Ita Rina
First and Forgotten Yugoslav Film Star who provocated Gestapo
Ita Rina was born on 7 July 1907 in the small town ofĀ DivaÄaĀ (then Austro-Hungarian Empire, laterĀ Yugoslavia, nowĀ Slovenia) as Italina Lida Kravanja.Ā She was called Ida Kravanja for short. She was named after a journalist Finzi HaydĆ©e, Jewish family friend from Trieste. The first daughter of Jožef a railroad worker and Marija Kravanja, Rina had a younger sister Danica. Shortly after the outbreak of theĀ World War I, the family moved toĀ Ljubljana, where Rina matriculated in 1923. She was not a good student; she repeated the third grade ofĀ elementary school.Ā However, her dream was to be an actress.
In October 1926,Ā Slovenski narodĀ (Slovenian People) magazine organized aĀ beauty pageant, and Rina entered the competition.Ā She was crowned Miss Slovenia and was to travel to the final event for Miss Yugoslavia, which was supposed to be held on 20 December 1926 inĀ Zagreb.Ā However, her mother did not want to let her go to Zagreb. After a group visit from the Slovenian delegation, Marija Kravanja relented. Unfortunately, when Rina arrived in Zagreb, the jury was already choosing the most beautiful of three finalists. She was, however, noticed byĀ Adolf MĆ¼ller, the owner ofĀ Balkan PalaceĀ cinemaĀ in Zagreb. He immediately sent her photographs to GermanĀ film producerĀ Peter Ostermayer. As her mother did not want to let her go to Berlin, Rina ran away from home.
Her escape was enabled by a family friend, a painter Alojz Malota and his wife Hedvig Å arc. They invited her to come with them on a trip to Austria, and instead she went to Berlin. She has said that she felt very lonely and scared during the train ride and thought about returning home.
āThat was my longest and hardest journey. I huddled myself in a corner of a coupe and looked around myself in fear. I only knew few words in German...ā
Rina arrived inĀ BerlinĀ in 1927. Shortly after she had her first audition, following which she had classes in acting, diction, dancing.
"They would shine a spotlight on me" she later said "cameras would buzz. There were cables everywhere. Some complete strangers would stare at me, whispering amongst themselves. They told me to scream, to laugh, wave and cry. I think I looked most natural in scenes where I was crying. All I had to do was remember how far away from home I've gone and how I've deceived my mother."
"You don't know how to walk!" a director was yelling. I've dedicated all my strength on walking as gracefully as possible, and I thought to myself "how's it possible that I, who have climbed Triglav thrice, all of sudden am incapable of walking." I must admit, first few steps on film were harder than any danger definitely mountaineering.
After several small film roles in 1927 and 1928, the critics finally noticed her in the 1928 filmĀ The Last Supper.Ā The same year, Rina met at a Yugoslav embassy party, her future husband Miodrag ÄorÄeviÄ, a shy engineering student from Belgrade, son of a general director of the Royal Post Office.
He asked her out to dinner in a little more upscale restaurant. What he would find out later is that his students account was not enough to pay for the meal. He went to the phone in an attempted to call a friend who could lend him money. Ita figured out what was going on, and since she was already rich, secretly passed him a few bank notes, to spare him the embarrassment. She always liked him, and they understood each other well.
Ā
Around that time newspapers in Yugoslavia started to sensationalize her love life, as a counter she published an open letter.
Cenjeni g. urednik!
Vsikdar sem bila ljubeznjiva napram g. dopisniku VaÅ”ega lista. Želela sem na ta naÄin izražati simpatije, ki sem jih gojila do āVremenaā. Toda nežentlementski dopis VaÅ”ega dopisnika od 15. t. m. je zlorabil to mojo ljubeznivost in me prisilil, da Vas naproÅ”am zaradi istine za uvrstitev naslednjih vrstic: PriÅ”la sem domov na oddih, da se pripravim za bodoÄe delo, ne pa da se zaljubljam kakor goska. Zaradi tega ne potrebujem nikakih senzacij, zlasti pa ne senzacij, ki gredo preko meja dopustnega. Äudim se prostosti, ki si jo jemlje g. Ambrož, da izmiÅ”lja kar imena mojih idealov. Prava senzacija bi bila Å”ele, ko bi g. Ambrož nekoliko sreÄneje uganil moje ideale. Kar pa piÅ”e g. Ambrož, je bilo doslej meni in vsem mojim znancem docela neznano. Odpotovala bom tedaj, ko me pokliÄe novo delo. Senzacijonalni odhod avtomobilov itd. je prosta glupost.Ā
Da konÄam. Žal mi je, da se je edini g. O. Ambrož smatral za najpametnejÅ”ega od vseh tukajÅ”njih novinarjev in da je segel po tako nehvaležnem poslu. NaÅ”i javnosti je treba servirati resnico o mojem delu in moji osebi, ne pa glupih izmiÅ”ljotin. Prejmite g. urednik izraze itd.
Ita Rina.
Her breakthrough into European stardom came after taking a role in a controversial film Erotikon by a Czechoslovakian director Gustav Mahaty. As soon as she read the script about a seduced and then abandoned daughter of a guard of a railroad station, she understood it as her big chance, and she was right.
Erotikon premiered in Prague. Czechoslovakian censors cut out the scene of her giving birth to a child, but the movie garnered great success with film critics and audiences across Europe. At the premiere in Paris in Moulin Rouge and the film goers carried her out of the theatre on their hands.
The films success angered the puritans. Especially the french catholic theologian, abbot Betteleme who wrote: "... First, they lie next to each other, and then one to another ... It is true that the cover hides their figures, but it certainly does not hide their movements... The protagonists are shown in particularly long shots, especially Ita... A viewer can recognize her excitement, then her expression of anxiety mixed with longing, then the pain and at the end... I blush while describing the scenes".Ā He went though streets of Paris tearing down the posters that were plastered all over. That only raised the popularity of the film.
In 1930, Rina acted in three films, most notable being the first talking Czechoslovakian filmĀ Tonka of the Gallows, which is often named her best role.Ā Meanwhile, she married Miodrag ÄorÄeviÄ in 1931. Although she had announced her retirement from her film career, but she actually continued her acting until the outbreak ofĀ World War II. Her last prewar film was crime drama Zentrale Rio.
The situation in Germany was getting tense, especially for anybody who was considered undesirable which included actors who were foreign. She left Germany on the insistence of the then ambassador of Yugoslavia Ivo AndriÄ. In 1939, very close to the start of WW2 every time she went to work or went home, there was a man who sat in the car. In the beginning he was very quiet and she thought he was an assistant of the producer and that he might represent some new custume, a way of saying thanks to the actors. And then he spoke. At first there were talks of the superiority of the German race, but later his changes because more apparent. "I argued with him in that car" she told to the operator in the studio and retold him the whole conversation. "How could you have dared, that man is from Gestapo." said the operator. The story was retold to Ivo AndriÄ, and he ordered her and her husband to urgently leave Germany. The taping of the film was mostly done. That night they packed all of their belongs. In the morning she taped a few leftover scenes and absconded for Belgrade that same day.
"Only on the road I understood what's going on. Tanks everywhere, soldiers."
They went to live in Belgrade. She didn't act as the war was starting to rage and had her first child Milan in 1940 and thee years later a daughter Tijana. Her in-laws disagreed with the marriage to a controversial actress at first. And they had a permanent table for themselves and their friends at the local tavern.
After the bombing of Belgrade they moved to VrnjaÄka Banja. Life during wartime was hard and she laboured and sold all of her possessions to keep family fed. She even rescued her husband from jail where he landed after he, in a tavern proclaimed that Hitler will have the same fate Napoleon did in Russia.
They moved back to Belgrade after the end ofĀ World War IIĀ in 1945. Although she was promised several roles in Yugoslav films, all projects were cancelled and she was treated unfavorably.Ā After receipt of a letter she had written toĀ President Tito, Rina began working as a coāproduction advisor in Avala Film.Ā But she soon left Avala Film and moved to LovÄen Film.
She returned to theĀ silver screenĀ once, in theĀ 1960 filmĀ War, about nuclear war fallout, directed byĀ Veljko BulajiÄ. This was her last role. She got her role not though a studio, but through her husband asking nicely.
āBefore the shooting of the film War began, I was approached by a very likable gentleman, that was the husband of Mrs. Ita Rine Miodrag, and in a very discreet, shy way, asked if we can talk and during that conversation, suggested to cast Ita. Honestly speaking, I have already completely forgotten about her. There was war, and they she didn't work for a very long time. She wasn't listed anywhere in cinematography as an active actress. I remembered her from her films. I suggested we meet. So we met, I don't know where in Zagreb or Belgrade, I cannot remember, but she impressed me. She made a strong impression, of a smart woman, an actress who didn't want to be in a film for no other reason, but to be filmed. She wanted to know about her role. I really liked that, so we made a deal.āĀ
As she suffered fromĀ asthma, Rina and her husband moved toĀ BudvaĀ (thenĀ Yugoslavia, nowĀ Montenegro) in 1967.Ā There, she took care of her husband, who was ill withĀ sclerosis.Ā Rina died on 10 May 1979 from an asthmatic attack during the great earthquake that leveled the capital of Montenegro. She was buried a few days later in Belgrade, in the presence of numerous film artists, admirers, friends and family. Her husband died next year.
Best source is in Slovene here:
Ida Kravanja, 1910. [Splet] O Idi Kravanji (Iti Rini) je bilo napisanih nekaj biografij. Njeno življenje in delo sta verjetno najbolje
