Johanna Matz: The Golden Smile of Vienna

Johanna Matz (1932–2025) was the quintessential “girl next door” of German-language cinema during the 1950s, a star whose radiant smile and natural charm offered a sense of hope and lightness to post-war audiences. Originally a trained dancer at the prestigious Max Reinhardt Seminar in Vienna, she brought a lyrical grace to every role she inhabited. Matz became a household name through her delightful performances in “Heimatfilms” and romantic comedies, most notably in The White Horse Inn (1952) and the charming The Forester’s Daughter (1952).

Her talent even caught the eye of Hollywood director Otto Preminger, who cast her in the German-language version of the controversial hit The Moon Is Blue (Die Jungfrau auf dem Dach). With her bright eyes and sophisticated yet approachable elegance, Matz embodied the spirit of the “Wiener Mädel” (Viennese girl).

Johanna Matz remains a beloved figure for those who cherish the golden age of Austrian cinema, a timeless reminder of an era that celebrated innocence, poise, and effortless beauty.

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Iconic Photos of Maggie Smith Playing Cards in the Play “Strip the Willow” (1960)

In 1960, a 25-year-old Maggie Smith starred in the play Strip the Willow, a production that is often cited as the performance that launched her toward major stardom. The play was written by Beverley Cross, who would later become Smith’s second husband. Cross reportedly wrote the lead role specifically for her, including a stage direction that described the character as “about 25 and very beautiful... as elegant and sophisticated as a top international model.”

The play debuted in November 1960 at the Newcastle Theatre Royal before touring other venues, including the Theatre Royal, Brighton. Smith played Kathy Dawson, a role specifically described by Cross in the stage directions as an elegant, sophisticated, and “marvelous girl” with a great sense of fun.

One of the most publicized aspects of the production involved Smith’s character playing strip poker, leading to iconic photocall images of her in a “state of undress” while holding a hand of playing cards.

At the time, critics noted her immense screen presence and “sex appeal,” with some famously comparing her favorably to icons like Brigitte Bardot and Marilyn Monroe. 

The play is significant in Smith’s biography as it was written by Beverley Cross. Although Smith married actor Robert Stephens in 1967, she later married Cross in 1975, a relationship that lasted until his death in 1998.

Party Like It’s 1953: Found Color Slides of a New Year’s Eve Costume Bash

Step inside a time machine to December 31, 1953. These rare, found color slides, via Phrena, capture the spirited energy of a New Year’s Eve costume party, where the champagne flowed and the outfits were as imaginative as the era itself.

From makeshift superheroes to classic masquerades, these frames offer a candid, colorful glimpse into how the mid-century generation rang in the New Year with style and a touch of whimsy. While these slides from 1953 have been significantly water-damaged over time, the weathered textures only add to their haunting beauty and historical intrigue.

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Who Did “Penny for the Guy Back” in the Day?

In the mid-20th century, “Penny for the Guy” was a ubiquitous part of British childhood. Before the rise of organized displays and the American influence of Halloween trick-or-treating, it was the primary way children engaged with Bonfire Night (November 5th).

Children created an effigy of Guy Fawkes using their fathers' or older siblings’ old clothes (jumpers, trousers) stuffed with newspaper, straw, or dead leaves. The head was often a stuffed pillow or a cardboard mask bought from a newsagent. These life-sized dolls were paraded through neighborhoods or displayed on busy street corners. Children often used old prams, wheelbarrows, or homemade carts to transport them. Groups of children would sit or stand outside shops, pubs, bus stops, or tube stations, calling out the familiar chant, “Penny for the Guy, mister?” or “Penny for the Guy, lady?”.

The collected pennies were almost exclusively used to buy fireworks (such as sparklers, rockets, or Catherine wheels) or treats like toffee apples and “pop” (soda). On the evening of November 5th, the homemade Guy was traditionally placed on top of a large communal or garden bonfire and burned as the centerpiece of the celebration.

During this period, Halloween was not widely celebrated in the UK. “Penny for the Guy” was the primary autumn holiday activity for children. It was viewed as a “communal endeavor” that brought neighborhoods together, with neighbors often competing to see who had the best-made Guy. Children often undertook the activity without adult supervision, staying out until dark to catch commuters coming home from work.

The tradition began to fade toward the late 20th century due to increased safety regulations on firework sales, the rise of organized public displays, and the growing popularity of American-style trick-or-treating.

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Enchanting Photobooth Portraits of Girls in the 1940s

The photobooth strips of the 1940s offer a delightful and candid window into the lives of young women during a transformative decade. In an era where professional photography was often stiff and formal, the photobooth provided a rare “private stage” for teenage girls and young ladies to express their true personalities. These small, grainy squares of black-and-white film are filled with a sense of playful discovery, capturing everything from shy, sweet smiles to bold, rebellious gazes.

The aesthetic of these portraits is quintessentially ’40s: the iconic victory rolls, neatly pinned curls, and the classic collared blouses that defined wartime youth fashion. These weren’t just photos, they were “social media” of the pre-digital age: fun, immediate, and deeply personal.

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50 Glamorous Vintage Postcards of Marlene Dietrich in the 1930s

Marie Magdalene “Marlene” Dietrich (27 December 1901 – 6 May 1992) was a German-American actress and singer whose career spanned nearly seven decades. In the 1930s, Dietrich was the ultimate icon of androgynous glamour and one of the highest-paid women in the world. This decade defined her “legend,” moving from a breakout star in Germany to a Hollywood “goddess” under the meticulous direction of Josef von Sternberg.

Dietrich’s decade began with a bang in 1930 with The Blue Angel. Playing the cabaret singer Lola Lola, she became an overnight sensation. She appeared in top hats, silk stockings, and frilled knickers, establishing her as a “femme fatale.” Following the film’s success, she moved to America under contract with Paramount Pictures to be their answer to Greta Garbo.

Most of Dietrich’s iconic 1930s imagery comes from her six Hollywood films with director Josef von Sternberg. He obsessively sculpted her image, using “butterfly lighting” to emphasize her high cheekbones and insisting she lose weight to achieve a more hollowed, ethereal look.

Dietrich was a pioneer of androgyny. In an era where women were expected to be soft and domestic, she was radical. She wore tailored men’s trousers, trench coats, and berets off-screen, often being called the “best-dressed man in Hollywood.”

In 1933, she was famously warned by the Paris Chief of Police that she would be arrested if she wore trousers in public; she did so anyway, walking off the train in a full man's suit. She famously claimed she didn't dress for men or herself, but for “the image” – a carefully curated blend of masculine power and feminine sensuality.

By the mid-1930s, her highly stylized films began to lose money. In 1938, she was famously labeled “Box Office Poison” by independent theater owners. During this time, Nazi officials offered her huge sums to return to Germany and become the face of their film industry. She refused, applied for U.S. citizenship, and spent much of the late 1930s helping refugees.

She ended the decade with a massive career pivot in Destry Rides Again (1939). Trading her “goddess” gowns for a rowdy saloon-girl outfit, she proved she could be funny and “earthy,” saving her career for the 1940s.

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Aleardo Villa: The Master of Belle Époque Elegance

Aleardo Villa (1865–1906) was a brilliant Italian painter and illustrator whose work perfectly encapsulated the refined beauty of the Belle Époque. Originally trained at the Brera Academy in Milan, he began his career as a traditional painter before becoming one of the most sought-after masters of the Art Nouveau (Stile Liberty) movement.

Villa was celebrated for his extraordinary ability to capture the feminine ideal, his portraits often featured women who radiated a delicate, ethereal charm, wrapped in flowing fabrics and surrounded by soft, floral motifs.

Beyond his canvases, Villa was a visionary in the world of commercial art. His iconic posters for brands like Mele (the famous Naples department store) and his intricate postcard designs are considered masterpieces of early 20th-century advertising. With his sophisticated use of color and fluid, rhythmic lines, he didn’t just paint subjects, he painted an atmosphere of luxury and romanticism.

Though his life was tragically short, Aleardo Villa’s legacy lives on as a definitive voice of an era that celebrated art as a total experience of grace and harmony.

E. & A. Mele & Cia. Magazzini Italiani, 1897

Teatro Lirico Internazionale, Grande Veglione Orientale, February 1, 1896

Regate, Pallanza, Lago Maggiore, 1897

E & A Mele & Ci., Guanti, 1898

Grandi Magazzini Italiani E. & A. Mele-Napoli, 1898

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