Anna Sten | |
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Born | Annel Stenskaya Sudakevich 3 December 1908 Kiev, Ukraine, Russian Empire |
Died | 12 November 1993 New York City |
(aged 84)
Occupation | Actress |
Years active | 1926–1964 |
Spouse | Fyodor Otsep (1927–1931) Eugene Frenke (1932–1984) |
Anna Sten (Russian: Анна Стен, 3 December 1908 – 12 November 1993) was a Ukrainian-born Russian silent film actress and later a Hollywood film star. She began her career in stage plays and films in Russia before travelling to Germany, where she starred in several films. Her film performances were noticed by film producer Samuel Goldwyn, who brought her to the United States with the aim of creating a new screen personality to rival the popularity of Greta Garbo. After a few unsuccessful films, Goldwyn released her from her contract. She continued to act occasionally until her final film appearance in 1962.[1][2]
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Annel Stenskaya Sudakevich[2] was born 3 December 1908. Her father was a Russian ballet master who died when she was 12. Her mother was Swedish. Sten worked as a waitress until she was discovered at the age of 15 while acting in an amateur play in Kiev. Her discoverer was the influential Russian stage director and instructor Konstantin Stanislavsky, who arranged an audition for her at the Moscow Film Academy.[1]
Sten acted in plays and films in Russia, including Boris Barnet's 1927 comedy The Girl with a Hatbox. 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.[1]
Making a smooth transition to talking pictures, Sten appeared in such German films as Trapeze (1931) and The Brothers Karamazov (1931) until she came to the attention of American movie mogul Samuel Goldwyn. Goldwyn was looking for a foreign-born actress that he could build up as the rival of Greta Garbo, and possible successor to Vilma Bánky with whom Goldwyn had great success in the silent era. For two years after bringing Sten to America, Goldwyn had his new star tutored in English and taught Hollywood screen acting methods. He poured a great deal of time and money into Sten's first American film, Nana (1934), a somewhat homogenized version of Émile Zola's scandalous 19th century novel. But the film was not successful at the box office, nor were her two subsequent Goldwyn films, We Live Again (1934) and The Wedding Night (1935), playing opposite Gary Cooper. Reluctantly, Goldwyn dissolved his contract with his "new Garbo."[1][2] Goldwyn's tutoring of Sten is mentioned in Cole Porter's 1934 song "Anything Goes" from the musical of the same name: "If Sam Goldwyn can with great conviction / Instruct Anna Sten in diction / Then Anna shows / Anything goes."
In the 1940s, Sten appeared in several films, including The Man I Love (1940), So Ends Our Night (1941), Chetniks! The Fighting Guerrillas (1943), They Came to Blow Up America (1943), Three Russian Girls (1943), and Let's Live a Little (1948). Sten continued making films in the United States and England, but none of them were successful. In the 1950s, she appeared in several television series, including The Red Skelton Show (1956), The Walter Winchell File (1957), and Adventures in Paradise (1959).
Sten was married to film producer Eugene Frenke, who flourished in Hollywood after following his wife there in 1932. Most of Anna Sten's later film appearances were favors to her husband. She had an uncredited bit in the Frenke-produced Heaven Knows, Mr. Allison (1957), and a full lead in her final film (also produced by Frenke), The Nun and the Sergeant (1962).
Anna Sten died 12 November 1993 in New York City at the age of 84.[2]
Year | Title | Role | Notes |
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1926 | Miss Mend | ||
1927 | Devushka s korobkoy | Natasha | Also known as The Girl with a Hatbox |
1928 | The Yellow Ticket | Maria | |
1928 | Moy syn | Olga Surina | |
1928 | Belyy oryol | ||
1929 | Zolotoy klyuv | Varenka | |
1930 | Lohnbuchhalter Kremke | Kremkes Tochter | |
1931 | Les frères Karamazoff | Grouschenka | |
1931 | Der Mörder Dimitri Karamasoff | Gruschenka | |
1931 | I Salto Mortale | Marina | |
1931 | Bomben auf Monte Carlo | Yola | |
1932 | Stürme der Leidenschaft | Russen-Annya | |
1934 | Nana | Nana | |
1934 | We Live Again | Katusha Maslova | |
1935 | The Wedding Night | Manya Novak | |
1936 | A Woman Alone | Maria | |
1939 | Exile Express | Nadine Nikolas | |
1940 | The Man I Married | Frieda | |
1941 | So Ends Our Night | Lilo | |
1943 | Chetniks | Lubitca Mihailovitch | |
1943 | They Came to Blow Up America | Frau Reiter | |
1943 | Three Russian Girls | Natasha | |
1948 | Let's Live a Little | Michele Bennett | |
1955 | Soldier of Fortune | Madame Dupree | |
1956 | The Red Skelton Show | Queen of Livonia | Television program |
1956 | Runaway Daughters | Ruth Barton | |
1957 | The Walter Winchell File | Frieda | Television program |
1959 | Adventures in Paradise | Antonia | Television program |
1962 | The Nun and the Sergeant | Nun | |
1964 | Arrest and Trial | Mrs. Van de Heuven | Television program |
I get rid of everything
And clear you out of me
You oughta know
I've been trying not to surrender
When I stare in your eyes
We got along
You got away
I crawled alone while you mingle in your pace
But everytime you show up around
We may keep it right away
I swore I wouldn't let you back here
And you've been replaced into me
But that's a pretty lie in practice
So here we go again baby
Hopeless I give a try but they ain't like you
We should wonder why we got through
I can't regret the way I'm addicted
So here I'm again running into
You, you're never right on time
And you've got me so confused
Don't settle down
Oh wanna throw it all away
Unless you're coming
I won't need to go insane
I know you care
You keep on acting just so stuck
In the lies you sell around
We're gonna agree no it's no use
We may keep on running through
I swore I wouldn't let you back here
And you've been replaced into me
But that's a pretty lie in practice
So here we go again baby
Hopeless I give a try but they ain't like you
We should wonder why we got through
I can't regret the way I'm addicted
So here I'm again running into
All the memories
That we shared together
Breaking all the pain
And we are still on the edge
Of getting into the madness
And start all over again
And now the last of us you try to save
And leave a lot to be desired
In short you couldn't make us stronger
You better go
You're so damn foolish
If I had only taken as a joke
If I had only known more about you