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25 September 2016

Johannes Heesters

Every year in early autumn, the Netherlands Film Festival (NFF) takes place. For ten days, the city of Utrecht is the cinema capital of the Netherlands, and we join the fun with our own Unofficial Dutch Film Star Postcards Festival (UDFSPF). Dutch born actor, singer, and entertainer Johannes Heesters (1903-2011) was active both on stage, television and in film. The Dutch tenor was specialized in the Viennese operetta. His 91-year career began in Amsterdam in 1920 and in 1935 Heesters moved to Germany. There he enjoyed many successes and reportedly became 'Adolf Hitler’s favourite actor', which would colour his further career.

Johannes Heesters
Czech postcard, no. 2071-B. Photo: UFA.

Johannes Heesters
German postcard by Verlag und Druckerei Erwin Preuss, Dresden-Freital. Photo: Charlott Serda.

Johannes Heesters
German collectors card by Lux.

Johannes Heesters
Vintage promotion card.

From Amsterdam to Vienna


Johan Marius Nicolaas Heesters was born in 1903 in Amersfoort, Netherlands. 'Jopie' made his stage debut in 1921 as a 17-year-old.

In 1923 he had his first singing role in a Dutch stage production of August Strindbergs Ett Drőmspel (A Dream Play). Many roles in operettas like Walzertraum, Dreimäderlhaus and König der Vagabunden followed.

A year later he made his film debut in the Dutch silent film Cirque hollandais/Dutch Circus (Theo Frenkel, 1924) starring the legendary stage actor Louis Bouwmeester.

When sound film was introduced, Johan Heesters played and sang in the Dutch film comedies Bleeke Bet (Alex Benno, Richard Oswald, 1934) and De vier Mullers/The Four Mullers (Rudolf Meinert, 1935). The latter was filmed in Vienna and was also shot there in a German spoken version as Alles für die Firma/Everything for the Firm (Rudolf Meinert, 1935).

In 1934 Heesters had made his Viennese stage debut at the Volksoper in Karl Millöcker's Der Bettelstudent/The Beggar Student. It was a huge success and many more operettas followed. Over the decades, Da geh' ich ins Maxim, Count Danilo Danilovitch's entrance song from Franz Lehár's Die Lustige Witwe/The Merry Widow would become Heesters's signature tune. He played Danilo with white silk scarf and top hat for 32 years 1600 times on stage, from 1938 to 1970.

Johannes Heesters, Bleeke Bet
Dutch postcard by M. B. & Z. (M. Bonnist & Zonen, Amsterdam). Photo: Monopole Film, Rotterdam / Maarseveen, Den Haag. Publicity still for Bleeke Bet (1934).

Fien de la Mar in Bleeke Bet
Photo: Monopole Film, Rotterdam / Maarseveen, Den Haag. Publicity still for Bleeke Bet (1934). Johan Heesters as the bridegroom at the far right.

Johannes Heesters in De vier Mullers (1935)
Dutch postcard by Habé Film. Sent by mail in 1935. Photo: publicity still for De Vier Mullers/The Four Mullers (Rudolf Meinert, 1935).

Johan Kaart en Johan Heesters in De Vier Mullers
Dutch postcard by Habé Film. Photo: publicity still for De Vier Mullers/The Four Mullers (Rudolf Meinert, 1935) with Johan Kaart.

Johannes Heesters (1903 - 2011)
German postcard by Film-Foto-Verlag, no. G 143, 1941-1944. Photo: Berlin-Film / Wesel.

Happy 107, Johannes Heesters
German postcard by Film-Foto-Verlag, no. A 3479/2, 1941-1944. Photo: Baumann / UFA.

Dream Couple


From 1936 on, Johannes Heesters played in various Ufa films. Many of his stage successes were also made into musical films, such as the Der Bettelstudent/The Beggar Student (Georg Jacoby, 1936) with Carola Höhn.

In Gasparone (1937, Georg Jacoby) and the musical Hallo Janine!/Hello, Janine! (1939, Carl Boese), he starred with Marika Rökk. They were called the Dream Couple of the German Musical film.

Other popular films with Heesters were Das Hofkonzert/The Court Concert (Detlev Sierck aka Douglas Sirk, 1936) with Márta Eggerth; and Illusion (Viktor Tourjansky, 1941) with Brigitte Horney.

In the spring of 1939 he performed in the operetta Gräfin Mariza/Countess Maritza in Amsterdam and The Hague with an ensemble of emigrated Jewish performers. The Nazis later criticized him for this cooperation, but till almost the end of WW II Heesters worked extensively for the Nazi-controlled UFA.

His last wartime film was Die Fledermaus/The Bat (Géza von Bolváry, 1946, produced in 1945) with Marte Harell. After the war he was never accused of being a Nazi propagandist, and the Allies allowed him to continue performing in post-war Germany and Austria.

He played both on the stage and in films. Die Czardasfürstin/The Csardas Princess (Georg Jacoby, 1951) reunited him with Marika Rökk. Memorable was his lead in the film Bel Ami (Louis Daquin, 1955). Little known is his part in the German version of Otto Preminger's The Moon is Blue, entitled Die Jungfrau auf dem Dach/The Girl on the Roof (Otto Preminger, 1953).

After the Schlagerfilm Junge Leute brauchen Liebe/Young People Need Love (Géza von Cziffra, 1961) with Conny Froboess and Peter Weck, he stopped making films and concentrated on stage and television appearances and on producing records.

Johannes Heesters
German postcard by Film-Foto-Verlag, no. A 3713/2, 1941-1944. Photo: Berlin-Film / Wesel.

Johannes Heesters
German postcard by Film-Foto-Verlag, no. A 3713/1, 1941-1944. Photo: Manninger / Berlin-Film.

Happy 107, Johannes Heesters
German postcard by Film-Foto-Verlag, no. A 3713/3, 1941-1944. Photo: Binz / UFA.

Johannes Heesters
German postcard by Film-Foto-Verlag, no. G 109, ca. 1941-1944. Photo: Binz / Bavaria Filmkunst.

Johannes Heesters
German postcard by Film-Foto-Verlag, no. A 3570/1, 1941-1944. Photo: Binz / Bavaria Filmkunst.

Booed Off the Stage

Johannes Heesters had moved to Germany in 1935. There he performed for Adolf Hitler (according to IMDb he was the Führer’s favourite actor) and he visited the Dachau concentration camp. After the war, many Dutch people could not forgive him this visit. In the early 1960s he was booed off the stage in Amsterdam when he tried to make a comeback in the Netherlands with The Sound of Music.

Since then he performed notably in Germany and Austria. Heesters has two daughters by his first wife, the Belgian actress Louise ‘Wiesje’ Ghijs, whom he married in 1930 and who was his co-star in De vier Mullers (Rudolf Meinert, 1935).

After her death in 1985, Heesters remarried in 1991 with German actress Simone Rethel. His younger daughter Nicole Heesters and his granddaughter Saskia Fischer are well-known actresses in the German-speaking countries.

In 2008 he apologised for his cooperation with the Nazi regime. In February of that year Johannes Heesters performed in his birthplace Amersfoort. This was the first stage appearance in four decades in his home country. Despite protests against his Nazi associations the performance became a triumph for the old star.

In 2008 he also played a scene in another film, 1 1/2 Ritter - Auf der Suche nach der hinreißenden Herzelinde/1½ Knights - In Search of the Ravishing Princess Herzelinde (Til Schweiger, 2008). His final film was the short Ten (Stefan Hering, 2011) in which he played St. Peter. At the gates of heaven, a man (Christof Arnold) has only one chance to come back to his little ill daughter: to win a bet against St. Peter. He has to break all ten commandments within 30 minutes in Munich's most notorious bar!

Heesters could not attend the premiere, while at 29 November 2011 he was admitted to a hospital because of a fever. He thus also missed the Bambi award show, where he was offered his 10th Bambi statue. And on 25 December 2011, the 108 year old 'Jopie' passed away for good in a hospital in Starnberg.

Happy 107, Johannes Heesters
Vintage postcard.

Marika Rökk and Johannes Heesters in Die geschiedene Frau (1953)
German collectors card. Photo: Cine-Allianz / Gloria / Film Ewald. Publicity still for Die geschiedene Frau/The Divorcée (George Jacoby, 1953) with Marika Rökk.

Johannes Heesters and Johanna von Koczian in Viktor und Viktoria (1957)
German postcard by Ufa, Berlin-Tempelhof, no. CK-60. Photo: Arthur Grimm / Central Europa Film / Prisma. Publicity still for Viktor und Viktoria/Viktor and Viktoria (Karl Anton, 1957) with Johanna von Koczian.

Johannes Heesters
German postacrd by Rüdel-Verlag, Hamburg-Bergedorf, no. 125. Photo: Junge Film Union / Foto Wesel.


Johan (Johannes) Heesters sings De ode aan de Westertoren in Bleeke Bet (1934). The tower (the Westertoren in Amsterdam) is the same one as Anne Frank describes in her diary. The lovely girl in the clip is Bleeke Bet herself, played by Jopie Koopman. Source: brassens66 (YouTube).


Johannes Heesters and Edith Schollwer sing Ich werde jede nacht von Ihnen traumen in a clip from Gasparone (1937). Source: Ein Lied Geht Um Die Welt (YouTube).


Johannes Heesters in Amersfoort in 2008. He sings Nou tabé dan. Source: Mokum tv (YouTube)

Sources: Wikipedia, Eric Kelsey (Reuters), johannes-heesters.de (German), Filmportal.de and IMDb.

24 September 2016

Anton Geesink

Every year in early autumn, the Netherlands Film Festival (NFF) takes place. For ten days, the city of Utrecht is the cinema capital of the Netherlands, and we join the fun with our own Unofficial Dutch Film Star Postcards Festival (UDFSPF). Today we feature a Duch non-actor and strongman who became a film star by accident. 10th-dan judoka Anton Geesink (1934–2010) destroyed the myth of Japanese invincibility in judo by becoming the first non-Japanese judoka to win a world title in 1961. He was a three-time World Judo Champion (1961, 1964 and 1965), Olympic Gold Medalist (1964) and won 21 European championships. With his 1,98 m and 130 kilo he was also an imposing figure in a few Dutch and Italian action films.

Anton Geesink
Dutch postcard by 't Sticht, Utrecht, no. AX 4883. Caption: Anton Geesink World Champion Judo Paris 2-12-1961.

Anton Geesink
Dutch postcard by 't Sticht, Utrecht, no. 6040. Photo: J.J. Herschel jr.

Anton Geesink
Dutch postcard by 't Sticht, Utrecht, no. 6049.

Samson


Antonius Johannes Geesink was born in Utrecht, The Netherlands in 1934. He first participated in the European Championships in 1951, and placed second in his category. The following year, he won his first European title. Through to 1967, twenty more European titles followed.

At the 1956 World Championships, Geesink was eliminated in the semi-finals against Yoshihiko Yoshimatsu. At the 1961 World Championships, Geesink became World Champion in the open class, defeating the Japanese champion Koji Sone. Japanese judokas had won all the World Championship titles contested up to that point.

Judo debuted as an official sport at the 1964 Summer Olympics, which were held in the sport's home country, Japan. Anton Geesink provided one of the surprises of the Games by winning the open class through defeat of Akio Kaminaga. Although Japan had won all other judo events, the loss of the blue riband open class saddened the hosts.

His reputation as a strongman won Geesink roles in a few European action films. He played a supporting part as a detective in the Dutch crime film Rififi in Amsterdam (Giovanni Korporaal, 1962) based on a novel by W.H. van Eemlandt. The film was a Dutch example of the Rififi films, a popular subgenre of the French cinema in the 1950s. These were fast moving crime films, full of familiar faces, fancy camera-work and a couple of laughs. ‘Rififi’ was French slang for 'trouble in the underworld'. At IMDb, Chip Douglas reviews the film: “The result is as much fun as a Roger Corman film from the same period, perhaps even a bit classier.”

Geesink then starred in an early Spaghetti Western, Oklahoma John (Jaime Jesús Balcázar, Roberto Bianchi Montero, 1965) with Sabine Bethmann. Geesinks’s best known film is probably the Italian peplum I Grandi Condottieri/Great Leaders of the Bible (Marcello Baldi, Francisco Pérez-Dolz, 1965) with Fernando Rey, in which Geesink starred as the biblical super hero Samson.

Anton Geesink
Dutch postcard by 't Sticht, Utrecht, no. AX 4884. Caption: Anton Geesink World Champion Judo Paris 2-12-1961. Tension during the match Anton Geesink - Koji Sone at the World Judo Championships in Paris.

Anton Geesink
Dutch postcard by 't Sticht, Utrecht, no. AX 4886. Caption: Anton Geesink World Champion Judo Paris 2-12-1961.
This headlock during the match against Koji Sone made Anton Geesink Judo world champion during the world championships in Paris.

Anton Geesink and Princess Beatrix at the Olympic Games of 1964
Dutch collectors card by Brio, no. 434, 1964. Caption: Princess Beatrix visited on the first day of her stay in Tokyo during the Games the Dutch department of the Olympic village and had a long and animated conversation with judo giant Anton Geesink.

Part-time Wrestler


After winning the 1965 World Championships and a last European title in 1967, Anton Geesink quit competitive judo. In October 1973, All Japan Pro Wrestling owner Giant Baba recruited Anton Geesink to join AJPW. Baba sent him to Amarillo, where TX, Dory Funk Jr. and Terry Funk trained him for a month. He worked for All Japan from 1973 to 1978, as a popular part-time wrestler.

Years after his short-lived film career, he re-appeared as an actor in some Dutch TV shows, such as the children’s series Pipo en de Noorderzon/Pipo and the Northern Sun (Wim Meuldijk, 1978) and the comedy series Zoals u wenst, mevrouw/As You Wish, Milady (Frans Boelen, 1984) with popular comedienne Carry Tefsen.

In 1986, Geesink was the first European judoka to receive the 9th-dan grade. A year later, he became a member of the board of the Dutch National Olympic Committee, and a member of the International Olympic Committee (IOC). In 1999, he was among the IOC members suspected of accepting bribes during the scandal surrounding the election of Salt Lake City as the host of the 2002 Winter Olympics. Geesink's name was cleared by the IOC which nevertheless issued him a warning for the appearance of a conflict of interest which could have damaged the reputation of the IOC.

His reputation as a sportsman was never damaged, and in 1997 he received the 10th-dan. This made him one of the highest graded judokas in the world. Only 18 people got ever a 10th-dan, and Geesink was one of the only three non-Japanese judokas who had this qualification. The International Judo Federation (IJF) placed him in their Hall of Fame in 2004.

At the age of 76, Anton Geesink died in 2010 in a hospital in his hometown Utrecht, where he lived above his own sports school in a street named after him, the Anton Geesinkstraat.


Anton Geesink at the 1961 World Championships. Source: beeld en geluid (YouTube).


With Anton Geesink 1962. Source: Tony Baretta (YouTube).


Scene from I Grandi Condottieri/Great Leaders of the Bible (1965). Source: Joe36Xcel (YouTube).

Sources: Sports-reference.com, Wikipedia (Dutch and English), and IMDb.

23 September 2016

Truus van Aalten

Every year in early autumn, the Netherlands Film Festival (NFF) takes place. For ten days, the city of Utrecht is the cinema capital of the Netherlands, and we join the fun with our own Unofficial Dutch Film Star Postcards Festival (UDFSPF). Today's star is the 'Dutch Louise Brooks', Truus van Aalten (1910-1999). In the 1920s and early 1930s, she made 28 films in Germany and Austria, but only one in the Netherlands. The Germans lovingly called her die kleine holländische Käse (the little Dutch cheese).

Truus van Aalten
German postcard by Ross Verlag, no. 4549/1, 1929-1930. Photo: Alex Binder, Berlin.

Truus van Aalten
German postcard by Ross Verlag, no. 1720/1, 1927-1928. Photo: Ufa.

Truus van Aalten
German postcard by Ross Verlag, no. 1728/2, 1927-1928. Photo: Ufa.

Truus van Aalten
German postcard by Ross Verlag, no. 3618, 1928-1929. Photo: Ufa. Collection: Geoffrey Donaldson Institute.

Truus van Aalten
German postcard by Ross Verlag, no. 3823/1, 1928-1929. Photo: Hegewald Film. Collection: Geoffrey Donaldson Institute.

Truus van Aalten
German postcard by Ross Verlag, no. 6436/1, 1931-1932. Photo: Atelier Gerstenberg, Berlin.

Film Metropolis Berlin


Geertruida Everdina Wilhelmina van Aalten was born in the city of Arnhem, in 1910. She was the daughter of high-street chemist Fransciscus (Frans) van Aalten and his wife Geertruida van den Anker.

Film crazy Truus was only sixteen when she won a competition by the Ufa in Dutch film magazine De Rolprent (The Moving Picture) in the summer of 1926. Soon she went to the film metropolis of Europe at the time: Berlin. By 1926, Universum Film A.G. (Ufa), was the main German film studio. From its Berlin studios at Neubabelsberg, Ufa had produced monumental films like Fritz Lang’s Die Nibelungen in 1923 and the Sci-Fi masterpiece Metropolis (Fritz Lang, 1926).

Truus' film was called Die sieben Töchter der Frau Gyurkovics/A Sister of Six (Ragnar Hyltén-Cavallius, 1927) and starred handsome idol Willy Fritsch. Her role was just a small, uncredited part. None of the other five unknown 'daughters' from Frau Gyurkovics would survive in the film industry, but the Ufa would soon realise that Truus was a gifted comedienne.

Truus returned to the Netherlands after the shooting of the film had finished. Only two days after she had returned home, a telegram arrived from the Ufa: IMMEDIATELY TO BERLIN - 3 YEAR CONTRACT. Truus had had no acting education at all, but she was sparkly and funny and the camera liked her. The Ufa put Truus into her next film - and she had a much bigger part now. Die Selige Exzellenz/His Holy Lordship (Adolf E. Licho, Wilhelm Thiele, 1927) was a comedy starring Willy Fritsch and Olga Tschechova.

Soon more small parts in other silent films followed, like in the romantic comedy Der moderne Casanova/A Modern Casanova (Max Obal, Rudolf Walther-Fein, 1928) with Harry Liedtke. Truus was often lent out to other film companies, and appeared in many cinema commercials and magazine promotions. Because of her informal acting and her humour, Truus' nickname in Germany became die kleine holländische Käse (the little Dutch cheese).

Truus van Aalten
German postcard by Ross Verlag, no. 3115/1, 1928-1928. Photo: Hanni Schwarz, Berlin.

Truus van Aalten
German postcard by Ross Verlag, no. 4029/1, 1929-1930. Photo: Gerstenberg, Berlin.

Truus van Aalten
German postcard by Ross Verlag, no. 4184/1, 1929-1930. Photo: Atelier Binder, Berlin.

Truus van Aalten
German postcard by Ross Verlag, no. 5773/1, 1930-1931. Photo: Photo-Atelier May, Frankfurt a.M.

Truus van Aalten
German postcard by Ross Verlag, no. 6584/1, 1931-1932. Photo: Atelier Binder, Berlin.

Truus van Aalten
German postcard by Ross Verlag, no. 6790/1, 1931-1932. Photo: Eli Cahn, Berlin.

Backfish


Young and irreverent, Truus van Aalten became affectionately known in Germany as a Backfisch (literally meaning fish to fry). The new, 1920s girl was boyish yet feminine - short hair, gawky limbs, a young flapper on the edge of sexuality. Truus posed for photos and gave interviews for film magazines all over Europe. Truus even ended up in American movie magazines advertising Lux soap.

In 1929, Dutch director Jaap Speyer, took Truus back to the Netherlands to shoot scenes for Jenny's Bummel durch die Männer/Jenny's Stroll Through The Men (Jaap Speyer, 1929). News cameras caught up with the unit filming one sunny day on Scheveningen pier, and Dutch cinema audiences saw it all in their newsreels a few days later. Her next film, Der Sonderling/The Oddball (Walter Jerven, 1929) gave Truus the chance to work with the great comedian Karl Valentin as his cute and naughty counterpart.

The transition to the sound film turned out well for van Aalten despite her Dutch origin. Truus entered talking pictures by courtesy of experienced director Max Mack, who was about to shoot a new film starring Daisy d'Ora, Nur am Rhein.../Only On The Rhein... (Max Mack, 1930), and he wanted Truus to play Daisy's pal Lore. Mack signed her without requiring a microphone test - news of which spread around the film community like wildfire.

The public didn’t hold her Dutch accent against her. Truus was becoming really well known now - film magazines like Filmwoche and Filmwelt featured articles about das Mädchen aus Holland (that girl from Holland), Ross Verlag and other main publishers were issuing postcards of her. For the first time, she got top billing in the popular comedy Susanne macht Ordnung/Susanne Cleans Up (Eugen Thiele, 1930) in which she played a schoolgirl in search of her missing father.

Next she performed in such early sound films as Liebling der Götter/Darling of the Gods (Hanns Schwarz, 1930) with Emil Jannings, Pension Schöller (Georg Jacoby, 1930), and Kasernenzauber/Magic of the Barracks (Carl Boese, 1931) with Igo Sym.

Truus van Aalten
German postcard by Ross Verlag, no. 4457/1, 1929-1930. Photo: Atelier Balázs, Berlin.

Fritz Schulz and Truus van Aalten in Kopfüber ins Glück (1931)
Austrian postcard by Iris-Verlag, no. 6538. Photo: Lux Film Verl. Publicity still for Der Bettelstudent/The Beggar Student (Victor Janson, 1931) with Fritz Schulz.

Truus van Aalten
German postcard by Ross Verlag, no. 5774/1, 1930-1931. Photo: Atelier Tannenwald, Wiesbaden.

Truus van Aalten
Austrian postcard by Iris Verlag, no. 6533. Photo: Lux Film.

Truus van Aalten
Dutch postcard by Jospe, no. 442. Photo by Godfried de Groot, Amsterdam.

Truus van Aalten
Dutch Postcard by JosPe, Arnhem, no. 462. Photo: Godfried de Groot, Amsterdam.

Souvenirs


By 1932, Truus van Aalten had outgrown her backfish image. She was a mature woman now, an experienced actress, but she was always typecast as a light comedy player. When the Nazis came to power, foreigners were subject to a quota system restricting how much they could work. Truus had not become a party member, and when the Nazis tried to use her in propaganda films, she refused.

Tired of the struggle to find work, she took the train and returned to Amsterdam. There, German director Georg Jacoby offered her a part in the Viennese operetta G'schichten aus dem Wienerwald/Tales From The Vienna Woods (Georg Jacoby, 1934), about an ordinary girl who swaps places with an American millionaire's daughter. In Austria, Magda Schneider was on board as the lead, and Truus played the rich girl. The successful film showed her new, mature look and her bleeched blonde hair.

Next van Aalten starred in the Dutch army comedy Het meisje met den blauwen hoed/The Girl with the Blue Hat (Rudolf Meinert, 1934) opposite Roland Varno. Although the film was a success in the Netherlands, it was not distributed abroad. Therefore Truus decided not to continue working in the young Dutch film industry.

After a long break, she got a role in Ein ganzer Kerl/A Regular Fellow (Fritz Peter Buch, 1939), a typical film of the Nazi era. Heidemarie Hatheyer played the lead as Jule, a strong, self willed woman who refuses to be ruled by the men in her life. By the end of the film she has realised her wrong-headedness, swapped her riding pants for a pretty dress and become the housewife she was destined to be. Truus played a character called Anni, a widow, and brought vivacity and humour to the part. Ein ganzer Kerl had its premiere in Berlin in January 1940. It would be Truus' last film.

After the war she tried to gain a foothold in Hollywood and in the British film business, but the there unknown actress finally failed because of her lack of knowledge of the English language. In the 1950s she became a businesswoman with a wholesale business importing and exporting Dutch souvenirs and promotional items, and in 1964 she married her employee Henk Godwaldt. Her last years were marred by mental illness.

Truus van Aalten died in the city of Warmond, the Netherlands, in 1999. Her archive has been donated to the Dutch Film Museum (now Eye Institute) in Amsterdam.

Truus van Aalten
Dutch postcard especially printed for N.V. De Faam, P.A. de Bont's chocolate and sweets factory, Breda. Photo: Ufa.

Truus van Aalten, Roland Varno in Het meisje met de blauwe hoed
Dutch postcard by M. B. & Z. (M. Bonnist & Zonen, Amsterdam). Photo: Filma. Publicity still for Het Meisje met de Blauwe Hoed/The girl with the blue Hat (Rudolf Meinert, 1934) with Roland Varno.

Roland Varno, Truus van Aalten, Dries Krijn en Lou Bandy in Het meisje met de blauwe hoed
Dutch postcard by M. B.& Z. (M. Bonnist & Zonen, Amsterdam). Photo: Filma. Publicity still for Het Meisje met de Blauwe Hoed/The girl with the blue Hat (Rudolf Meinert, 1934) with Roland Varno, Dries Krijn and Lou Bandy.

Truus van Aalten, Het meisje met den blauwen hoed
Dutch postcard by M. B. & Z. (M. Bonnist & Zonen, Amsterdam). Photo: Filma. Publicity still for Het meisje met den blauwen hoed/The girl with the blue Hat (Rudolf Meinert, 1934). Collection: Geoffrey Donaldson Institute.

Roland Varno and Truus van Aalten a.o. in Het meisje met den blauwen hoed (1934)
Dutch postcard by M. B. & Z. (M. Bonnist & Zonen, Amsterdam). Photo: Filma. Publicity still for Het Meisje met de Blauwe Hoed/The girl with the blue Hat (Rudolf Meinert, 1934) with Lau Ezerman, Gusta Chrispijn-Mulder, Tony van den Berg, Adriënne Solser and Roland Varno.

Truus van Aalten in Het meisje met de blauwe hoed
Dutch postcard by M. B. & Z. (M. Bonnist & Zonen, Amsterdam). Photo: Filma. Publicity still for Het Meisje met de Blauwe Hoed/The girl with the blue Hat (Rudolf Meinert, 1934).

Sources: Roger Mitchell (Truus van Aalten), Thomas Staedeli (Cyranos), Wikipedia (English and Dutch) and IMDb.