletier ( (French), Wikipedia (German), and IMDb. And, please check out our blog European Film Star Postcards.

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  • Published 08.09.22
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