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Hans Albers Movies

For nearly four decades, jovial, pleasantly plump Hans Albers was one of Germany's favorite movie stars. Starting out in films in 1911, Albers interrupted his career to serve in WWI, where he was seriously wounded. After a lengthy recovery, he resumed his film work and also appeared on-stage to great acclaim with Max Reinhardt's Deutsches Theater. His movie roles ranged from Demetrius in A Midsummer Night's Dream (1924) to the title characters in Rasputin (1928) and Peer Gynt (1931). In the 1930s, he starred in a number of rugged adventure films and Westerns (!), and also did an amusing turn as a Sherlock Holmes wannabe in the musical farce The Man Who Was Sherlock Holmes (1938). His vehicles during the Hitler regime remained more or less apolitical, though there was a bit of soft-pedalled propaganda in his 1943 hit Munchausen. After the war, Albers continued to thrive in character roles right up to his death in 1960. In 1989, Hans Albers was the subject of a biographical docudrama, In Meinem Hertzen Schatz. ~ Hal Erickson, Rovi
1981  
 
This is the third children's feature to appear in 1981 from director Dieter Koester with the assistance of his wife, Hannelore Conradsen-Koester, and unlike the other two features, this story was made for television. A group of youngsters in their pre-teen years are thrown together simply by the fact that they live in the same neighborhood in West Berlin, unique in that it is surrounded by the Berlin Wall on three sides. All the kids in the group are from working-class families struggling to keep their heads above water -- and so the art of survival is definitely passed on from parent to child. In spite of the economic hardships they share, one has been able to get a Super-8 film camera and starts to shoot interesting neighborhood scenes, from the local subway station to graffiti on the Wall. This and other activities often get them into trouble, though most of the trouble consists of being chased and not getting caught by people like customs guards, conductors on the subway, and similar authority figures. Their antics stand in high relief against the Wall erected by their elders, a divider that is taken as a part of the landscape like everything else. ~ Eleanor Mannikka, Rovi

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1956  
 
It took nerve for director Harald Braun to attempt an all-talking remake of F.W. Murnau's silent masterpiece The Last Laugh, though it can't be denied that Braun's version has its moment. Still, the remake, Der Letze Mann (The Last Man) lacks the originality and nuance of the silent film, if only because it is retreading familiar ground. In the earlier version, Emil Jannings starred as a proud, self-reliant hotel doorman whose whole world disintegrates when he is demoted to washroom attendant. In the remake, Hans Albers plays a headwaiter who is professionally humiliated when the ownership of the hotel changes hands. The Murnau version ended with an ironically comic coda, which may or may not have been a figment of the protagonist's imagination. ~ Hal Erickson, Rovi

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Starring:
Hans AlbersRomy Schneider, (more)
 
1956  
 
The enduring popularity of German film star Hans Albers helped to make Vor Sonnenuntergang a success. Based on a play by Gerhardt Hauptmann, the film details a bittersweet May-December romance between ageing Mathias Clausen (Albers) and young, beautiful Inken Peters (Annemarie Dueringer). Though there were a few American observers who felt uncomfortable during the romantic scenes, German audiences ate them up like strudel. In his later performances, Hans Alber was inclined to hamminess, and this film is no exception; still, he is quite convincing in the film's more dramatic passages. Released in English-speaking countries as Before Sundown, Von Sonnenuntergang was the sole German entry at the 1956 Berlin Film Festival. ~ Hal Erickson, Rovi

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Starring:
Hans AlbersMartin Held, (more)
 
1953  
 
The plot of this German adventure yarn is summed up by its title, which translates to Jonny Save Nebrador. Teutonic film-favorite Hans Albers plays a dual role: a world traveller visiting the tiny South American banana republic of Nebrador, and his evil look-alike, a local insurrectionist. The despot hires his identical newcomer to replace him, the better to carry out his scheme to overthrow the government. But the replacement is able to save the country from disaster -- and to make short work of his doppelganger. ~ Hal Erickson, Rovi

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Starring:
Hans AlbersPeter Pasetti, (more)
 
1952  
 
Filmed in Switzerland, White Hell of Pitz-Palu is a remake of the 1929 G. W. Pabst/Dr. Arnold Fauck production of the same name. The original had been one of the foremost examples of the German "mountain film" genre; it also served to enhance the star appeal of actress Leni Reifenstahl, who later became the Third Reich's most prominent propaganda filmmakers. The remake stars Liselotte (later Lilo) Pulver in the Reifenstahl role as one of several participants in a mountain-climbing expedition. The film's dramatic conflict concerns the personal hell of Dr. John Jensen (Hans Albers), who holds himself responsible for the death of his wife during a similar expedition some 20 years earlier. The superb exterior photography of Richard Angst is the main attribute of White Hell of Pitz-Palu, though Angst's work isn't quite in the same league as the lenswork in the earlier film. ~ Hal Erickson, Rovi

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Starring:
Hans AlbersLiselotte Pulver, (more)
 
1951  
 
Nachts aut den Strassen (Detour) stars German film favorite Hans Albers as a middle-aged truck driver named Heinrich. Coming across a traffic accident, Heinrich finds a small bagful of money. Figuring that no one will miss it, he pockets the cash and in so doing, condemns himself to a Living Death. The dramatic thrust of Nachts auf den Strassen is not so much that Crime Does Not Pay, but that no man can ever escape his most diligent nemesis -- himself. The film represented the first postwar effort from producer Erich Pommer, whose name hadn't been seen on screen since the 1940 Hollywood production They Knew What They Wanted. ~ Hal Erickson, Rovi

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Starring:
Hans AlbersHildegarde Neff, (more)
 
1947  
 
Like so many postwar European films, the German City of Torment includes a plot tangent involving the Black Market. Hans Albers plays returning war veteran Hans Richter who has trouble finding work. With nowhere else to turn, Richter gets involved with black market activities. This so disgusts Richter's son, blind ex-soldier Edwin (Paul Edwin Roth), that the boy literally disowns his father. Hans eventually mends his ways, but not before several other devastating setbacks. City of Torment was originally released in Germany in 1947 as Und uber uns der Himmel; at that time, it represented Hans Albers' return to films after a four-year absence. ~ Hal Erickson, Rovi

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Starring:
Hans AlbersPaul Edwin Roth, (more)
 
1945  
 
In this German drama, a man tries to prevent his niece, a hooker, from falling in love with a drunken sailor. The film was originally banned by Nazi propaganda minister Goebbels, as it presented an unflattering view of German soldiers. After the war, the film became very popular. No English translation is available for the film. ~ Sandra Brennan, Rovi

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1943  
 
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This 1943 film, produced at the UFA studios in West Germany, was refurbished by Friedrich-Wilhelm-Murnau Foundation to mark the 50th anniversary of that studio. The Nazi director of propaganda, Joseph Goebbels, wanted a big internationally acceptable production to celebrate the studio's 25th anniversary, and the Münchausen story was chosen. It was thought suitable for Germans of the time, because of the ridiculous light in which it shows other nationalities. Baron von Münchausen (1720-97) was an eccentric figure in European history, whose tall tales about his adventures rival anything to be found in the legends of Paul Bunyan, or of the classical figure of Odysseus; they are similar in tone to the stories in Gulliver's Travels. The Baron's tales have been favored reading by the young-at-heart for centuries. This film recounts some of the episodes from the Baron's "autobiographical" stories, which are set in the world of the eighteenth century. In the story, the Baron's 1940s descendant narrates some of the Baron's famous tales; it gradually becomes clear that the original Baron attained immortality, and that his modern descendant is actually the original Baron. The American-born director Terry Gilliam made another film based on these tales in 1988, also titled The Adventures of Baron Münchausen. ~ Clarke Fountain, Rovi

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Starring:
Hans AlbersBrigitte Horney, (more)
 
1941  
 
This historical recap of Dr. Carl Peters tells of the founding of Deutsch Ostafrika, which covered parts of present-day Tanzania, Rwanda and Burundi. Winner of several awards it its day, this video is available in German only. ~ Rovi

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1939  
 
Wasser Fur Canitoga (Water for Canitoga) is a duck-billed platypus of a film: a German-language western, filmed in Canada and designed as anti-British propaganda. Hans Albers, in 1939 Germany's most popular male actor, plays the rough-and-tumble hero. Falsely accused of sabotaging the system that pipes water to a remote Canadian outpost. The climax finds Albers struggling to save the subterranean piping machinery, at the cost of his own life. As he lies dying on the floor of the local saloon, his fellow miners strike up a soulful chorus of "Good-bye, Johnny!" This scene alone is worth the admission price of the slow-moving but undeniably compelling Wasser Fur Canitoga. ~ Hal Erickson, Rovi

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1938  
 
Die Gelbe Flagge (The Yellow Flag) was based on a novel by Fred Andreas, which gained a huge audience when it was serialized in German newspapers in 1937. The immensely popular Hans Albers stars as devil-may-care aviator Peter Diercksen. When a deadly plague breaks out, Diercksen risks his neck on a near-hourly basis to fly in much-needed medicine and supplies. Somehow he pauses long enough to get mixed up with a hostile cannibal tribe -- and even more frightening, a bevy of desirable females. Dorothea Wieck, another top German screen attraction, is cast as a dedicated nurse. ~ Hal Erickson, Rovi

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Starring:
Hans AlbersDorothea Wieck, (more)
 
1938  
 
In this German comedy set in the American West, an ace detective heads West to destroy a ring of Mexican hashish smugglers. He also has time to romance a pretty girl. ~ Sandra Brennan, Rovi

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1937  
 
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The English-language title of this German musical satire is The Man Who Was Sherlock Holmes. That immensely popular German star Hans Albers plays Morris Flint, a slaphappy private detective who enjoys pretending to be Holmes; likewise, Flint's assistant, Macky McPherson (Heinz Rühmann), gets a charge out of posing as Dr. Watson. During the 1936 World Exposition in Paris, "Holmes" and "Watson" come to the aid of two young ladies in their efforts to retrieve a valuable stamp. Morris Flint is arrested in the course of his investigation, on a charge of impersonating Sherlock Holmes (evidently a grave offense in Paris, given the solemnity of the subsequent trial). Our hero is saved at the last minute by a mysterious "Laughing Man" who has been weaving in and out of the picture. The mystery man turns out to be Arthur Conan Doyle, who jovially gives Flint permission to continue impersonating Holmes -- so long as he makes it clear that he's an impostor. Interestingly enough, The Man Who Was Sherlock Holmes was filmed without any permission of any kind from the Conan Doyle estate. ~ Hal Erickson, Rovi

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Starring:
Hans AlbersHeinz Rühmann, (more)