Devushka Sex Com

Devushka Sex Com

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The figure fountain was engineered in the 1930s, during building of the park of culture and leisure.
The legendary sculpture of Ivan Shadr, ‘Devushka s Veslom’ (lit. Girl with an Oar) was mounted upon it. Initially, the fountain was nearer Krymsky Val, but after 1955-renovation was moved to the centre of the park’s parterre. Nowadays, son et lumière shows are held here.
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(Russkaya devushka , fotografirovat - Russian girl, taking pictures)
Das Model habe ich nicht selbst fotografiert. Es ist zu Übungszwecken von einer Wallpaper-Seite.
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British postcard in the Filmshots series by Film Weekly. Photo: United Artists. Publicity still for Nana (Dorothy Arzner, George Fitzmaurice, 1934).
Strikingly beautiful Anna Sten (1908-1993) was a Ukrainian-born actress, who became the most famous, or rather, the most notorious of the many ‘new Greta Garbos’ of the 1930s.
Anna Sten was born Anel (Anjuschka) Stenski Sudakevich in 1908, in Kyiv (Kiev), Ukraine, Russian Empire (now Kiev, Ukraine). Her father was a Ukrainian ballet master who died when she was 12, her mother was Swedish. Anna herself worked as a waitress until she was discovered at the age of 15 while acting in an amateur play in Kiev. She studied at the Moscow Film Academy, and later acted in plays and such popular films as Devushka s korobkoy (Boris Barnet, 1927), Zemlya v plenu (Fyodor Otsep/Fedor Ozep, 1928) and Belyy oryol (Yakov Protazanov, 1928). Then she traveled to Germany to appear in films co-produced by German and Russian studios, international productions common in the years prior to World War II. Making a smooth transition to talking pictures, Anna appeared in such German films as Salto Mortale (Ewald André Dupont, 1931), Der Mörder Dimitri Karamasoff (Erich Engels, Fedor Ozep, 1931) and Stürme der Leidenschaft (Robert Siodmak, 1932).
Anna Sten came to the attention of American movie mogul Samuel Goldwyn. He was looking for a foreign-born actress that he could build up as the rival of, and possible successor to, Greta Garbo. For two years he had his new star tutored in English and taught Hollywood screen acting methods. Her first American film was Nana (Dorothy Arzner, George Fitzmaurice, 1934), a somewhat homogenised version of Emile Zola's scandalous novel. But the film was not successful at the box office, and nor were her two subsequent Goldwyn films, We Live Again (Rouben Mamoulian, 1934) and The Wedding Night (King Vidor, 1935) with Gary Cooper. Reluctantly, Goldwyn dissolved his contract with his ‘new Garbo. She continued making films in the USA and England, including secondary roles in The Man I Married (Irving Pichel, 1940), So Ends Our Night (John Cromwell, 1941) and a lead in the propaganda film They Came to Blow Up America (Edward Ludwig, 1943). In the late 1950s she was seen in the cheap juvenile delinquent epic Runaway Daughters (Edward L. Cahn, 1956), produced at American International Pictures. Happily, Sten did not have to rely on acting to support her comfortable lifestyle. She was married to film producer Eugene Frenke, who flourished in Hollywood after following his wife stateside in 1932. Most of Anna Sten's latter-day film appearances were, in fact, favours to her husband. She had an uncredited bit in the Frenke-produced Heaven Knows, Mr. Allison (John Huston, 1957), and a full lead in her final film (also produced by Frenke), The Nun and the Sergeant (Franklin Adreon, 1962).
Sources: Myprivateukraine, Thomas Staedeli (Cyranos), Hal Erickson (AllMovie), Wikipedia and IMDb.
When St. Petersburg's white nights end, this fashionable devushka trades the romance of endless twilight for the glory of chic, classic black couture. Perfect for snowy Siberia or magnificent Moscow, Verushka™ Barbie® doll is intoxicating, alluring, and oh so fashionable.
British postcard in the Filmshots series by Film Weekly. Photo: United Artists. Lionel Atwell , Anna Sten and Richard Bennett in Nana (Dorothy Arzner, George Fitzmaurice, 1934).
Strikingly beautiful Anna Sten (1908-1993) was a Ukrainian-born actress, who became the most famous, or rather, the most notorious of the many ‘new Greta Garbos’ of the 1930’s.
Anna Sten was born Anel (Anjuschka) Stenski Sudakevich in 1908, in Kyiv (Kiev), Ukraine, Russian Empire (now Kiev, Ukraine). Her father was a Ukrainian ballet master who died when she was 12, her mother was Swedish. Anna herself worked as a waitress until she was discovered at the age of 15 while acting in an amateur play in Kiev. She studied at the Moscow Film Academy, and later acted in plays and such popular films as Devushka s korobkoy (Boris Barnet, 1927), Zemlya v plenu (Fyodor Otsep/Fedor Ozep, 1928) and Belyy oryol (Yakov Protazanov, 1928). Then she traveled to Germany to appear in films co-produced by German and Russian studios, international productions common in the years prior to World War II. Making a smooth transition to talking pictures, Anna appeared in such German films as Salto Mortale (Ewald André Dupont, 1931), Der Mörder Dimitri Karamasoff (Erich Engels, Fedor Ozep, 1931) and Stürme der Leidenschaft (Robert Siodmak, 1932).
Anna Sten came to the attention of American movie mogul Samuel Goldwyn. He was looking for a foreign-born actress that he could build up as the rival of, and possible successor to, Greta Garbo. For two years he had his new star tutored in English and taught Hollywood screen acting methods. Her first American film was Nana (Dorothy Arzner, George Fitzmaurice, 1934), a somewhat homogenised version of Emile Zola's scandalous novel. But the film was not successful at the box office, and nor were her two subsequent Goldwyn films, We Live Again (Rouben Mamoulian, 1934) and The Wedding Night (King Vidor, 1935) with Gary Cooper. Reluctantly, Goldwyn dissolved his contract with his ‘new Garbo. She continued making films in the USA and England, including secondary roles in The Man I Married (Irving Pichel, 1940), So Ends Our Night (John Cromwell, 1941) and a lead in the propaganda film They Came to Blow Up America (Edward Ludwig, 1943). In the late 1950s she was seen in the cheap juvenile delinquent epic Runaway Daughters (Edward L. Cahn, 1956), produced at American International Pictures. Happily, Sten did not have to rely on acting to support her comfortable lifestyle. She was married to film producer Eugene Frenke, who flourished in Hollywood after following his wife stateside in 1932. Most of Anna Sten's latter-day film appearances were, in fact, favours to her husband. She had an uncredited bit in the Frenke-produced Heaven Knows, Mr. Allison (John Huston, 1957), and a full lead in her final film (also produced by Frenke), The Nun and the Sergeant (Franklin Adreon, 1962).
Sources: Myprivateukraine, Thomas Staedeli (Cyranos), Hal Erickson (AllMovie), Wikipedia and IMDb.

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