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Karl Hasselmann
1883 - 1966 |
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. The cinematographer Karl Hasselmann learnt the profession of a mechanic and he joined the film business in this function when he got a job in a repair shop for cinema equipments. He soon became interested into this new medium and he began to shoot first movies as a cinematographer like "Der Hauptmann von Köpenick" (06), "Andreas Hofers Tod" (09) and "Die Erschiessung des spanischen Rebellen" (09). When the fictitious film became a more and more important factor in the film business Karl Hasselmann became a demanded cinematographer and he realised till to he beginning of World War I numerous movies like "Pro Patria" (10), "Die Geliebte des Chinesen" (11), "Madame Potiphar" (11), "Opfer der Liebe" (11), "Zahn um Zahn" (11), "Die rote Jule" (12), "Das Geheimnis von Monte Carlo" (12), "Komödianten" (13), "Der Herr des Todes" (13), "Der Desperado von Panama" (13), "Das Ehrenwort" (13), "Der Kampf um das Erbe" (13), "Der andere Student von Prag" (14) and "Der Flug in die Sonne" (14). Karl Hasselmann only continued his film career after the end of the war and he was engaged again as a cinematographer for many productions in the 20s. To his well-known works of those years belong "Die weissen Rosen von Ravensberg" (19), "Alkohol" (20), "Whitechapel" (20), "Die Verschwörung zu Genua" (21), "Die Geierwally" (21), "Hintertreppe" (21), "Othello" (22), "Der Graf von Essex" (22), "Tiefland" (23), "Sylvester" (24), "Carlos und Elisabeth" (24), "Komödianten" (25), "Die Verrufenen" (25), "Die Brüder Schellenberg" (26), "Menschen untereinander" (26), "Der Katzensteg" (27), "Der alte Fritz" (28), "Unter der Laterne" (28), "Anastasia, die falsche Zarentochter" (28), "Lemkes sel. Witwe" (28), "Der Mann mit dem Laubfrosch" (29), "Der Sträfling aus Stambul" (29) and "Katharina Knie" (29). His experiences as a cinematographer were also regularly used in the 30s. He was behind the camera for the productions "Ihr Junge" (31), "Zwischen Nacht und Morgen" (31), "Trenck" (32), "Der Meisterboxer" (34), "Das Erbe von Pretoria" (34), "Ein seltsamer Gast" (36), "Die Stunde der Versuchung" (36), "Madame Bovary" (37), "Unter Ausschluss der Öffentlichkeit" (37), "Die fromme Lüge" (38), "Menschen, Tiere, Sensationen" (38), "Salonwagen E 417" (39) and "Frau im Strom" (39). His film career diminished during World War II and he also worked rarely as a cinematographer after the war as well. To his last cinematical works belong "Mädchen im Vorzimmer" (40), "Clarissa" (41), "Gefährtin meines Sommers" (43), "Quartett zu fünft" (49) and "Brücke der Jahrhunderte" (50).
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