Carline Seiser | |
---|---|
Born | Munich, West Germany (now Germany) | 9 July 1960
Nationality | German |
Occupation(s) | Actress, painter and sculptor |
Years active | 1977–1979; 1991 (actor) |
Spouse |
Carline Seiser (born 9 July 1960) [1] is a German actress, painter and sculptor. She became known in the late 1970s for her role in the science fiction film The Hamburg Syndrome .
Seiser was born in Starnberg. [2] Seiser's father died a few years after she was born, so she grew up with her younger brother Philipp Seiser and an older sister, along with her mother, two aunts and grandparents. Her mother worked for Bayerischer Rundfunk and her aunt taught drama at the Münchner Kammerspiele. This creative environment had a lasting influence on her childhood and later adolescence. Seiser was already enthusiastic about the arts as a child. Encounters with paintings by various artists finally brought her to painting herself.
However, Seiser is best known for her short career as an actress when she was young. In 1977 she played her first role in an ensemble alongside Gustl Bayrhammer, Helmut Fischer, Michael Degen and Volker Prechtel in the television series Tatort , in the feature-length episode Das Mädchen am Klavier ("The Girl at the Piano") by director Lutz Büscher. [3] A year later she was directed by Diethard Klante in his crime drama Lauter anständige Menschen ("Loud Decent People") alongside Werner Asam, Hilde Lermann and Horst Michael Neutze. [4]
In 1978, the director Peter Fleischmann cast Seiser for the female lead of Ulrike in The Hamburg Syndrome , a four million DM utopian end-of-times drama with surreal features, alongside Helmut Griem, Fernando Arrabal, Ulrich Wildgruber and Tilo Prückner. The disturbing film did not have any outstanding commercial success when it was shown in 1979, [5] but in professional circles it quickly received positive reviews: it was described as one of the most intelligent and timeless dramas in German science fiction, because of its excellent cast and the atmospheric music by Jean-Michel Jarre, being positively compared with Rainer Erler's dystopian drama Operation Ganymed. [6] [7] [8] [9] The Hamburg Syndrome was broadcast again as part of the art theme evening Die Rückkehr der Viren ("The Return of the Viruses"). [10]
Through her brother Philipp, who met Konstantin Wecker as a musician in 1979 and went on tour with him in Germany, she came into contact with Wecker, an actor, singer and songwriter, who was born in Munich in 1947. After completing filming of The Hamburg Syndrome, she largely put her film career on hold and the couple married in 1980. Seiser and Wecker separated in 1988. [11] In 1991, Seiser was seen on film again under the direction of Wolf Gaudlitz in the television film Die Väter des Nardino ("The Fathers of Nardino"). [2]
In addition to her later work as a painter and sculptor with exhibitions in Munich and Vienna, [12] Seiser also worked in theater for stage design and costume, and designed posters for theater and film projects.
Konstantin Alexander Wecker is a German Liedermacher (singer-songwriter) who also works as a composer, author and actor.
Götz George was a German actor, the son of actor couple Berta Drews and Heinrich George. His arguably best-known role is that of Duisburg detective Horst Schimanski in the TV crime series Tatort.
Maria Furtwängler-Burda is a German physician and television actress.
Peter Fleischmann was a German film director, screenwriter and producer. He worked also as an actor, cutter, sound engineer, interviewer and speaker. Fleischmann belonged to the New German Cinema of the 1960s and 1970s. He is known for directing the 1969 Jagdszenen aus Niederbayern, but he produced films of many genres.
Heidi Bertha Auguste Kabel was a German actress and musician. Most of her stage roles were performed at the Ohnsorg-Theater in Hamburg, many of them in Low German. She became famous in Germany as many of the productions of the Ohnsorg Theater were transmitted on German television.
Lena Stolze is a German television and film actress.
Helen Schneider is an American singer and actress working mainly in Germany.
Klaus Schwarzkopf was a German actor. From 1971 until 1978 he starred in the Norddeutscher Rundfunk version of the popular television crime series Tatort. He was also known as a respected stage actor and for being the German dubbing voice of Peter Falk as Columbo during the 1970s.
Rosalie Helga Lina Zech, known as Rosel Zech, was a German theater and film actress, she is most well known for her works associated with the "Autorenkino" movement, which began in the 1970s.
Heinz Lieven was a German actor.
Pamela Knaack is a German television and stage actress.
The Hamburg Syndrome is a 1979 West German-French science fiction film directed by Peter Fleischmann and starring Helmut Griem, Fernando Arrabal and Carline Seiser. The film is about an outbreak of an epidemic and quarantine. The film received attention again in 2020 during the COVID-19 pandemic.
Hans Peter Korff is a German actor.
Karin Hübner was a German stage, film, and television actress. She appeared in more than forty films from 1955 to 1977. Her name is sometimes given as Karin Huebner.
Angela Roy is a German actress and director.
Anne Zohra Berrached is a German film director and screenwriter.
Maja Schöne is a German actress. She is best known for portraying Hannah Kahnwald in the Netflix TV show Dark.
Dinah Eleonora Hinz, married name Hinz-Weiss was a German film and stage actress and audiobook narrator.
Anna Herrmann is a German actress.
Lutz Büscher was a German film director and screenwriter who helped create episodes for Großstadtrevier, Peter Strohm, and Titanic - Nachspiel einer Katastrophe, as well as his own series, Tatort.
Die Hamburger Krankheit von Peter Fleischmann ist ein chaotischer Film über chaotische Zustände, erheblich reizvoller, ungewöhnlicher und intelligenter als es die vielen Verrisse vermuten lassen. ... So exzentrisch wie das Personal dieser apokalyptischen Farce zwischen Reeperbahn und Almhütte ist auch Fleischmanns Inszenierung: eine Folge von gewaltsamsten Stilbrüchen, ohne Rücksichten auf ästhetische Verluste.
An Randfiguren sieht man, daß Fleischmann der gelackten und geschönten neudeutschen Wirklichkeit eine Art Bunuel-Welt der Kranken, Maroden, Ausgestoßenen entgegensetzen wollte.