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Ernst Kunstmann
1898 - 1995 |
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. The special effect specialist Ernst Kunstmann first made an apprenticeship as a lathe operator before he had to serve in World War I. After the war he joined the film business where he was a construction worker for the Decla-Bioscop at the beginning. But he soon became interested in the possibilites of the camera and none other than the famous Eugen Schüfftan engaged him as his assistant. Ernst Kunstmann was responsible for the special effects of many well-known silent movies of the next years, often together with Eugen Schüfftan. To these silent movies belong "Das Cabinet des Dr. Caligari" (20), "Dr. Mabuse, der Spieler" (22), "Die Nibelungen" (24), "Der letzte Mann" (24), "Varieté" (25), "Die Brüder Schellenberg" (26), "Metropolis" (27), "Die Liebe der Jeanne Ney" (27), "Königin Luise" (27) and "Narkose" (29). As a responsible for the special effects he also worked for many popular movies of the 30s and 40s, among them "Das Testament des Dr. Mabuse" (33), "Gold" (34), "Triumph des Willens" (35), "Amphitryon" (35), "Die drei Codonas" (40), "Münchhausen" (43) and "Titanic" (43). His experiences for special effects were alse demanded after the war. First he worked for German dubbed version of Russian productions before he was engaged by DEFA and other companies for special effects again. To his well-known postwar movies belong "Die Buntkarierten" (49), "Familie Benthin" (50), "Das kalte Herz" (50), "Roman einer jungen Ehe" (52), "Die Geschichte vom kleinen Muck" (53), "Ernst Thälmann - Sohn seiner Klasse" (54), "Hexen" (54), "Pole Poppenspäler" (54), Hanussen" (55), "Des Teufels General" (55), "Der Hauptmann von Köln" (56), "Spur in die Nacht" (57), "Weisses Blut" (59), "Der schweigende Stern" (60), "Herrin der Welt" (60) and "Vom König Midas" (63). His last cinematical work was "Sonnensucher" (72). His daughter Vera Kunstmann became a special effects artist too.
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