These were Hitler’s gift to America— prodigious individuals who enriched the film culture and the intellectual life of our nation, and whose influence continues to resonate. They were devoted to raising a close family and brought their young sons to the US, who grew up as typical California boys, loving the sun and surf, and successful on their academic and own career paths. com, the Sell on Etsy app, and the Etsy app, as well as the electricity that powers Etsy’s global offices and employees working remotely from home in the US. Martin Sauter’s Liesl Frank, Charlotte Dieterle, and the European Film Fund not only provides the first comprehensive study of the EFF but also properly credits Frank and Dieterle as the chief administrators of the fund—credit that has previously been granted to its more high-profile male directors, Paul Kohner and Ernst Lubitsch. In The Sun and Her Stars, Donna Rifkind delves into the fascinating, complex life and work of one of Hollywood’s unsung screenwriting legends and emerges with a rich and illuminating biography, one that Salka Viertel herself would have undoubtedly adored.

Max Reinhardt, the legendary director who had once simultaneously operated 11 major theaters in Berlin, was reduced to opening “…a drama school on Sunset Boulevard and began to give acting lessons to young Californians, most of whom had little idea who he was. James Rudin (he/him) is the former head of the American Jewish Committee’s Department of Interreligious Affairs and author of seven books, including The People In The Room: Rabbis, Nuns, Pastors, Popes, And Presidents.Salka then moved to Klosters, Switzerland to be near Christina and Peter, who helped support his mother as she wrote her memoirs, published in 1969. America’s own deeply rooted anti-Semitism, the eruptions of homegrown fascism that emerged in the 1930s with rallies sponsored by the Silver Shirts and the German American Bund, and widespread anti-immigrant sentiments stoked by such fearmongers as Father Coughlin were factors in the Roosevelt administration’s reluctance to alter strict immigration policies that had been further tightened during the Great Depression. Garbo soon persuaded MGM to hire Salka for the role of Marthy in the German-language version of Anna Christie.

Cari Beauchamp’s Without Lying Down: Frances Marion and the Power of Women in Hollywood ; Erin Hill’s Never Done: A History of Women’s Work in Media Production ; Evelyn Juers’s House of Exile: The Lives and Times of Heinrich Mann and Nelly Kroeger-Mann ; and Emily D. Sundays at Salka's" – Salka Viertel's Los Angeles Salon as a Space of (Music-)Cultural Translation, in: Musicologia Austriaca: Journal for Austrian Music Studies, Juni 2021, https://musau. Salka’s A-List guests, whether back in Berlin, Vienna and Prague or later at her Santa Monica home, weren’t just stars; they were superstars.While the negotiations failed, Salka succeeded in “softening the boundaries between high culture and commerce in Hollywood for the benefit of each. While reading Rifkind’s extraordinary book, I thought of conducting an Oskar Schindler-type census of all the lives that in one way or other, Salka emotionally and financially rescued. Add to that sum the number of the children and grandchildren and great-grandchildren that resulted from her rescues. Viertel was a classical stage actress in her own right for 20 years in Germany during the Weimar era.

The “Jewish girl from Sambor” loved Santa Monica, America, Hollywood, and her Sunday afternoon salons. It was there that she nested, art-directing her stage where she enjoyed her longest-running role as a salonniere, hosting guests on Sunday afternoons, introducing European intelligentsia to Hollywood power — and vice-versa. Perhaps Berthold Viertel had it right when he wrote: “One does not wander without punishment under the palms.

Salka Viertel has been more or less forgotten in America because too few people believed that what she accomplished was important. She also appeared on screen in the German version of Garbo’s debut in her first full sound film of Eugene O’Neill’s Anna Christie, directed by Jacques Feyder which Garbo herself preferred to her the English version, also released in 1930, directed by Clarence Brown, Viertel playing the old prostitute role of Marthy (who Marie Dressler played in English version). Queen Christina” (1933) ranks with “Camille” (1936) and “Ninotchka” (1939) as one of Garbo’s three greatest sound films. Many newcomers who sought employment in the burgeoning film industry had a limited command of English, were uncomfortable with the social informality of southern California, and felt alienated and humiliated by their loss of cultural prominence in Europe.