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- Actor
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Max Schreck was born in Berlin. He worked in an apprenticeship until his father's death before enrolling into a school for acting. He toured the country with his peers and was a member of several theaters until he became a part of Max Reinhardt's group of innovative German actors. He played mostly out of the norm characters, the elderly and the grotesque, because of his talent and passion for make-up and costume fabrication. Although film was a challenge in which he excitedly and hopefully participated, he had small roles in films that are scarcely available, and his real career was in German theatre. He played hundreds of roles in his lifetime. He was married to Fanny Normann, a fellow performer whom he met a short time after his actor's education and shared many times with on stage. They had no children. He died on the morning of February 20th, 1936 from a heart attack.- Actor
- Director
- Writer
Beaumont began his career in show business by perfoming in theatres, nightclubs, and on the radio in 1931. He attended the University of Chattanooga, but left when his position on the football team was changed. He later attended the University of Southern California, and graduated with a Master of Theology degree in 1946. He was visiting his son Hunter, a Psychology Professor in Munich, at the time of his sudden death.- Actress
- Soundtrack
Born Kätherose Derr in Wiesbaden, Karin Dor studied acting and ballet at school and began in films as an extra. The attractive redhead made an indelible impression on Austrian director Harald Reinl (who became her first husband in 1954) and this paved the way to higher profile roles. Her first significant featured appearance was in Reinl's melodrama Der schweigende Engel (1954). Karin subsequently shared top billing in a classroom drama about wayward matriculation students, Ihre große Prüfung (1954). During the initial segment of her career she played nice girls, mainly wide-eyed ingénues, innocent victims and assorted naive juveniles in war and period dramas (As Long as You Live (1955)), Heimatfilms (Almenrausch und Edelweiß (1957)) and operettas (The White Horse Inn (1960)).
By 1960, a more glamorous, lithe and sensual Karin had graduated to juicer roles as heroines in Edgar Wallace potboilers (beginning with Der grüne Bogenschütze (1961)) and a series of Karl May European westerns, invariably directed by Reinl and co-starring Tarzan actor Lex Barker (a combination which proved equally successful for other crime/sci-fi franchises, including The Invisible Dr. Mabuse (1962)). Many of these pictures enjoyed only limited release and were rarely exhibited outside Germany.
Karin succeeded at last to break her stereotyping by playing a pathological serial killer wielding a cutthroat razor in another Wallace/Reinl outing, Room 13 (1964), and - for a total change of pace -- essayed Brunhilde in a two-part filming of the epic 'Die Nibelungen' (also directed by Reinl). With her international appeal now widening, she appeared in The Face of Fu Manchu (1965), a British-West German co-production, as a scientist's daughter menaced by the titular villain. To follow was arguably her best-known international role as an early 'Bond girl', Helga Brandt (alias Number Eleven), a SPECTRE operative whose failure to eliminate J.B. results in her being dropped into a piranha-infested pool by super villain Blofeld (Donald Pleasence) in You Only Live Twice (1967). She was then engaged by Alfred Hitchcock for the part of Cuban resistance leader Juanita de Cordoba in Topaz (1969) in which her character came to a similarly sticky end. Karin's career never quite recovered from this director's rare box-office aberration. British Times reviewer and Hitchcock specialist John Russell Taylor described the picture as "generally flat, undistinguished, and lacking in any sign of positive interest or involvement on his (Hitchcock's) part". In the wake of Topaz, Karin's screen appearances became infrequent, except for a couple of guest spots on American crime shows, followed by an of unsuccessful feature film comeback attempt in the incongruous thriller Warhead (1977). She was latterly seen on German television in several episodes of Rosamunde Pilcher (1993). Karin's third husband was actor and stuntman George Robotham who predeceased her in 2007.- Writer
- Director
- Actor
Above all, Rainer Werner Fassbinder was a rebel whose life and art was marked by gross contradiction. Openly homosexual, he married twice; one of his wives acted in his films and the other served as his editor. Accused variously by detractors of being anticommunist, male chauvinist, antiSemitic and even antigay, he completed 44 projects between 1966 and 1982, the majority of which can be characterized as highly intelligent social melodramas. His prodigious output was matched by a wild, self-destructive libertinage that earned him a reputation as the enfant terrible of the New German Cinema (as well as its central figure.) Known for his trademark leather jacket and grungy appearance, Fassbinder cruised the bar scene by night, looking for sex and drugs, yet he maintained a flawless work ethic by day. Actors and actresses recount disturbing stories of his brutality toward them, yet his pictures demonstrate his deep sensitivity to social misfits and his hatred of institutionalized violence. Some find his cinema needlessly controversial and avant-garde; others accuse him of surrendering to the Hollywood ethos. It is best said that he drew forth strong emotional reactions from all he encountered, both in his personal and professional lives, and this provocative nature can be experienced posthumously through reviewing his artistic legacy.
Fassbinder was born into a bourgeois Bavarian family in 1945. His father was a doctor and his mother a translator. In order to have time for her work, his mother frequently sent him the movies, a practice that gave birth to his obsession with the medium. Later in life, he would claim that he saw a film nearly every day and sometimes as many as three or four. At the age of 15, Fassbinder defiantly declared his homosexuality, soon after which he left school and took a job. He studied theater in the mid-sixties at the Fridl-Leonhard Studio in Munich and joined the Action Theater (aka, Anti-Theater) in 1967. Unlike the other major auteurs of the New German Cinema (e.g., Schlöndorff, Herzog and Wenders) who started out making movies, Fassbinder acquired an extensive stage background that is evident throughout his work. Additionally, he learned how to handle all phases of production, from writing and acting to direction and theater management. This versatility later surfaced in his films where, in addition to some of the aforementioned responsibilities, Fassbinder served as composer, production designer, cinematographer, producer and editor. [So boundless was his energy, in fact, that he appeared in 30 projects of other directors.] In his theater years, he also developed a repertory company that included his mother, two of his wives and various male and female lovers. Coupled with his ability to serve in nearly any crew capacity, this gave him the ability to produce his films quickly and on extremely low budgets.
Success was not immediate for Fassbinder. His first feature length film, a gangster movie called Love Is Colder Than Death (1969) was greeted by catcalls at the Berlin Film Festival. His next piece, Katzelmacher (1969), was a minor critical success, garnering five prizes after its debut at Mannheim. It featured Jorgos, an emigrant from Greece, who encounters violent xenophobic slackers in moving into an all-German neighborhood. This kind of social criticism, featuring alienated characters unable to escape the forces of oppression, is a constant throughout Fassbinder's diverse oeuvre. In subsequent years, he made such controversial films about human savagery such as Pioneers in Ingolstadt (1971) and Whity (1971) before scoring his first domestic commercial success with The Merchant of Four Seasons (1972). This moving portrait of a street vendor crushed by the betrayal and his own futility is considered a masterpiece, as is his first international success Ali: Fear Eats the Soul (1974) (Fear Eats the Soul). With a wider audience for his efforts, however, some critics contend that Fassbinder began to sell out with big budget projects such as Despair (1978), Lili Marleen (1981) and Lola (1981). In retrospect, however, it seems that the added fame simply enabled Fassbinder to explore various kinds of filmmaking, including such "private" works as In a Year with 13 Moons (1978) and The Third Generation (1979), two films about individual experience and feelings. His greatest success came with The Marriage of Maria Braun (1979) (The Marriage of Maria Braun), chronicling the rise and fall of a German woman in the wake of World War II. Other notable movies include The Bitter Tears of Petra von Kant (1972), Fox and His Friends (1975), Satan's Brew (1976) and Querelle (1982), all focused on gay and lesbian themes and frequently with a strongly pornographic edge.
His death is a perfect picture of the man and his legend. On the night of June 10, 1982, Fassbinder took an overdose of cocaine and sleeping pills. When he was found, the unfinished script for a version of Rosa Luxemburg was lying next to him. So boundless was his drive and creativity that, throughout his downward spiral and even in the moment of his death, Fassbinder never ceased to be productive.- Actor
- Writer
- Soundtrack
Tall, portly built German born actor (and talented violinist) who notched up over 100 film appearances, predominantly in German-language productions. He will forever be remembered by Western audiences as the bombastic megalomaniac "Auric Goldfinger" trying to kill Sean Connery and irradiate the vast US gold reserves within Fort Knox in the spectacular "James Bond" film Goldfinger (1964). However, due to Fröbe's thick German accent, his voice was actually dubbed by English actor, Michael Collins.
While commonly perceived as cold hearted & humourless from his Goldfinger (1964) portrayal, quite to the contrary, Fröbe was a jovial man and a wonderful comedic performer. His light hearted talents can be best viewed in The Ballad of Berlin (1948), Der Tag vor der Hochzeit (1952), Chitty Chitty Bang Bang (1968), and Those Magnificent Men in Their Flying Machines or How I Flew from London to Paris in 25 Hours 11 Minutes (1965). Fröbe also portrayed dogged detective Kriminalkommissar Kras/Lohmann pursuing the evil Dr. Mabuse in The 1,000 Eyes of Dr. Mabuse (1960), The Return of Dr. Mabuse (1961) and The Terror of Doctor Mabuse (1962).- Actress
- Soundtrack
Born in Austria to a French mother and a German father, young Christine Kaufmann conquered the hearts of post-war German movie audiences in movies like Der schweigende Engel (1954), Ein Herz schlägt für Erika (1956) and, most famously, Rosen-Resli (1954). Discovered at the tender age of six, Christine was soon the breadwinner for her family. This quickly changed when puberty destroyed her blooming career as "the sweet innocent child" in West Germany. Her ambitious mother, by now Christine's manager, relocated to Rome with her. In Italy, her Lolita-like qualities were appreciated and used in movies like The Last Days of Pompeii (1959) in which, at age 13, she played the love-interest of "Mr. Universe" Steve Reeves (then 32). Due to her hard work as a child (between 1952 and 1959 she starred in 18 films!), she was never able to attend school; yet, by the age of 14, young Christine was fluent in German, French, Italian, Spanish and English.
In 1959, Christine headed to London to audition for the role of Karen in Exodus (1960). Director Otto Preminger chose Jill Haworth over Kaufmann but was still so impressed with her that he recommended her for a substantial part in Gottfried Reinhardt's courtroom drama Town Without Pity (1961). The movie, which starred Kirk Douglas, E.G. Marshall and Robert Blake, became an international success and earned Kaufmann a Golden Globe as Most Promising Newcomer. After a string of rather forgettable movies in West Germany, France, and Italy, she flew to Argentina to co-star alongside Yul Brynner and Tony Curtis in Taras Bulba (1962). Curtis, who was already 36, fell immediately for the 16-year-old German starlet, left his wife Janet Leigh and his two daughters and started to live with Christine in both Europe and in Los Angeles. (In the US, they had to keep their relationship on the DL because Christine was still underage and therefore jail bait.) Shortly after her 18th birthday, Curtis and Kaufmann got married in Las Vegas. Kirk Douglas was their best man. One of Curtis' demands was that she would retire from acting after the wedding, and Christine gladly acquiesced to his request; actually she had been dreaming of retiring since her success with Rosen-Resli (1954) which had ended her once-peaceful childhood abruptly. She later claimed that she'd never really been interested in becoming an actress in the first place and was more or less forced into it by her parents: "I was an obedient girl and wanted to make my mother happy, so I simply did what I was being told. Unfortunately, once you are famous, there's no way back, and since I didn't have a formal school education, I could not fulfill my dream of studying archaeology and art history."
Her last movie, a droll comedy titled Wild and Wonderful (1964), was released in June 1964 to mixed reviews. In July, she gave birth to her first daughter, Alexandra Curtis. Christine was 19. Two years later, a second daughter, Allegra Curtis, arrived. Her husband, who already had two daughters with his first wife, had wanted a son and was unable to hide his disappointment. By late 1966, Tony Curtis was pretty much spending his time with other women, while Christine, living the life of a 40-year-old Hollywood matron at the age of 20, was slowly growing up. In 1968, she left Curtis and filed for divorce in Mexico, because she didn't want any of his money. She took her daughters and moved back to Europe.
By the early 1970s, Christine worked steadily in theatre, on TV and occasionally in movies: "I worked with discipline, but without any interest." Art house directors like Werner Schroeter, Percy Adlon, and Rainer Werner Fassbinder cast her in sometimes interesting, but mostly forgettable movies. In 1971, she did another American movie (filmed in Madrid), the tepid, too-artsy-for-its-own-good Murders in the Rue Morgue (1971) with Jason Robards and Herbert Lom, and in 1987 she was offered a wonderfully written part in Bagdad Cafe (1987) with Marianne Sägebrecht, CCH Pounder and Jack Palance which became one of the most enchantingly beautiful movies of the decade. But Christine's real passion belonged to the theatre where she acted under maverick directors like Peter Zadek and Michael Bogdanov.
She made a lasting impression on German television with her hilariously witty portrayal of Olga Behrens in Monaco Franze - Der ewige Stenz (1983), written by Patrick Süskind.
In the 1990s, now approaching 50, Christine took up writing, publishing several books on beauty, health, and fame, including three autobiographies. She also became a business woman with her own line of cosmetics which made her a fairly wealthy woman. Generous as she was, she financed (with the help of ex-stepdaughter Jamie Lee Curtis) her grandchildren's education.
After Curtis, Christine Kaufmann re-married three times, all marriages ending in divorce. She lived all over the world, including five years in Morocco. In March 2017, shortly after her 72nd birthday, Christine died of leukemia (like her mother) in Munich. She wanted to be buried next to her mother and grandmother in Vernon, just outside Paris, a wish that was granted by her older brother and her daughters.- Actress
- Director
- Writer
A star of German post-war cinema, Dority Margit Saad was born in Munich, the daughter of Lebanese linguist Fuad Jabbour Saad and his wife Agnes, a language teacher. After matriculating, Margit took acting classes at the Otto Falckenberg Academy, financing her studies by working as a model. Tall, blond and undeniably photogenic, she soon graced several magazine covers. One of these led to her screen debut in 1951. During the next two years, she also made her stage bow at the Düsseldorfer Kabarett. Margit was 'discovered' there by the director Robert A. Stemmle and promptly assigned her first starring role in the musical Südliche Nächte (1953). For much of the remaining decade, she was typed in undemanding fare as naïve ingénues or exotic love interest in operettas (The Gypsy Baron (1954)), lightweight comedy (Man ist nur zweimal jung (1958)) Heimatfilms (Drei Birken auf der Heide (1956)) and schmaltzy romances (Drei Mädels vom Rhein (1955)).
With public tastes tending towards more sophisticated material, Margit was finally able to escape her typecasting: first up, as a gangster's moll in the popular caper comedy Peter Voss, der Millionendieb (1958), starring opposite O.W. Fischer. Next came a first-billed role as a boutique owner acting as banker for a gang of drug smugglers in Heiße Ware (1959). This was followed by Joseph Losey 's British noir drama The Concrete Jungle (1960) which had Margit cast as the girlfriend of ruthless Soho villain Johnny Bannion (played by Stanley Baker in one of his best roles). Among her other international appearances were episodes of The Edgar Wallace Mystery Theatre (1959) and The Saint (1962) and she was rather incongruously cast as General Carla of the 'Women's Army of Parazuella' in The Magnificent Two (1967), a so-so comedy with the duo of Morecambe & Wise.
Margit made many stage appearances in both Germany and Austria. Possibly her greatest theatrical success was in the title role of Irma La Douce opposite Harald Juhnke, which premiered in Baden-Baden in 1961. From 1971, she was also active as a director of television documentaries. She made four TV movies based on literary works, beginning with Abenteuer aus dem Englischen Garten (1984) for which she also co-authored the screenplay.
Margit Saad was married to French director, stage and costume designer Jean-Pierre Ponnelle. She held French citizenship but resided in Munich where she died on August 7 2023, aged 94.- Ulrike Butz, daughter of television presenter Hermann Butz, grew up in the Bavarian district of Miesbach. At the age of 17, she left her parents' home to go to Southern Europe, but only made it as far as Munich, where she was shooting nudes as a 17-year-old. It was during this time that she first came into contact with drugs.
In 1972 she started working as an actress in the German soft sex film industry, which was just flourishing. Between 1972 and 1974, Ulrike starred in 28 films, including film series such as The School Girls (1970) (parts four through seven), The Miner' Wife ... Takes Her Pick (1972) (parts one, three and four), Wide Open Marriage (1973) and other pseudo-documentary report films such as Nurses Report (1972), Sex-Träume-Report (1973), Swedish Lessons in Love (1973) and 14 and Under (1973). She played her most demanding role in The Devil's Plaything (1973), a horror film directed by Joseph W. Sarno.
With nearly 30 film roles, Ulrike was one of the busiest actresses of the genre. As one of the few actresses in the industry, her acting talent was witnessed. In February 1974, the chubby, busty actress was featured in a photo spread for Playboy magazine. During this time she came into contact with the wrong friends, who again associated her with drugs. Her father tried several times to get his daughter out of this milieu. He financed several rehabs, a luxury apartment and a mannequin apprenticeship, which she dropped out of. In 1976, she spent some time in prison for a theft offense.
After her father died in 1976, Butz slipped back into the drug milieu. In 1979, she had to serve another prison sentence in Aichach for drug possession. After successful rehab, she worked as a waitress, began a relationship and had a son. In 1981, Butz went into business for herself with money from her father's inheritance and opened a costume shop in Munich's Neuhausen district, but it went bankrupt after a few years. Franz Marischka cast her again in two productions of the sex film industry, which was by now coming to an end: Laß laufen, Kumpel (1981) and Die unglaublichen Abenteuer des Guru Jakob (1983) with Zachi Noy, Thomas Ohrner and Sibylle Rauch.
She died at the age of 46 in Munich, the urn grave is located at the Waldfriedhof. - Actress
- Soundtrack
A prominent German film actress born on 30 September 1887 at Madiven, Java, the daughter of a forest ranger in the service of the Dutch authorities. Sent at the age of ten to Baden-Baden to study, she later entered the cinema thanks to her marriage in 1917 to the actor Fritz Dagover who was 25 years her senior. They divorced in 1919 but not before he had introduced her to director Robert Wiene and other notables of German cinema. She made her screen debut in Fritz Lang's Harakiri (1919). Immediately after she appeared in Wiene's classic expressionist film, "The Cabinet of Dr. Caligari" (aka The Cabinet of Dr. Caligari (1920)). Apart from three trips -- one to Sweden in 1927, another to France in 1928-9 and one to Hollywood in 1931 -- most of Lil Dagover's career and fate was linked to that of the German cinema, where her role was usually that of the frail, menaced heroine. She continued to star in a great number of films during the Nazi era. Among her best performances were her roles in Congress Dances (1931), in Gerhard Lamprecht's The Higher Command (1935) and in Veit Harlan's The Kreutzer Sonata (1937). She also acted in the Deutsches Theatre Berlin, the Salzburg Festival, at forces shows and at war theaters. At one time, she was reported to have been a close friend of Adolf Hitler. In 1944, she received the War Merits Cross. Dagover continued her career in post-war Germany, playing many supporting parts until the late 1970s.- Helmut Griem was born on 6 April 1932 in Hamburg, Germany. He was an actor, known for Cabaret (1972), The Damned (1969) and Fabrik der Offiziere (1960). He was married to Helga Koehler. He died on 19 November 2004 in Munich, Bavaria, Germany.
- Actress
- Soundtrack
The enigmatic actress remains one of the most interesting figures in German film. Although she achieved stardom early in her career, the tragic Sybille Schmitz could never fit in with her surroundings. Too "alien looking" for Hollywood, Schmitz never migrated to America like her more glamorous peers and began losing roles in her native Germany as well due to her vaguely Semitic appearance and ties to the Jewish community. After the war, like many former UFA stars, Sybille was seen as a painful reminder of the Third Reich and she was once more displaced by the optimistic "new look" actresses. With acting being her sole reason to thrive, Sybille Schmitz began to drink heavily and rely on drugs as her career sank lower and lower. She finally committed suicide under mysterious circumstances on April 13, 1955, while being "cared for" by a corrupt lesbian doctor she was living with at the time of her death.- Actress
- Producer
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Olga Chekhova (also Olga Tschechova in German), one of the most popular stars of the silent film era, remained a mysterious person throughout her life and was accused of being a Russian agent in Nazi Germany.
She was born Olga Konstantinovna von Knipper on April 26, 1897, in Aleksandropol, Transcaucasia, Russian Empire (now Gyumri, Armenia). She was the second of 3 children in a bilingual Russian-German family. Her father, Konstantin Leonardovich Knipper, a Lutheran of German descent. He made a military career in Russia as a railroad engineer. Young Olga studied art and literature at an art school in St. Petersburg. Later as an immigrant in Germany she claimed friendship with the family of Tsar Nicholas II--who also was of German origin--and that she had encountered the notorious Russian mystic and monk, Grigory Rasputin. In reality, she was sent from St. Petersburg to Moscow to her aunt, actress Olga Knipper-Chekhova, to study acting at Moscow Art Theatre. In 1914, at age 17, she eloped with Russian-Jewish actor Michael Chekhov, nephew of Anton Chekhov.
Olga adored her husband, Michael Chekhov, a rising star of stage and film. But he met another beauty, Xenia Zimmer, and became involved in extramarital affair while Olga was pregnant with their child. Their daughter, Ada Tschechowa, was born in 1916. Olga separated from Michael Chekhov during the tragic time of the Russian Revolution in 1917. That same year she made her film debut in a Russian silent film, Anya Kraeva (1918).
Olga claimed that she fled Russia disguised as a peasant woman and posed as a mute while carrying a diamond ring in her mouth. In reality she married an officer in the Austro-Hungarian army, Friedrich Jaroshi, and took a train from the Moscow Belorussky station to Vienna, Austria, having travel documents from the Russian Commissar of Culture (and she was also helped by the Russian intelligence agency in exchange for her cooperation). She was later invited to the Soviet Embassy in Berlin for meetings with Soviet officials. In Germany she was introduced to film producer Erich Pommer and renowned director F.W. Murnau, who gave her a leading role in his film, The Haunted Castle (1921). She quickly became a huge star in Europe and played in more than 40 silent films during the decade. Olga was joined by ex-husband Michael Chekhov in several films, including Der Narr seiner Liebe (1929) (aka "The Fool of Love"), which she also directed.
Future Nazi leader Adolf Hitler reportedly fell for Olga upon seeing her cold and beautiful face in several films in the 1920s. She was famous for her movie image as a baroness and was courted in the 1930s by Luftwaffe boss Hermann Göring and by Propaganda Minister Joseph Goebbels. Some wives of high-ranking Nazi officials were jealous of and hated the beautiful Olga. Goebbels was known to have visited her home on several occasions when he wanted to be away from his Nazi "activities". He invited Olga to several Nazi receptions and introduced her to Adolf Hitler in April 1933. Olga became a personal friend of Hitler and was photographed sitting next to "Der Fuhrer" at official events of the Nazi Party. She also received valuable Christmas gifts from Hitler, and regular birthday presents and other tokens of his attention.
In 1936 Olga was honored with the title of "State Actress" of the Third Reich and was made a German citizen. She married a wealthy Belgian businessman, Marcel Robyns. One day prior to the wedding she had a private reception with Hitler, who gave her permission to retain her German citizenship. Two years later she divorced Robyns and returned to her high-society life in Berlin. Her famous 1939 photo-op with Hitler was thoroughly analyzed in Moscow.
She was invited by Soviet officials to join Hermann Göring and Joachim von Ribbentrop at the meeting with Vyacheslav Molotov and Gen. V. N. Merkulov at the Soviet Embassy in Berlin in 1940. At that time Olga was associated with her agent-brother Lev Knipper, who was sent from Moscow to Germany on a secret mission to assassinate Adolf Hitler. The plan was to use one of Olga's visits with Hitler for a suicide attack on the Fuhrer. Olga was kept oblivious of the plan, which was aborted by an order from Joseph Stalin, who became paranoid about the possibility of Germany's alliance with Britain if Hitler was killed. Interestingly, Stalin and Hitler were both amateur film directors in the 1920s, but as dictators they now directed the course of history.
Olga was invited by Josef Goebbels to the official reception in Berlin in July of 1941, only a month after the Nazis invaded Russia and Luftwaffe bombings caused massive devastation to Russian cities. Goebbels announced the planned occupation of Moscow.
She was being investigated by the SS on orders from SS leader Heinrich Himmler. She was constantly under surveillance by both Nazi and Soviet agents in her Berlin home. As the war progressed and conditions got progressively worse for the Nazi regime, party bosses became increasingly paranoid. Himmler was planning to arrest her in January of 1945. One early morning she was informed of Himmler's move. She immediately called him directly with a request for a favor--to let her finish her morning cup of coffee comfortably. When SS commandos surrounded her home Himmler opened her door and was met by an angry Adolf Hitler, who in no uncertain terms informed Himmler that he had made a mistake.
Olga was a beautiful pawn in a dangerous game between the two most destructive powers in the Second World War. She survived through acting, cheating, lying and disguise. She protected her daughter Ada from Nazi anti-Semitism by hiding the fact that her ex-husband, Michael Chekhov, was Jewish. Her brother Lev Knipper was held in a Nazi concentration camp and managed to survive because of his perfect German (and probably with her help). During the savage battle for Berlin just before the war's end, Olga hid in a bomb shelter and was eventually taken prisoner by the Red Army. She was flown to Moscow in April of 1945, for debriefing at the offices of Soviet secret police officials Viktor Abakumov and Lavrenti Beria. She discreetly attended the Moscow Art Theatre performance of "The Cherry Orchard" starring her aunt Olga Knipper-Chekhova in May of 1945. They were not allowed to talk and her aunt Olga fainted backstage.
After two months of interrogations in Moscow, on June 26, 1945, Olga was flown back to Berlin, where she was assisted by the Soviet Army. She was given money and moved in to a Soviet-supervised house on Spree Strasse in the Soviet sector of East Berlin. Several articles in the French and British presses stated that she was a clandestine agent and secretly decorated by the Soviet government. She praised the Russian victory over the Nazis in a private letter to her aunt Olga Knipper-Chekhova. Meanwhile, the film she made in Hollywood turned out to be a flop in the US market, mainly because of her heavy Russian accent.
She continued a film career in Europe and ran her own film production company, Venus-Film Olga Tschechowa. In 1950 she moved to Munich and starred in several films. In 1955 she used her star power to launch a successful cosmetics company, "Olga Tscheschowa Kosmetik Geselschaft." Her remarkable acting career, spanning almost 60 years, ended in 1978, with a small film role as a grandmother.
Her personal file was temporarily available for viewing at the KGB archives in Moscow. One report on her was prepared and signed by the notoriously brutal KGB chief Viktor S. Abakumov. On that report a handwritten question was left by a reader in Kremlin: "What do you suggest to be done with Ms. Chekhova?", the handwriting was by Joseph Stalin. Stalin was quoted as having said, "The actress Olga Chekhova will be very useful in the post-war years", and she probably was. One of her films was titled Der Mann, der zweimal leben wollte (1950), or "The Man Who Wanted to Live Two Lives"--and that was exactly what she did.
In 1955, Olga was saddened by the death of Michael Chekhov. In 1966, Olga suffered from another tragedy: her only daughter Ada died in an airplane crash. Devastated by the painful loss, Olga suffered from bouts of depression and turned to alcohol, but she survived thanks to her strong will and lust for life. She lived for another fifteen years, played a few more roles in the movies, and saw her great-grandchildren grow. Moments before she died, sensing the end was near, she ordered a glass of champagne from her granddaughter Vera Tschechowa. That was March 9, 1980, in Munich, Germany.
Her last words were, "Life is beautiful!"- Actor
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Rudolf Schündler was born on 17 April 1906 in Leipzig, Germany. He was an actor and director, known for The Exorcist (1973), The Testament of Dr. Mabuse (1933) and Gruß und Kuß vom Tegernsee (1957). He was married to Christine Laszar. He died on 12 December 1988 in Munich, Bavaria, West Germany.- Actor
- Additional Crew
Ralf Wolter was born on 26 November 1926 in Berlin, Germany. He was an actor, known for Cabaret (1972), One, Two, Three (1961) and Hannibal Brooks (1969). He was married to Edith. He died on 14 October 2022 in Munich, Bavaria, Germany.- Actress
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One of the pre-eminent divas of post-war German cinema, Hannelore Elsner (born 'Elstner') was the consummate actress: a gifted and versatile performer with a penchant for intense roles, often as emancipated, strong-willed women. A Bavarian engineer's daughter (her father died of tuberculosis when she was eight), 'Hanni' first took acting classes in Munich where she also debuted on stage at the Kammerspiele and the Kleine Komödie. She appeared on screen from 1959, initially in teenage melodramas and 'Paukerfilms', later featuring as a regular guest star on TV in procedural crime dramas like Isar 12 (1961) and Stahlnetz (1958) . From the late 60's, Elsner alternated 'sexy roles' (such as her native American maiden in Christoph Kolumbus oder Die Entdeckung Amerikas (1969) ) with more demanding fare. Under the direction of such prominent film makers as Wolfgang Staudte, Edgar Reitz and Alf Brustellin, she proved her diverse range, headlining, respectively, in the satirical caper comedy Die Herren mit der weissen Weste (1970), the period biopic Der Schneider von Ulm (1978) and the hard-luck drama Der Sturz (1979). Among many other notable big screen credits were the romantic drama Der grüne Vogel (1980) (directed by István Szabó) and the delightful Otto Sander farce Wer spinnt denn da, Herr Doktor? (1982). Elsner's powerful tour-de-force acting showcase Die Unberührbare (2000) won her the first of two German film awards as Best Actress, as well as a Silver Hugo at the Chicago International Film Festival. A patrician beauty well into middle age, she captured a large fan base on the small screen as star of Lady Cop (1994), a role which developed from two previous guest spots as a Chief Inspector in the long-running police series Tatort (1970).
She was married and divorced twice. Her subsequent life partner (from 1999) was Günter Blamberger, a professor of German philology. Her memoirs, entitled "Im Überschwang - Aus meinem Leben", appeared in 2011. Hannelore Elsner died after a long battle with cancer on April 21 2019 at the age of 76.- Alistair MacLean was born on 28 April 1922 in Daviot, Scotland, UK. He was a writer, known for The Guns of Navarone (1961), Where Eagles Dare (1968) and Puppet on a Chain (1971). He was married to Mary Marcelle Georgius and Gisela Heinrichsen. He died on 2 February 1987 in Munich, Germany.
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Hans Christian Blech was born on 20 February 1915 in Darmstadt, Germany. He was an actor, known for The Longest Day (1962), Battle of the Bulge (1965) and Wer zu spät kommt - Das Politbüro erlebt die deutsche Revolution (1990). He was married to Erni Wilhelmi. He died on 5 March 1993 in Munich, Bavaria, Germany.- Actor
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Klaus Löwitsch was born on 8 April 1936 in Berlin, Germany. He was an actor and writer, known for World on a Wire (1973), Firefox (1982) and Cross of Iron (1977). He was married to Helga Heinrich. He died on 3 December 2002 in Munich, Bavaria, Germany.- Actress
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Elisabeth Volkmann was born on 16 March 1936 in Essen, Germany. She was an actress, known for Kein Pardon (1993), Veronika Voss (1982) and Oh, diese Geister (1966). She was married to Eberhard Radisch and Walter Hass. She died on 25 July 2006 in Munich, Bavaria, Germany.- Actor
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Born on 26 May 1923 in Wuppertal, he served with the Nazi German Waffen-SS in World War II. After attending acting lessons at the theater in Stendal, where he also made his stage debut, he performed on several important stages in Germany, but became widely popular as cinema and television actor in the late 1950s and 1960s, probably best known as gentleman gangster in The Great British Train Robbery (1966). Nevertheless, the role of his role was the character of "Stephan Derrick", a Munich Chief Inspector, who became a cult figure all over the world. He played the role from 1974 to 1998 and received several awards such as the Golden Camera, Bambi and the Italian Telegatto.- Actor
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Bernhard Wicki was born on 28 October 1919 in St. Pölten, Lower Austria, Austria. He was an actor and director, known for The Longest Day (1962), The Bridge (1959) and The Miracle of Father Malachia (1961). He was married to Elisabeth Endriss and Agnes Fink. He died on 5 January 2000 in Munich, Bavaria, Germany.- Actress
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New trends in post-war German cinema saw a shift away from the glamorous divas or idealised motherhood figures of the 1930s and 40s towards uncomplicated, wholesome, vivacious, perhaps tomboyish girl-next-door types. Germanic features were no longer strictly required. Dimple-cheeked, dark-haired Sonja Ziemann with her grey/green eyes and Bardot mouth became the paragon of the new fun-loving heroine for undemanding romantic fare or the ever popular 'Heimatfilm'.
Sonja Alice Selma Toni Ziemann was born in Eichenwalde, near Berlin, the daughter of a tax advisor. She learned ballet under Hilde Altmann-Vogt and Tatjana Gsovsky and began her career as a showgirl in revues and operettas, singing and dancing at the Metropol Theater. There, the director Peter Paul Brauer 'discovered' her for the screen. Sonia made her movie debut in a 1942 musical comedy and was thereafter groomed by Germany's pre-eminent film company Ufa (headquartered in Babelsberg) as an up-and-coming starlet. She appeared in a few undemanding supporting roles and made a brief return to the stage in the immediate aftermath of World War II. After toiling for several more years in assorted musicals and comedies without making too much of a ripple, she hit the big time with The Black Forest Girl (1950). The first motion picture to be shot in colour after the war, it ended up topping the popular charts and became the highest grossing picture of the year. Sonja garnered the first of two Bambi Awards but found herself effectively typecast. Further Heimatfilms and operettas followed which built on her pairing with Austrian matinee idol Rudolf Prack , lauded as Germany's most popular screen couple. Grün ist die Heide (1951) was the biggest of the Ziemann-Prack blockbusters, scoring an audience of 16 million viewers nationwide.
"All my roles were kitsch" she declared in a 1961 American interview. Indeed, many of those roles had relied on her camera-proof looks and patented profile. Eventually, Sonja took steps to shed her "snow white and marzipan" image and moved on to dramatic character roles. Her first was a Polish-West German co-production, The Eighth Day of the Week (1958), based on a story and screenplay by Polish author Marek Hlasko (who became her second husband in 1962). The rest of the decade completed her breakout from typecasting through a variety of roles and genres, some filmed at home, others in England or the U.S.. She now had leading roles in realistic wartime dramas based on factual events (Stalingrad: Dogs, Do You Want to Live Forever? (1959), Strafbataillon 999 (1960), The Bridge at Remagen (1969)), thrillers (Rebel Flight to Cuba (1959), Journey Into Nowhere (1962), Frühstück mit dem Tod (1964)) and crime dramas (Das Messer (1971)). There was even a comedy (of sorts) with Sonja billed second in the cast behind Terry-Thomas (as a 'germ detective') in A Matter of WHO (1961), shot by MGM at Elstree.
Sonja's screen acting took a backseat during the 70s with a return to the stage at theatres in Berlin, Frankfurt and Munich. Having moved to Switzerland, she became an honorary member of the Zurich Schauspielhaus in 1981. Three years after the death of Hlasko in 1969 she married the actor Charles Regnier. Sonja Ziemann died on February 17 2020 in Munich at the age of 94.- Actress
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Dana Vávrová was born on 9 August 1967 in Prague, Czechoslovakia [now Czech Republic]. She was an actress and director, known for Herbstmilch (1989), Der letzte Zug (2006) and Amadeus (1984). She was married to Joseph Vilsmaier. She died on 5 February 2009 in Munich, Bavaria, Germany.- Robert Graf was born on 18 November 1923 in Witten, Germany. He was an actor, known for The Great Escape (1963), Aren't We Wonderful? (1958) and Jonas (1957). He was married to Selma Urfer. He died on 4 February 1966 in Munich, Bavaria, West Germany.
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Ernst Hofbauer was born on 22 August 1925 in Vienna, Austria. He was a director and assistant director, known for Case 33: Antwerp (1964). He died on 24 February 1984 in Munich, Bavaria, West Germany.