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He soon abandoned his practice in his early years onstage of shouting and tearing up the scenery; it was generally acknowledged he had talent in excess, so the wunderkind rapidly enough received recognition for his abilities; he quickly learned to discipline himself, though, to pull himself back. The actor always had a complex about his appearance — his bulky body and face; for, at an early age, he had been told he did not have the features of a leading man.
He always claimed he lacked self-confidence and was ashamed of his looks. Fritz Kortner in The Hands of Orlac screenshot.
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Kortner, in Dreyfus , was notably held back, even suppressed in his title role. He plays a character who initially does not comprehend he has been betrayed and accused of treason for no other reason than the anti-Semitic sentiments of a few high-ranking French officers who want to suppress a scandal in the general staff and accuse him of selling French military secrets to the Germans.
Dreyfus is shown as just a normal man, somebody who loves and misses his family, who had served in the French army honorably. France is a country to which he remains loyal despite the false accusations. One might mention that Heinrich George, of all people, played Emile Zola in the film. Kortner in Abdul the Damned screenshot.
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Coincidentally, Kortner was outside Germany when Hitler was handed the reins of government at the end of January Word got back to him that he had better not return to Berlin. He was a noted opponent of the Nazis, a hate figure for the party prior to their gaining power. He remained abroad, sending for his wife and child to join him. He officially went to England to play in a film in early and knew he would have to stay; he studied English diligently and soon mastered it well enough to write screenplays in his acquired language and advise other writers on their scripts; as an actor, however, he could never rid himself of his accent.
During his British sojourn, he played some notable roles, such as a tour de force part as an ultra-devious Stalin-like Turkish sultan and tyrant in Abdul the Damned Before his departure from England, the Nazis had put great commercial and political pressure on Continental European film companies not to show any films in which German, Hungarian, Austrian, and Czech exiled film people were engaged, even if they were not active anti-Nazis. The problem for Kortner was the Nazis viscerally hated him owing to his outspokenness and engagement combating them in the years of the Weimar Republic.
Dorothy Thompson in In these circumstances, the actor soon grew despondent of his future. So it was only a matter of time and logic before he would be going to America. With the aid and encouragement of the dedicated anti-Nazi journalist Dorothy Thompson and her husband Sinclair Lewis, Kortner set sail for America. Although his eventual destination was Hollywood, his first stop was New York.
Both famous writers met Kortner with open arms at the docks upon his arrival in New York in Dorothy Thompson had been active as a journalist in Berlin during the mids. She knew Kortner and his stage and film work well; so to his great good luck, his reputation had preceded him to New York. But it was another matter for Kortner in Hollywood, where it proved to be far harder for him to gain a foothold as an actor. But by , Kortner was working in the film industry in Los Angeles. His talents were initially deployed for writing screenplays, not acting.
By , his ideas and scripts were being realized. He also worked to get Bertolt Brecht out of Europe to safety in America. Dorothy Thompson proved herself an important person to know, for she had a nationwide reputation as an outspoken public opponent of Hitler and made great efforts to save European anti-Nazis, while agitating in newspapers against Nazi Germany.
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During those years, Thompson had the reputation of being the second most influential woman in the United States after Eleanor Roosevelt. A screenplay by Kortner entitled The Strange Death of Adolf Hitler was filmed and released in directed by James Hogan , in which he also took a supporting role as actor.
Kortner became an American citizen during the war years. Cast as a character actor, his roles — however minor — were memorable ones. On-screen, he could be controlled yet potent — akin to actors such as Emil Jannings or Wallace Beery, men whose powerful physical presence showed what needed to be shown in their parts by means of wordless gestures and movements of their shoulders, their chin or the raising of an eyebrow.
In The Brasher Doubloon , Kortner plays Rudolf Vannier, a gangster boss who speaks and often acts far more cultivated than one might expect from a racketeer. His next part more than made up for it. As Anzelmo in Somewhere in the Night , directed by Joseph Mankiewicz, he plays a half-resigned and bemused minor con man, a criminal and charlatan. Again, Kortner is, in contrast to the despicableness of his character, likable, with something of an essence that is elusive, like someone you cannot dislike even though you know you should, which somehow is caught by the camera.
He humorously, with more than a touch of self-deprecation, discloses how pathetic he finds himself as a fake waterfront fakir, nothing more than a con man. This man has character. Ernst Deutsch — was born in Prague, which until was part of the Austro-Hungarian Empire. Deutsch was close friends with writer Franz Werfel, attending the same German-language gymnasium with him as did, incidentally, Franz Kafka about a decade before. He came from the German-speaking enclave in the Czech city. Deutsch felt himself an Austrian. Yet, when the Habsburg Empire was broken up after the end of World War I, he became a Czechoslovak citizen, which proved to be a blessing.
And due to his citizenship, Deutsch was able to be active as a thespian on the European continent until the late s. After the annexation of Austria and the sell-out of Czechoslovakia in during the Sudeten crisis, he was finished in Europe in the acting profession. Ernst Deutsch had become famous initially in in Expressionist plays. He continued to take on roles in them until the mids.
Deutsch, with his stoic but expressive face and minimalist gestures, brought to such characters a reserved and very powerful stage-and-screen presence, which at times could suddenly burst out in ecstatic gesticulations and shouts, as was the wont in Expressionist drama.
With his dark eyes, sunken cheeks, and thick eyebrows, he fit the part of suffering son. His forlorn yet dignified mien and penetrating eyes hinted at latent tragedy, distress, parental and societal misunderstandings, sometimes awe and wonder when the time came to express it. Deutsch looked eminently respectable as a young man.
His hair was always neatly combed; he never needed a shave, as Kortner often did. Deutsch was quite tall. He was actually an athlete. He had once considered pursuing a career as a professional tennis player. This was an era of wild rebellion in art in the German-speaking lands. Deutsch took many roles on Berlin stages as well as in the other German-speaking cultural capitals, while also appearing in a variety of silent films during the s. He was far less of a presence in German film before , however, than Fritz Kortner was.
Deutsch left for America in and settled in Hollywood. He played in the theater in Los Angeles at first. Quickly enough, by the early s, he was being offered minor film roles, which he often accepted, using a theatrical alias of Ernest Dorian. In those years, ironically, he often played cold and unbending Nazi officers. In Reunion in France , he got a chance to do something more in one of the contemporaneous villain roles. Deutsch had played the part of an officer throughout the film as a German martinet, but in one scene, while drunk in the film , he unexpectedly breaks down emotionally in the presence of Joan Crawford, who plays a pretty French socialite, superficial in all her doings with French wartime politics but who has learned to be a patriot in her now-occupied country.
He displays unexpected emotion while he is with her in this scene, but just for a moment; then he quickly regains his Prussian composure. But his breakout from his stoic stance is all the more remarkable since, up to this, he had kept a virtually expressionless demeanor, which with Deutsch always meant implied and latent emotions. Ernst Deutsch returned to Europe two years earlier than Kortner, in , and played the main part in G.
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On the devastated European continent, with its destroyed film life, Deutsch was a revelation as the father of a young Jewish boy who turns crown witness against the Jews of his own village. His son has raised shocking charges against a group of innocents, older men he knows well; the boy had been coddled, fed lies by the local authorities.
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This takes place in the eastern outreaches of the Austro-Hungarian Empire. The authorities in the town, along with the local aristocratic landowner, are quick to seize on an anti-Semitic libel when it offers itself. In the film, one gets a sense of a tragedy unfolding in some godforsaken hole where Jews could easily become hapless victims of their neighbors.
In this role, Deutsch is both highly controlled and dynamically charged. His character of the father is struck through with emotion, though still bearing a reserved dignity of a man who cannot fathom that his own son is being used and allows himself to be used as a government tool to persecute innocents, including his own father. The film is a kind of compensation payment Wiedergutmachung in German by the Austrian director Pabst, who had left Germany during the early Hitler years, had worked in France awhile, finally going to Hollywood.
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