Pia and Mia Genberg

Pia and Mia Genberg in Paris, 1961
Pia and Mia Genberg in Paris, 1961. “One way to tell them apart, the girls say, is a tiny mole on Maj-lis’ (Mia’s) upper lip – but it often does not show up in photographs.”

Hjördis Niven’s twin nieces Gudrun and Maj-lis Genberg (later known as Pia and Mia) were born in Sundsvall on 7th April 1941, the daughters of Hjördis’ only brother, poor old seriously outnumbered Karl Georg. In September 1959, Gudrun, and then Maj-lis left teenage modelling careers at the Leja store in Stockholm to perform with the Folies Bergère in Las Vegas.

“We didn’t really know what we were going to do after we left school,” Gudrun told Fick magazine in 1961. “But then Maj-lis started as a model at Leja in 1958 [just as Aunt Hjördis had done seventeen years earlier], and it changed everything. I got myself a short-term contract there too, and we both went to Kim’s modelling school. [‘Kim’ being Kim Andersson / Söderlund, Hjördis’ mentor  in 1941]. Then we saw an ad for dancers in Las Vegas. And so it all began…”

Gudrun and Maj-lis were two of five Swedish girls selected to be showgirls for the Folies Bergère Christmas show at the Hotel Tropicana. Elements within the Swedish press were not impressed, screaming exploitation:

“American girls are no longer drawn to an offer of $200 a week. They are tired of acting as a draw for the gaming machines. That’s why US agents have to travel to Europe to recruit girls.”

“American morals are stricter than here at home,” the twins’ father claimed. The twins meanwhile, saw the job as temporary, and viewed it as a potential stepping stone to a movie career: “The contract is no longer valid after twelve weeks. Then we can go home if we want to.”

Gudrun and Maj-Lis Genberg, Stockholm, September 1959.
Newly recruited Las Vegas showgirls Gudrun and Maj-lis Genberg, Mona Arvidsson, and Marianne Stenman. Stockholm, September 1959.

Las Vegas and Hollywood

Hjördis and David Niven provided support for the 18 year olds during their Las Vegas adventure, which ran between December 1959 and March 1960 (with their first performance on Christmas Day). Although Maj-lis and Gudrun’s hopes of Hollywood stardom didn’t materialise, they did manage an appearance in a movie called ‘Pepe’ – a vehicle for Cantinflas, the Mexican comedian who had played Passepartout opposite David Niven in ‘Around the World in 80 Days’.

Gudrun and Maj-lis Genberg with Maurice Chevalier in ‘Pepe’, 1960. The girls are in sparkling gold dresses, and appear at 0.58 during the song, ‘Mimi’. Beware, the song is catchy!

The movie sought to recreate the sweeping multi-cameo feel of 80 Days, but unsurprisingly fell short. Gudrun and Maj-lis featured in a musical interlude with Maurice Chevalier and the Folies.

Gudrun and Maj-lis Genberg pictured at The Pink House in March 1960.
Gudrun and Maj-lis Genberg pictured at The Pink House in March 1960.

While in Las Vegas, the girls were approached by a French freelance photographer, who saw potential in them as fashion and photo models.

“At the time we weren’t interested in modelling,” Maj-lis said. “So, we put the business card aside and headed for Hollywood.”

“We really enjoyed it. Aunt Hjördis lent us one of her cars, a turquoise-coloured Thunderbird, which we used as much as possible. We were in Hollywood for a month, dreaming of screen-tests, but then the big strike happened and all the studios ground to a halt. We couldn’t stay for a long time, so we had to put our plans on the shelf.”

The strike was called by the Writers’ Guild of America, and disrupted the American movie industry through to June 1960.

Cover girls

Before returning to Sweden in March 1960 the girls took part in a widely reproduced photo session in the garden of David Niven’s Pacific Palisades home. Their uncle and aunt were already in the process of relocating in Europe, which would make these the last family photos taken at the house. (David was busy filming ‘The Guns of Navarone’ in Rhodes at the time). One year later the photo story was still being published in newspapers and magazines around the world. By then, Gudrun and Maj-lis’ careers had taken off in a different, and very successful direction.

Maj-lis and Gudrun Genberg performing at a nightclub in Stockholm, 1960
Maj-lis and Gudrun Genberg performing at a nightclub in Stockholm, 1960

On their return to Sweden, the twins used their new-found celebrity to perform their showgirl act along with another Las Vegas returnee, Mona Arvidsson, at the Hamburger Börs nightclub in Stockholm. They also spent part of the summer on the folk park circuit with Maj-lis’ fiancé Finn Dueholm (“Rock-Finn”), Sweden’s substitute Elvis, who was actually Danish.

At the end of November 1960 Gudrun and Maj-lis arrived in Paris, armed with the address and phone number of the French freelance photographer whom they had met in Las Vegas, and by December had been chosen by German-born designer Roland Karl (soon better known as Karl Lagerfeld), to model his Spring 1961 collection for the Jean Patou fashion house.

A press article from Paris in January 1961 mentioned that: “Both hope to become actresses, have 20in. waistlines, speak four languages fluently and share a small apartment with a vast ‘family’ of pets.”

A Swedish press report focussed (perhaps predictably) on Patou’s 1961 ‘Lolita Look’:

Pia and Mia Genberg in Paris, 1961
Pia and Mia Genberg in Paris, 1961, modelling for Paris-Match.

They have chosen to show the spring fashions on cute teenagers instead of last year’s sophisticated femmes fatales.” (The oldest model chosen was  25 year-old ‘Cynthia Kamikoff’, reportedly the grand-daughter of Rasputin).

Despite concerns from back home, the twins’ impact in France was immediate – even more than Lagerfeld’s designs. They featured on the front page of France-Soir, and were soon gracing the covers of European fashion magazines.

For the sake of convenience, the girls adopted the names Pia and Mia Genberg, which would stick for another decade.

“At Patou, of course it was interesting, but it was tiring,” Mia (Maj-lis) told a Swedish magazine in 1961. “Not only modelling clothes – we were photographed for a lot of fashion magazines as well. Paris-Match had an article about us with lots of pictures of us wearing contrasting dresses.”

“We posed for over a thousand pictures for the photographer we met in Las Vegas last year,” Pia (Gudrun) added. “We even got to go to Val d’Isère in the French Alps to pose in sportswear.”

Pia and Mia Genberg in the Swiss Alps

“But now we’ve parted with the photographer,” Mia continued. Contemporary reports said that the girls felt cheated by him and left France: “disappointed and destitute.” All that Pia and Mia would confirm was that they no longer wanted any photographer to have a “monopoly” on them.

Movies were still Pia and Mia’s main ambition. In late 1960 / early 1961, they took their first steps in French TV films, appearing as the ‘Dolly Sisters’ with Maurice Chevalier, and as showgirl dancers in a Jean-Paul Sassy directed Chevalier tribute ‘Maurice de Paris’.

Swedish magazine SE didn’t hold back when describing their performance in ‘Maurice…’: “Pia and Mia didn’t have to show their tits to the audience – unlike in Las Vegas last year, where they caused a sensation by refusing that requirement. That was the first time they received a lot of publicity.”

Around the same time, the girls  sang a traditional Swedish song: ‘Små grodorna’ (‘Little Frogs’), on French radio, and on film for Jean-Paul Sassy. This may explain photos of them dressed as frogs in our 1959-61 photo gallery.

Mia and Genberg on a lunch-break with French actor Lucien Fleurot.
Mia and Pia Genberg on a lunch-break from the ‘Dolly Sisters’ with their minder, French wrestler Lucien Fleurot.

Reports of mischief also began to follow Pia and Mia. In February 1961, UK newspaper The People described them as “The rage of Paris show-business… Everyone wants to date them.”  To keep things in check, the twins were allocated a minder, French actor and ex-wrestling champion Lucien Fleurot.

“Although they look like angels, they don’t like being escorted everywhere, and they stop at nothing to give Lucien the slip,” the newspaper exaggerated, probably massively.

“The final straw came when one of the twins made a break for it and Lucien carried her back to the studio under his arm. The moment the irate girl was put down she picked up a huge mirror and broke it over Lucien’s head.”

Actresses in Italy

Pia and Mia Genberg filming Dolly Sisters TV movie for French TV, 1961

Pia and Mia Genberg left France in early 1961, after a successful movie audition to appear as dancers in ‘(The Last Days of) Sodom and Gomorrah’, a hideous biblical epic starring Stewart Granger that was being filmed in Italy.

In mid February, the Swedish press announced “French perfumed news”, that Pia and Mia were staying with Aunt Hjördis in Switzerland, before driving down to Rome.

To add to the difficulties of spotting them among a fast moving cast of hundreds, Mia apparently started as a girl in the movie and ended it as a boy. During shooting, the US press reported that the twins had been removed then re-instated, on a promise of good behaviour.

Pia and Mia’s move to Rome soon became permanent, and their popularity in Italy took off as quickly as it had done in France. They spent 1961 and 1962 balancing modelling with appearances in movies produced by the burgeoning Italian film industry. When asked about their success, their mum said: “I can’t understand how they can earn so much by doing so little.” A very mum thing to say.

The girls’ film work in 1961 included ‘Leoni al sole’ (a comedy now considered an Italian classic), and ‘Five marines for 100 girls’ (a comedy never considered an Italian classic). 1962 had an epic beginning (literally) with Pia and Mia playing two of Elizabeth Taylor’s maidservants in ‘Cleopatra’, amid a reported 14,000 extras. At the same time, Aunt Hjördis lured away Ms Taylor’s real life maidservant to look after her newly adopted daughter Kristina. [Game, set and match to the Genberg family.]

Hjördis must have seen parallels with her own early career. Both she and her nieces started their careers as models at Leja in Stockholm, and although she did not model in France (not really possible in wartime), she did model for the ‘Franska’ department at NK (Nordiska Kompaniet) in Stockholm, before landing small film roles as a dancer and model.

Joined at the hip

Pia and Mia also performed an all-singing all-dancing parody of Germany’s Kessler twins – who remain major stars in Italy to this day. Two short routines were included in the 1963 movie ‘Scanzonatissimo’; a series of satirical sketches about contemporary life in Italy. The Genberg sisters re-worked the Kesslers’ European hit song ‘Da-Da-Um-Pa’, as ‘Da-Da-Enpas’ (‘Da-Da-Deadlock’).

‘Scanzonatissimo’, 1963. Pia and Mia Genberg perform ‘Da-Da-Enpas’ (‘Da-Da-Deadlock’) at 00:52:47 , and a send-up of the Kesslers’ first Italian hit ‘Pollo e Champagne’ at 01:10:12 – dressed in full showgirl plumage.

Between 1961-63 David Niven was also working extensively in Italy. At one point he and Hjördis even considered moving to Rome. Pia and Mia were visited there by a Swedish journalist, who reported that the girls spoke excellent Italian “picked up from the street”, and spoke English even better – polished up by, among others, David Niven. Hjördis was mentioned as being “very mischievous, more like a sister than an aunt.”

Although David Niven’s films didn’t cross paths with the Genberg twins, they almost inevitably worked with the same people. In 1962 David had a cameo role in a D-Day comedy [?!] called ‘The Shortest Day’, which starred the popular and ultra prolific Italian duo Ciccio Ingrassia and Franco Franchi.

Pia And Mia had already appeared with the two comedians in ‘Five marines for 100 girls’, and in 1964 landed their biggest joint movie-role in the Ingrassia and Franchi vehicle ‘Sedotti e bidonati’. The girls played fake Siamese twins (named Pia and Mia) who con money out of the hapless duo to pay for a bogus operation to separate them.

The movie illustrated that, despite the girls’ success, their range of potential roles was hugely narrowed by them being viewed as a pair.

Embed from Getty Images
Pia and Mia Genberg. Photographed in Rome, 1960s.

A split pair

‘Sedotti e bidonati’ proved to be the Genberg twins’ last movie together. Pia left the movie industry, while Mia continued and established herself as a solo actress.

Adding to the variety of her career achievements, Mia sang on a 1966 solo single called ‘Ogni Giorno Che Passa’ (‘Every Day That Passes’) which was used on the soundtrack of the movie ‘Io La Conoscevo Bene’ (‘I Knew Her Well’). If you’re interested to hear it  – it’s very pleasant….

In 1967 Mia mentioned that she and Pia had adopted different hairstyles, although miss-identification still took place, and not always in the way expected. In November 1966, when a press photo of them walking through Rome with David Niven was handed over to the Swedish press for identification, it turned out that neither Pia or Mia were present. The two women with David Niven were in fact Hjördis and the Polish actress Magda Konopka.

Embed from Getty Images
Mia Genberg, the Rome Lucia, at The Hilton Hotel, December 14, 1965

Mia’s movies from 1966 covered a broad spectrum, from ‘The Tough One’ (aka ‘El Aventurero de Guaynas’) – a modern-day spaghetti western complete with helicopters and machine guns, through ‘Agente Sigma 3 – Missione Goldwather’ – one of the deluge of 1960s spy movies in the wake of James Bond, before she closed a successful and colourful run with the 1971 horror movie ‘Something is Crawling in the Dark’.

Next page: Lo Scoglietto – The little rock or continue the Pia and Mia theme:
Gudrun and Maj-lis Genberg photo gallery covering their modelling, singing and dancing careers from 1959-1961, and Pia and Mia Genberg photo gallery covering the Italian years from 1961-1964

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