A Declaration of Love to Jenny Jugo
Life and films

THE ATTIC DISCOVERY
By the end of the 1990s, Filmmuseum Potsdam sends an enquiry to Jenny Jugo, asking if any documents or memorabilia from her film career were preserved in her private property. The absence of reaction to this enquiry suggests that all material – as it is so often the case – has fallen victim to time. On September 30, 2001, Jenny Jugo dies in Schönrain, Upper Bavaria, at the age of 97. Her bequest comprises precious antiques and a collection of paintings by French artist Maurice Utrillo. In view of the value of these items, Jugo’s heirs ignore suitcases and cardboard boxes in the attic of the house that have remained unopened for decades. Their contents are of no importance for an arts auction, yet they are a treasure for film historians. In February 2006, the contents arrive at Filmmuseum Potsdam: hundreds of photos, documents, and scripts. And, most notably: dresses, coats, hats, shoes, and accessories. Research proves that almost 40 of these items are film costumes or parts of costumes. No known textile collection comprises a comparable stock from the time of German film before 1950.

WHO WAS JENNY JUGO?
This question has come up again and again within the context of Jugo’s estate and during the preparation of this exhibition. In contrast to many other stars from Ufa times, Jenny Jugo seems to have disappeared from collective memory. 57 years have passed since her last film appearance. No career as a guest star in TV series or as a contemporary witness in documentaries or talk shows followed. Many of her aging Ufa colleagues have gained publicity again through autobiographies or nostalgic chats published in boulevard papers. Nothing of the sort exists with regard to Jenny Jugo. Nevertheless, the task remains to put together the life of an artist by means of her film appearances, reviews, news releases, references in the memoirs of colleagues, and a few documents and letters from her estate. Relevant encyclopaedias even contain differing information concerning Jenny Jugo’s date of birth. Obviously, it was Jugo herself who caused this confusion.

UP AND AWAY!
Now it is official: Jenny Jugo was born on June 14, 1904 in Mürzzuschlag, Styria. In a small anthology that was published in 1941, she reveals some brief memories of her childhood: “My father was an engineer at an iron and steel works and owned a pretty little house with a garden. At one point – I guess I was about 5 years old – I asked him to drive to Vienna with me. The impressions of the metropolis were, of course, overwhelming. Before I turned 6, my parents moved to Graz, and this was where I went to school – first elementary school, then convent school.” 1
The extremely strict education she received might have been the reason for her escape from these bourgeois constrictions. The edifying little text makes no mention of her marriage to actor Emo Jugo in Fiume, Italy – at that time, she was 16 years old. Eugenie Walter was now Jenny Jugo. In 1922, the 18-year-old leaves Austria and follows her husband to Berlin.
Without mentioning names that would have probably caused dissonance in the year 1941, she tells how she was “discovered”: “At one evening event, an official from Paramount was among the guests. During the course of our conversation, he asked me if I was an actress – I laughed and said no. ‘I would like to have some test shots taken of you. I will ask a friend of mine at Ufa to do it!’ However, I didn’t take it all serious and several months passed by.” 2 Research shows that the American was Ben Blumenthal, who had come to Germany to get Ernst Lubitsch to Hollywood. His friend at Ufa was no one else but director Erich Pommer himself.

FILM BUSINESS
Which of the preserved pieces of clothing did Jenny Jugo wear in a movie? In order to answer this question, it is essential to watch as many of her on-screen appearances as possible. Between 1924 and 1929, she appeared in 22 silent movies. Only 8 of these have been preserved in complete or fragmented form. 3 of her sound films are missing as well. Often not even photos exist that could give an impression of Jenny Jugo’s early roles and of her costumes. She remembers the time when she started working in front of the camera:
“They maintained that I was very talented and offered me a three-year contract with increasing salary. Yet the first jobs I was given were small – roles that don’t allow you to show any skills yet. However, they provided the opportunity to get acquainted with completely unknown terrain, to gain practical experience, and to get more routine.” 3
As Jenny Jugo becomes a member of the Ufa ensemble, the film company is in a deep crisis. A dividend-oriented mismanagement has brought the company to the brink of bankruptcy. Ufa produces but a few costly prestige films. In one of these flicks, Jenny Jugo has her first on-screen appearance. Fortunately, this film has been preserved and has recently undergone restoration.
The drama about the hardships of love of a hurt aviator bears the title Der Turm des Schweigens (1925, Director: Johannes Guter). This is almost the classic start for a big career: Jugo has two short appearances as a housemaid. She helps the diva (in this case Hanna Ralph) getting dressed and delivers a message... Even if her name is not mentioned in the reviews, the Lichtbild-Bühne at least writes: “In the role of the chambermaid, a face appeared in some close-ups that we will hopefully come across again soon in bigger roles.” 4
Just one of the following ten films has outlived time: In the comedic charade Die gefundene Braut (1925, Director: Rochus Gliese), Jugo already belongs to an ensemble of newcomer actors who will soon rise to become highly paid stars. The press judges: “Thoroughly brunette Jenny Jugo forms an effective contrast to Xenia Desni’s blondness.” 5
Blitzzug der Liebe (1925, Director: Johannes Guter)
Her short appearance among darlings of the public (Ossi Oswalda, Willy Fritsch) is at least recognised by critics this time: “Jenny Jugo plays an endearing little sports girl.” 6
The press calls Die Puppe vom Lunapark (1925, Director: Jaap Speyer), a “Berlin folk play”. Jugos performance is not even mentioned.
Ufa opens its new large-size cinema “Mozartsaal” at Nollendorfplatz (which is later on called “Metropol”) showing the marriage comedy Liebe macht blind (1925, Director: Lothar Mendes). Jenny Jugo plays a minor role next to Lil Dagover, Conrad Veidt, and Emil Jannings.

THE NEW STAR OF PHOEBUS
It doesn’t seem very promising for starlet Jenny Jugo to compete against the popular stars contracted by Ufa. She accepts an offer by Phoebus, a significantly smaller production company. Ufa accepts the leave of the unknown actress ...The first challenge as an actress comes with the film Friesenblut (1925, Director: Fred Sauer).
In this sinister intimate play, Jugo plays the role of a blind young woman.
With the identical cast, the next film is released one month later: Schiff in Not (1925, Director: Fred Sauer)
As an exalted high society lady, Jenny Jugo confuses the entire crew of a ship.
Fragments of Der Kampf gegen Berlin (1926, Director: Max Reichmann), have been preserved. In this entertaining action film, which is full of stunts and sensations that even today remain stunning, Jenny Jugo appears as the love of sportsman Mac, played by Carlo Aldini.
The film that follows is the comedy of manners Wenn die Liebe nicht wär’ (1925, Director: Robert Dinesen).
In reviews, Jenny Jugo is called „the live wire of German film”. 7