Olga Tschechowa

Olga Konstantinovna Chekhova, née Knipper (1897 -1980) was a Russian-German actress. Born Olga Knipper, she was the daughter of Konstantin Knipper, a railway engineer and the niece and namesake of Olga Knipper (Anton Chekhov's wife), both Lutherans of ethnic German descent. She went to school in Tsarskoye Selo but, after watching Eleonora Duse, joined the Moscow Art Theatre's studio. There she met the great actor Mikhail Chekhov (Anton's nephew) in 1915 and married him the same year, taking his surname as her own. Their daughter, also named Olga, was born in 1916.

Two years after the 1917 October Revolution, Chekhova divorced her husband but kept his name. She managed to get a travel passport from the Soviet government, possibly in exchange for cooperation, which led to permission to leave Russia. She was accompanied by a Soviet agent on a train to Vienna, then she moved to Berlin in 1920. Her first cinema role was in Friedrich Wilhelm Murnau silent movie Schloß Vogelöd (1921). She played in Max Reinhardt's productions at UFA, the same studios where Fritz Lang directed Metropolis (1927). She made the successful transition from silent film to talkies. In the 1930s, she rose to become one of the brightest stars of the Third Reich and was admired by Adolf Hitler. Read more on Wikipedia

Lowry refers to the Olga Tschechowa in his novel Ultramarine when Dana, Norman and Popplereuter enter a cinema in Tsjang Tsjang (Dairen); "'Hullo,' I said, 'that's next week. Look what we've got today, for Christ's sake. Olga Tschechowa in Love's Crucifixion. What do you make of that, Watson?' 'Olga Tschechowa in Love's Crucifixion,' spelt out Popplereuter..." (Pg. 96). However, the 3 seamen only appear to see a "short" before the projector breaks and they leave the cinema before the main feature. Later, a drunken Dana meets Olga Solugub, the White Russian prostitute, she shows him her card; " 'Olga Sologub.' Olga Sologub. No relation to Olga Tschechowa? No? Not Olga Sologub - Love's Crucifixion?". (Pg. 106). Later, Lowry refers to the film again when Dana recalls him and Janet walking around Egremont; "Later, however, avoiding Egremont Ferry as they ascend a street of houses built on an incline to Brighton Road, which runs parallel to the promenade, as they waver at the King's picture-house, with its peeling stucco, where they are showing on Thursday, Friday, Saturday, Love's Crucifixion, with Olga Tschechowa....." (Pg. 131).

Love's Crucifixion 1928

Love's Crucifixion (Pawns of Passion in USA or Liebeshölle in Germany) was a 1928 film directed by Wiktor Bieganski, and Carmine Gallone, produced by Erda-Film GmbH (I), starring Harry Frank, Henri Baudin, Oreste Bilancia, Hans Stüwe, and Olga Tschechowa. The film was released in USA May 26, 1929, Germany August 8, 1928, Singapore 13 November 1928, Japan April 18, 1929 and in England in May 1929.

Lowry refers to the film in his novel Ultramarine when Dana, Norman and Popplereuter enter a cinema in Tsjang Tsjang (Dairen); "'Hullo,' I said, 'that's next week. Look what we've got today, for Christ's sake. Olga Tschechowa in Love's Crucifixion. What do you make of that, Watson?' 'Olga Tschechowa in Love's Crucifixion,' spelt out Popplereuter..." (Pg. 96). However, the 3 seamen only appear to see a "short" before the projector breaks and they leave the cinema before the main feature. Later, a drunken Dana meets Olga Solugub, the White Russian prostitute, she shows him her card; " 'Olga Sologub.' Olga Sologub. No relation to Olga Tschechowa? No? Not Olga Sologub - Love's Crucifixion?". (Pg. 106). Later, Lowry refers to the film again when Dana recalls him and Janet walking around Egremont; "Later, however, avoiding Egremont Ferry as they ascend a street of houses built on an incline to Brighton Road, which runs parallel to the promenade, as they waver at the King's picture-house, with its peeling stucco, where they are showing on Thursday, Friday, Saturday, Love's Crucifixion, with Olga Tschechowa....." (Pg. 131).

Lowry has transposed the film from 1929 back to 1927, the time setting for Ultramarine. Lowry may have done this for several reasons: the linking of the name Olga; the fictional Olga is a White Russian as was Olga Tschechowa both escaping Russia after the revolution; the title of the film ties into Lowry's use of crucifixion and love; the film provides a tension between Dana's drunken meeting with a real "Olga" and him and Janet seeing the celluloid Olga together at the Kings Cinema; the use of images from the film - the escape across the snows of Poland link into Dana's fantasy of rescuing Olga Sologub:

Olga's shadow ran before her along the snow. I saw her stir the samovar and sweep the kitchen and break the ice to get more water. I saw how in the deep dark cold winter her mother put more wood in the central stove and threw her wolfskin coat on her daughter's bunk to keep her warm. I heard her brother's merry shout, as he chopped wood, and saw him blow his hands. I heard the tinkle of sleigh bells, and saw snow, light as wool, falling from the eaves. (Pg. 118)

Checkova In Tearful Film
Film Guild Cinema Shows Dull Movie in Pawn's of Passion

Pawns of Passion with Olga Chekova, Sidney Suberly, Henry Baudin, Hans Stever, Lola Josane, directed by carmine Gallone, story by the Director.

A dull piece of cinematography is "Pawns of Passion", a film which is helped little by its title and less by its cast, of which Olga Chekova is the leading player.......

The story is one of mother love. But such a mother as has not been seen hereabouts since Belle Bennett brought in the lachrymose gushers with "Stella Dallas". Miss Chekova, as Anna, is separated from her young son in the Russian revolution. The boy is picked up, curiously enough, by the spurned lover. Anna wanders all over Europe looking for her son.

Why she should leave Russia, where they were separated, to seek him in Germany, Poland and France, is reason enough, for another scenario. On a false scent she tries to find him in Paris, and failing this, she attempts suicide in the Seine, but is saved by an artist. The painter takes her to his atelier, helps her find her son  and marries her which is the path of all motion pictures tread, ot trod, some years ago.

Miss Chekova is a passive performer. She seems inhibited by a set of rules prescribing soul-searing dramatic tactics. Why the painter casts aside the witty and decorative model for the adipose Anna is another baffler that only the casting agent can answer.

The film is nicely photographed and some exciting scenes of armies clashing on a field of snow, of horses falling through thin ice, of bleak peasant villages. New York Times 27/5/1929

Lowry must have seen the film in the England in the summer of 1929 possibly in Seacombe or Liscard. It is not impossible that he was still seeing Tess Evans in 1929 though there is no documentary evidence. The film was shown at the Marina Cinema from 13/5/1929 to 15/5/29 and the Liscard Palace from 27/5/1929 to 29/5/1929. Liscard Palace is only 200m from Tess's former home at 26 Thirlmere Street, Liscard. Therefore, the reference to Dana and Janet maybe based on a real event.

Marina Seacombe: The story features Olga Tschechova who takes the part of a dancer in the Imperial Russian Ballet. She finds herself at cross purposes with captain of the Imperial Guards through having declined his advances. He joins the "Reds" in the revolution, and betrays the man whom Anna, the dancer, has married. From that point the picture becomes a succession of rapid thrills with scenes of Polish cavalry charging, and a sleigh chase across the snowy wastes of Poland. Wallasey and Wirral Chronicle 11/5/1929

Marina Seacombe: Love's Crucifixion on Monday next, transfers the attention from gay Paris to the snowy wastes of Poland. Wallasey News 11/5/1929

Liscard Palace: This is a human story telling of a Russian mother, widowed as the result of the "Red" revolution, who has also the misfortune to lose her little son. Her efforts to trace him provide scope for scenes so far different as the wastes of Poland and the gaiety of Montmartre. Star: Olga Tschechova. Wallasey and Wirral Chronicle 25/5/1929

Liscard Palace: Russia is once again in perspective in 'Love's Crucifixion'', a gripping melodrama. Starring Olga Tschechova and Hans Stuwe, booked for the beggining of next week. Wallasey News 25/5/1929

Katayama Silk Store, Dairen

Lowry refers to the above shop in his novel Ultramarine when Dana meets Olga Sologub, a prostitute in Dairen, asking her to speak Japanese to him:

"I can teach you all the Japanese you have to know now. Listen to me. Good morning is Cha-yo. Good day, Konnichiwa. Good evening, Konbanwa. Good-bye, Sayonara. Take me to Katayama store, Katayama e tsure te yu ke. Show me kimono. Kimono wo misete kudasai. How much? Ikura? Show me better one, Motto yoinowo misete. This is very pretty, Korewa taiken kireida-"

"My God, have a heart!"
"Please don't stop me, please!"
"Oh I see!"
"I will take it, Sore ni shimasko. Too expensive, Amari takai. Show me some less expensive. Motto yasuinowo misete. Give me change, Tsuri kudasai. That's all, Shimai-" (Pg. 107)

The Sm Shhshin Katayama Silk Store was located at  I93 Yamagata-dori, DAIREN. Telephone 2-6235 (Manchuria: a semi-monthly publication of the Manchuria Daily News: Volume 1 1936).

The Wearer of KATAYAMA SILK feels well-groomed and well-tailored Custom-made shirts and pyjamas executed by this Dairen firm have won world-wide acclaim from contented residents and around-the- world tourists. (Caravan, Volumes 3-4 1938)

My Sweet Hortense

Lowry refers to the popular song My Sweet Hortense in his first novel Ultramarine as Dana trawls his way through the red light district of Dairen; "A gramophone was going somewhere, playing My Sweet Hortense. The street was mainly unlighted, but there were dim lamps in some of the windows. Girls called to us as we passed by. (Pg.102)

The other day I met a jay his name was Hezekiah
I had to grin to hear him chin about his hearts desire
I said I bet your little pet is just a real vampire
He answered hey there pal she ain't that kinda gal.

Oh! oh! oh! my sweet Hortense She ain't good lookin' but she's got good sense
Before I kiss Hortense I always buy a nickles worth of peppermints
Rain makes flowers pretty I hear I hope it pours on her for a year
That would be immense Yer never met a gal like sweet Hortense
Oh! oh! oh! my sweet Hortense She ain't good lookin' but she's got good sense
Before I kiss Hortense I always buy a nickles worth of peppermints

And by the way I'd like to say he took 'er to the preacher
The preacher said come right ahead Im mighty glad to meet yer
He whispered Hez the good book says that you're a lucky creature
And when he kissed the bride we're even Hezie cried.

Oh! oh! oh! my sweet Hortense She ain't good lookin' but she's got good sense
Before I kiss Hortense I always buy a nickles worth of peppermints
She's got dandy teeth in her mouth one points north and the other points south
Say they're both immense Yer never met a gal like sweet Hortense
Oh! oh! oh! my sweet Hortense She ain't good lookin' but she's got good sense
Before I kiss Hortense I always buy a nickles worth of peppermints

The lyrics were written by Joe Young & Sam Lewis with music by Walter Donaldson

Victor Vorzanger's Famous Broadway Band, Stanley C. Holt's Quintette, Jack Hylton, Fred Douglas, The Vocalion Dance Orchestra, Fred Whitehouse amongst countless others recorded the song. Therefore it is impossible to determine what version Lowry was referring to in Ultramarine.

Lowry was probably using the song to ironic effect as the song is playing as her enters the brothel - "I said I bet your little pet is just a real vampire. He answered hey there pal she ain't that kinda gal." - suits the juxtaposition of vamp (Olga the prostitute) to Janet (Dana's love).

Thomas Otway Venice Preserv'd

David Garrick as Jaffier and Susannah Maria Cibber as Belvidera in Venice Preserv-d at the Drury Lane Theatre 1762-63 by Johann Zoffany

Lowry refers to Thomas Otway's Venice Preserv'd Chapter 3 of Ultramarine during a long internal dialogue by Dana Hilliot as he muses after his drunken drift through the red light district of Dairen; "dream of lutes, laurels, seas of milk, and ships of amber." (Pg. 111). The character Belvidera says these words in her mad scene, from Thomas Otway's tragedy Venice Preserv'd..

Venice Preserv'd is an English Restoration play written by Thomas Otway, and the most significant tragedy of the English stage in the 1680s. It was staged first in 1682, with Thomas Betterton as Jaffeir and Elizabeth Barry as Belvidera.

Lowry may have been alluding to the feminist issues apparent in Otway's play as Dana Hilliot muses about rescuing the prostitute Olga Sologub from the brothel in Dairen. Dana was also concerned that if he took Olga back to the ship that hte crew would fight over to have "their home comforts"


The play was written in the Restoration period, when the legal protections for women were few, the emotional heart of the play is the vulnerability of women. Aquillina, the play's courtesan, is shown very little regard by the men in the play. Her lover, Pierre, refuses to reveal the plot against the Senate to her, suggesting that women shouldn't talk out of bed, and Antonio never calls her by her name, but refers to her only as his "little Nacky" (a slang term for a woman's genitalia). Belvidera is reduced to collateral when she is left in the hands of men her husband barely knows. Read more on Wikipedia