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| Karl Hannemann
1895 - 1953 |
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. The actor Karl Hannemann got in touch with the theater at a young age because his father was a theater director. He got his first engagement at the Schillertheater in Berlin in 1914, it followed numerous engagements at other theaters in Berlin. He already made his screen debut in 1915 with "Die büssende Magdalena" (15) but it lasted six years before he appeared again in front of the camera in the silent movie era of the 20s. To these works belong "Frauenbeichte" (21), "Die Erlebnisse einer Kammerzofe" (22), "Unter der Laterne" (28) and "Der Mann mit dem Laubfrosch" (29). The film business became a more important position in the career of Karl Hannemann with the rise of the sound film era. He became a much demanded support actor in numerous well-known movies. To his popular productions of those years belong "Gassenhauser" (30), "Unter falscher Flagge" (32), "Der schwarze Husar" (32), "Prinzessin Turandot" (34), "Liebe, Tod und Teufel" (34), "Die unmögliche Frau" (36), "Togger" (37), "Patrioten" (37), "Zu neuen Ufern" (37), "La Habanera" (37), "Es war eine rauschende Ballnacht" (39) and "Robert Koch, der Bekämpfer des Todes" (39). He continued his film career successfully during World War II and he even was added to the so-called "Gottbegnadenen-Liste". In this list were added those artists (altogether 1'041) which were "important" for the Third Reich. Those artists were excluded from the recruitment als soldiers for the front. He impersonated roles in "Nanette" (40), "Der Fuchs von Glenarvon" (40), "Die Rothschilds" (40), "Andreas Schlüter" (42), "Diesel" (42), "Altes Herz wird wieder jung" (43) and "Die Frau meiner Träume" (44). Karl Hannemann was able to act again in movies after the war seamlessly. To these movies belong "Irgendwo in Berlin" (46), "Ehe im Schatten" (47), "...und über uns der Himmel" (47), "Berliner Ballade" (48), "Der grosse Mandarin" (49), "Ruf an das Gewissen" (49) and "Der Rat der Götter" (50). Beside it he remained active at the theater.
Other
movies with Karl Hannemann:
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