The Story of Helena Citrónová, a Young Slovak Jewish Woman Who Famously Survived Auschwitz Due to a Forbidden

Born in 1922 in Humenné, Slovakia, Helena was the daughter of a Jewish cantor and grew up with a deep love for singing. In March 1942, she was forced onto the very first mass transport of Slovakian Jewish women to Auschwitz. The women had been lied to, promised profitable work abroad, but were instead sold as slave labor.

Helena Citrónová

Initially assigned to brutal manual labor shifting heavy rubble, Helena's life changed when she was transferred to work in “Kanada,” the massive warehouse barracks where the personal belongings of those murdered in the gas chambers were sorted.

On her first day in the warehouse, the Kapo (prisoner overseer) asked if anyone could sing to mark the birthday of one of the SS guards overseeing the unit. Terrified and weeping, knowing that displeasing the guards meant death, 20-year-old Helena stepped forward. She sang the only German song she knew: “Liebe war es nie” (“It Was Never Love” or “Love It Was Not”).

The guard celebrating his birthday was Franz Wunsch, a 20-year-old Austrian who had volunteered for the SS as a teenager. He was completely captivated by her voice and her beauty. He ordered that she remain permanently assigned to the indoor Kanada warehouse, effectively sparing her from the lethal outdoor labor commandos.

Franz Wunsch

Wunsch began secretly leaving Helena gifts of food, warm clothing, and love letters. Helena’s initial reaction was pure hatred and disgust: “I thought I’d rather be dead than be involved with an SS man,” she recalled years later. “For a long time afterwards there was just hatred. I couldn’t even look at him.”

Yet, in a place where death was the default, Wunsch’s obsession manifested as a lifeline. When Helena contracted typhus, typically a death sentence in the camp, Wunsch hid her, brought her extra medicine and food, and nursed her back to health.

Over the next two years, the nature of their relationship remained strictly non-physical, confined to whispered conversations, fleeting glances, and smuggled notes. Under the Nazi Rassenschande (race defilement) laws, any sexual relations between an Aryan and a Jewish prisoner were strictly forbidden and carried a penalty of death or imprisonment for the SS officer.

The dynamic between Helena and Wunsch changed permanently in October 1944. Helena’s older sister, Róza, arrived at Auschwitz on a transport along with her husband and two young children. They were instantly selected to go directly to the gas chambers.

Desperate, Helena managed to slide a note to Wunsch, begging him to save them. Wunsch immediately ran to the gas chamber selection area. Confronting Helena under the guise of “punishing” her for breaking curfew, he demanded to know her sister’s name. Wunsch was able to physically pull Róza out of the line, claiming she was needed to work in the Kanada warehouse. However, his authority only went so far. He could not save Róza’s children or her husband.

While Róza survived the war alongside Helena, the agonizing loss of her children left a lifelong scar. Róza struggled to forgive Helena for the terrible reality of how her life was bought at the cost of her children’s. Yet, for Helena, this was the moment her feelings toward Wunsch shifted from survivalist tolerance to genuine gratitude and complex affection.

Helena Citrónová (left) with her sister Róza (right) and Róza’s daughter before the Holocaust.

In January 1945, as the Soviet Army closed in on Auschwitz, Wunsch found Helena one last time. He gave her and Róza heavy, fur-lined boots and warm socks to survive the impending death march, along with a note that read, “I loved you very much.” Helena and Róza survived the march and were liberated. They eventually immigrated to Israel to rebuild their lives. Wunsch searched for Helena for years through the Red Cross, writing to her, but she refused to respond, wanting only to bury her past.

The story did not end there. In 1972, Franz Wunsch was arrested and put on trial in Vienna for his war crimes at Auschwitz. While Wunsch had protected Helena and was noted by other survivors to have behaved less brutally after falling in love with her, he was also a committed SS officer who had actively participated in mass selections at the train ramps and operated the gas chambers. Wunsch’s wife tracked Helena down in Israel, begging her to testify. Helena flew to Vienna to take the stand.

During the trial, Helena did not look Wunsch in the eye. She delivered a highly nuanced testimony, refusing to sugarcoat his role in the machinery of the death camp, while also testifying to the fact that he had saved her life, her sister’s life, and had thrown food to other prisoners. Ultimately, Wunsch was acquitted, largely due to the statute of limitations on many of the charges in Austria at the time.

Helena Citrónová passed away in Tel Aviv in 2007 at the age of 84. Her story remains one of the most haunting examples of the “grey zones” of human survival in the face of absolute evil. It was beautifully documented in the 2020 Israeli documentary film Love It Was Not, which explores the deep psychological weight both sisters carried for the rest of their lives.

26 Portraits of Enid Bennett in the Late 1910s and Early 1920s

Enid Bennett (July 15, 1893 – May 14, 1969) was an Australian-born silent film actress who became a prominent leading lady in American cinema, particularly during the late 1910s and early 1920s. Combining a natural, understated acting style with striking classic beauty, she transitioned seamlessly from touring theater in Australia to the heights of early American cinema.

Bennett arrived in the United States in June 1915 alongside director Fred Niblo and his wife, Broadway star Josephine Cohan. After a successful stint on Broadway, she caught the eye of legendary pioneer producer Thomas H. Ince. Ince was looking for fresh talent for the Triangle Film Corporation and signed Bennett to a contract that would define the first major phase of her career. Between 1918 and 1921, Bennett was exceptionally prolific, starring in 23 films for Triangle. Unlike many silent stars of the era who played hyper-dramatic, distressed damsels, Bennett’s roles often showcased a practical, assertive, and modern sensibility.

Following Josephine Cohan’s tragic death in 1916, Bennett married Fred Niblo in 1918. Niblo directed many of her most popular Triangle releases, establishing a highly successful personal and professional partnership. Sadly, like much of silent film history, the majority of Bennett’s solo star vehicles from this era (such as Fuss and Feathers and Silk Hosiery) are currently considered lost. However, surviving prints like The Woman in the Suitcase (1920) reveal her sharp comedic timing and charisma.

As the early 1920s took shape, Bennett transitioned from headlining smaller domestic comedies and dramas to anchoring massive, high-budget Hollywood spectacles. Her career reached its historic zenith when she was cast as Maid Marian opposite Douglas Fairbanks in the monumental adventure epic Robin Hood. It was one of the most expensive and successful films of the silent era. Looking back on the role decades later, Bennett cheekily recalled to film historian Kevin Brownlow: “I had a wonderful time playing Maid Marian. Of course, the part was not too demanding, I just walked through it in a queenly manner. [Fairbanks] was wonderful, inspiring.”

Bennett followed her Robin Hood success with two more landmark roles in 1924: Lady Rosamund Godolphin in Frank Lloyd’s acclaimed adventure The Sea Hawk, and Marise La Noue in The Red Lily, starring opposite Ramon Novarro and directed by her husband, Fred Niblo.

By the mid-1920s, Bennett deliberately slowed her career to focus on family life, occasionally assisting Niblo behind the scenes (including serving as an uncredited assistant director during the chaotic production of 1925’s Ben-Hur). Though she made a brief, successful transition to early sound films in the 1930s, it is her brilliant run between 1917 and 1924 that marks her as a true pioneer of early Hollywood.

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Brigid Bazlen: The Tragic Beauty of Classic Hollywood

Brigid Bazlen (1944–1989) was an American actress and model known for her striking beauty and youthful charm during the late 1950s and early ’60s. Born in Chicago, she began her career as a child actress and quickly gained attention for her delicate features, expressive eyes, and ethereal presence.

Bazlen appeared in several films, most notably as the young Salome in King of Kings (1961) and in The Honeymoon Machine (1961). Despite her promising start in Hollywood, her career was relatively short-lived. She is often remembered as one of the most beautiful and promising young stars of her generation whose life was cut tragically short.

These rare vintage photos beautifully capture the delicate, almost fairy-like beauty of Brigid Bazlen. With her innocent yet captivating gaze and graceful presence, she embodied the fragile glamour of early 1960s Hollywood. Though her life and career were brief, these timeless images preserve her as one of the most enchanting and tragic beauties of classic American cinema.

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Theo van Hoytema: Master of Dutch Nature Illustration

Theo van Hoytema (1863–1917) was a talented Dutch artist and illustrator, widely regarded as one of the finest nature artists of the late 19th and early 20th centuries.

Born in the Netherlands, van Hoytema became famous for his delicate, highly detailed illustrations of birds, animals, and landscapes, often rendered in soft, atmospheric styles. His most celebrated works include the beautifully illustrated books How the Birds Lived (Onze vogels in huis en tuin) and The Ugly Duckling, where his sensitive and poetic approach to nature brought stories to life with remarkable grace and realism.

Van Hoytema’s art perfectly captured the gentle beauty of the Dutch countryside and wildlife, blending scientific accuracy with artistic emotion. Through his exquisite illustrations, he left behind a timeless legacy that continues to enchant lovers of nature and vintage book art. His works remain a beautiful bridge between art and natural history, celebrating the delicate wonders of the natural world with elegance and quiet poetry.

Pauw met kippen, circa 1880s

Pouw, circa 1890s

Hoe de Vogels aan een Koning Kwamen, 1892

"Oh, qu'il est laid !", Le Vilain Petit Canard (The Ugly Duckling), 1893

Cover art for "Het Lelijke Jonge Eendje", 1893

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36 Stunning Photos of Maria Matray aka Maria Solveg in the 1920s and 1930s

Maria Matray (born Maria Charlotte Stern, July 14, 1907 – October 30, 1993), also known by her stage name Maria Solveg, was a German-Jewish dancer, actress, choreographer, and later screenwriter. She rose to prominence as a star of late Weimar cinema in the 1920s and early 1930s.

Born into an artistic family (her aunt was the famous artist Käthe Kollwitz), she made her debut using her stage name, Maria Solveg, in 1923. She quickly became a highly sought-after actress, starring in popular silent comedies like The Master of Nuremberg (1927). Alongside her older sister, Katta Sterna, she formed a popular touring dance duo. They performed throughout Europe in revues organized by legendary theater director Max Reinhardt.

In 1927, she married her mentor, the Hungarian actor, director, and choreographer Ernst Matray. Following their marriage, she increasingly contributed to behind-the-scenes choreography while maintaining her acting career.

Solveg successfully moved into “talkies” in the early 1930s. She landed notable leading lady roles, including the mystery romance The Son of the White Mountain (1930) and The Sorcerer (1932). Because she came from a Jewish family, her performing career in Germany abruptly ended when Adolf Hitler took power in January 1933. She and her husband fled Germany, living in exile in France and Great Britain.

In 1936, the couple emigrated to the United States. Leaving her acting alias “Maria Solveg” behind, she took her married name, Maria Matray, and established a highly successful second career in Hollywood as a choreographer for Metro-Goldwyn-Mayer (MGM). By the late 1930s, she was choreographing major feature films like The Hunchback of Notre Dame (1939) and Balalaika (1939). Below is a selection of 36 amazing photos of Maria Matray in the 1920s and 1930s:

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40 Fascinating 19th Century Street Scenes of Alkmaar, Netherlands

These rare photos offer a rare and captivating glimpse into daily life in Alkmaar during the 19th century. Located in the northern Netherlands, this historic Dutch town comes alive through images of its charming canals, bustling market streets, traditional gabled houses, and local residents going about their everyday routines.

Captured during the early days of photography, these scenes beautifully preserve the atmosphere of the late 1800s: from horse-drawn carriages and merchants in period attire to the serene beauty of one of the Netherlands’ most picturesque towns. A true visual journey into Dutch history and heritage.

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20 Publicity Photos of Annabella From the Set of “Suez” (1938)

The production of 20th Century Fox’s romantic historical epic Suez (1938) is legendary in classic Hollywood lore. For the French actress Annabella (born Suzanne Georgette Charpentier, July 14 1907 – September 18, 1996), the film was a massive career turning point. Playing the fiercely devoted, tomboyish “Toni Pellerin,” she stole both the spotlight and the heart of her leading man, Tyrone Power, under incredibly grueling physical conditions.

When Annabella arrived on the set of Suez, her co-star Tyrone Power was Hollywood’s premier young romantic lead, and 20th Century Fox’s head Darryl F. Zanuck kept a highly protective eye on him. Though Power was initially linked with other actresses, he and Annabella fell deeply in love almost immediately during filming. Their passionate off-screen romance did not please Zanuck. Fearing his top male star's appeal would wane if he married, Zanuck actively tried to disrupt their relationship, even offering Annabella film roles overseas to separate them. Undeterred, the couple married in April 1939, leading a spiteful Zanuck to quietly sideline Annabella’s Hollywood career.

The film’s climax features a monumental, highly destructive desert sandstorm. To bring this sequence to life, director Allan Dwan and special effects artist Fred Sersen utilized an incredibly harsh, low-tech methodology. The crew lined up roughly 100 massive, roaring airplane propellers to blast wind across the set. Initially, the crew used actual sand. However, Dwan quickly realized that real sand pelted at high velocities would literally strip the skin off the actors. Instead, they substituted tons of ground-up bran cereal.

The actors had to push through this blinding, high-speed cereal blizzard for days. Annabella earned immense respect from the crew for her stoicism and professionalism during the grueling shoot. For the dramatic scene where Toni is swept away and killed by the storm, crew members rigged Annabella to a wire harness and physically flung her through the air amidst the roaring wind machine debris.

The production was also marked by a legendary, polite cold war between Annabella and her co-star, Loretta Young (who played Empress Eugénie). Young was frustrated that her historical character was relegated to what she felt was glorified “set dressing,” while Annabella’s tomboyish character had the meatier, more emotionally resonant arc. Determined to command attention, Young worked with costume designer Royer to ensure she wore the most lavish, expansive hoop skirts possible. Her dresses became so incredibly wide that the studio’s stage carpenters literally had to widen the doorways on the set so Young could pass through. In contrast, Annabella spent much of the film in casual, modern-styled outdoor gear and riding habits, emphasizing her character's rugged, down-to-earth appeal.

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