Иван Петровић/Ivan Petrović
1 January 1894
|Died||18 October 1962 68) (aged|
Iván Petrovich (Serbian : Иван Петровић/Ivan Petrović; 1 January 1894 – 18 October 1962) was a Serbian film actor and singer.
He was the first actor from Yugoslavia to have a successful international movie career.Petrovich mainly worked in German cinema, but also collaborated with established directors in some 100 Hungarian, French, Spanish, Czechoslovakian and Hollywood movies.
He was born Svetislav Petrović (Serbian Cyrillic : Светислав Петровић) on 1 January 1894 in Újvidék, Austria-Hungary, today Novi Sad in the Serbian province of Vojvodina. His father Mladen was a tailor who made uniforms for the Serbian army. After finishing the primary education in his hometown, he moved to Budapest, where he graduated from the Polytechnic academy.
He was a talented singer and violinist and was an accomplished athlete, who participated as a swimmer at the 1912 Summer Olympics in Stockholm, Sweden.
During the World War I he was drafted into the Austro-Hungarian army and after the war ended, he moved to Vienna to pursue a film career.
In Vienna he met a film director Mihály Kertész, who fled Hungary after the war, and who will later make a major Hollywood career as Michael Curtiz. Kertész directed Petrovich in three movies: The Sunflower Woman in 1918 on the play by Ivo Vojnović, The Lady with the Black Gloves in 1919 and, the most successful, The Star of Damascus in 1920.Kertész thought that Petrovich's name Svetislav is too hard to remember, so he chose Iván for him. He later worked with a prominent Hungarian directors Paul Czinner (Homo immanis, 1918) and Béla Balogh ( Under the Mountains , 1920), before moving to France.
In the mid 1920s he became an international star with a string of French movies, styled "the most cherished lover of the French cinema".He marked the period, mostly being typecast as a latin lover, in the movies of Léonce Perret ( Koenigsmark , 1923; The Nude Woman , 1926; Morgane, the Enchantress, 1928), Germaine Dulac ( Heart of an Actress , 1924) or Marco de Gastyne ( The Lady of Lebanon , 1926). He was partnered on screen with the most popular French actresses of the day like Louise Lagrange, Nita Naldi and Arlette Marchal.
Petrovich was noticed by Hollywood director Rex Ingram who at the time lived and worked in Southern France, where he established a studio in Nice. Ingram directed Petrovich in three films, all co-starring Ingram's wife, Alice Terry: The Magician in 1926, and The Garden of Allah and The Three Passions , both in 1927. At one point, Petrovich was considered as one of the potential successors of Rudolf Valentino, who died prematurely in 1926.
With the advent of sound, Petrovich's career did not seem to be hampered. Tall, handsome and good looking, with a sonorous voice, he even prospered, expanding his acting range to the more character roles, like the aristocrats, noblemen, officers and priests, in the "Slavic charm" manner. However, even though multilingual, his bad English accent turned out to be an insurmountable obstacle, so he had to scrap his Hollywood plans.
He made some 40 films in Germany before the outbreak of the war, under the direction of the best German directors and co-starring with the most popular actors of the period. As a good singer, he was frequently cast in filmed operettas.
He worked often with directorial couple Jacob and Luise Fleck (The Orlov in 1927, Doctor Schäfer in 1928, The Tsarevich in 1929) and Richard Oswald ( Victoria and Her Hussar in 1931, The Flower of Hawaii in 1933, co-starring Marta Eggerth). Other movies from this period include 1928 Alraune by Henrik Galeen, co-starring Brigitte Helm and Paul Wegener, 1929 Latin Quarter by Augusto Genina, 1931 The Opera Ball by Max Neufeld, co-starring Liane Haid and Die Fledermaus by Karel Lamač, 1932 Grandstand for General Staff by Eugen Thiele, 1934 Paganini , in title role, by E. W. Emo, co-starring Theo Lingen, and The Last Waltz by Georg Jacoby, 1935 The Cossack and the Nightingale by Phil Jutzi, 1937 Unter Ausschluß der Öffentlichkeit by Paul Wegener and 1939 Zentrale Rio by Erich Engels, co-starring Ita Rina.
After the World War II began, Petrovich continued to act in mostly lightweight, fun movies. He stayed in touch with Serbian issues by visiting his friends, captured Serbian officers, in Nazi camps, which caused him problems with the Nazi Security Service.After being pressured to participate in propaganda flick Enemies , directed by Viktor Tourjansky, which tried to justify German occupation of Poland, Petrovich migrated to Hungary. He spent there the remainder of the war, acting in several movies along popular stars like Pál Jávor and Katalin Karády. Most notable was 1941 Géza von Radványi's antimilitary Europe does not respond.
After the war ended and Communist government was set in Hungary, Petrovich moved back to Germany. In the next 15 years he continued mostly in the supporting roles, but was still sought actor in the German-speaking countries.
His notable roles from this period include films The Trial by G.W. Pabst, Beethoven's biopic Eroica by Walter Kolm-Veltée and Sissi – The Young Empress by Ernst Marischka. Among Petrovich's last movies were Louis Malle's first feature film Elevator to the Gallows in 1958 and Anatole Litvak's The Journey in 1959.
Apart from acting, in this period he also worked as a radio announcer on Radio Free Europe,which was headquartered in Munich at the time.
Petrovich made no Yugoslav movies, but did act in German-Yugoslav coproductions, The Coral Princess in 1937 directed by Victor Janson, co-starring Ita Rina, and Dalmatian Wedding in 1953, directed by Géza von Bolváry.
That was not an obstacle for the exceptional popularity in his homeland and legions of fans, though. In 1928 he visited Belgrade, causing unprecedented hysteria. Filmmaker Marko Babac in his 2009 book Boško Tokin – novinar i pisac, prvi srpski estetičar, publicista i kritičar filma published an excerpt from the Novosti newspapers' account on Petrovich's visit:"From all corners of Belgrade, like torrents, girls of Belgrade rushed to see Svetislav Petrović with a secret hope in their souls that at least one of his fiery glances will fall on them, their lipsticked lips and loving eyes. Journalists, waiting in a lounge, waited for Svetislav Petrović to step out of his quarters, where he spent time in the bathroom doing swimming, massaging and gymnastics. Upon seeing him, the crowd swung and stirred, the girls' hearts stroke hard and throaths turned dry because of the souls' sensations. They all commented how gorgeous and perfect he is. Delighted mass almost smothered him as they advanced towards him. It seemed as if, in an effort to show him love, they wanted to lynch him.“
In contrast to that period, Petrovich is largely forgotten in Serbia today. One of the reasons is thought to be his work in Radio Free Europe, which was strongly disliked by the post-war Communist authorities of Yugoslavia. In an effort to change that, Serbian national film library, Jugoslovenska kinoteka, dedicated year 2017 to him, with prepared programs for showing his movies throughout the whole year.
Even though he spoke fluent Hungarian, German, French and English language, he signed autographs only in Serbian Cyrillic alphabet.
Petrovich married German singer and actress Friedel Schuster.
He died of stomach canceron 18 October 1962 in Munich, West Germany and was interred in city's Nordfriedhof cemetery.
Adele Sandrock was a German-Dutch actress. After a successful theatrical career, she became one of the first German movie stars.
Gustav Fröhlich was a German actor and film director. He landed secondary roles in a number of films and plays before landing his breakthrough role of Freder Fredersen in Fritz Lang's 1927 film Metropolis. He remained a popular film star in Germany until the 1950s.
Willy Fritsch was a German theater and film actor, a popular leading man and character actor from the silent-film era to the early 1960s.
Friedrich Rudolf Klein was a German film actor, best-known for playing sinister figures in films in the 1920s and 1930s as well as being a main-stay in director Fritz Lang's Weimar-era films. He is probably best known in popular culture, particularly to English-speaking audiences, for playing the archetypal mad scientist role of C. A. Rotwang in Lang's Metropolis and as the criminal genius Doctor Mabuse. Klein-Rogge also appeared in several important French films in the late 1920s and early 1930s.
Hans Heinrich von Twardowski was a German film actor.
Géza von Bolváry was a Hungarian actor, screenwriter, and film director, who worked principally in Germany and Austria.
Fritz Heinrich Rasp was a German film actor who appeared in more than 100 films between 1916 and 1976. His obituary in Der Spiegel described Rasp as "the German film villain in service, for over 60 years."
Giuseppe Becce was an Italian-born film score composer who enriched the German cinema.
Lil Dagover was a German actress whose career spanned between 1913 and 1979. She was one of the most popular and recognized film actresses in the Weimar Republic.
Hubert "Hubsi" von Meyerinck was a German film actor. He appeared in more than 280 films between 1921 and 1970.
Kurt Vespermann was a German stage and film actor.
Willy Schmidt-Gentner was one of the most successful German composers of film music in the history of German-language cinema. He moved to Vienna in 1933. At his most productive, he scored up to 10 films a year, including numerous classics and masterpieces of the German and Austrian cinema.
Paul Hörbiger was an Austrian theatre and film actor.
Ernő Verebes was a Hungarian-American actor who began his career in German silent films.
Otto Wallburg was a German actor and Kabarett performer. He was a prolific film actor during the late silent and early sound era.
Reinhold Schünzel was a German actor and director, active in both Germany and the United States. The son of a German father and a Jewish mother, he was born in St. Pauli, the poorest part of Hamburg. Despite being Jewish, Schünzel was allowed by the Nazis to continue making films for several years until he eventually left to live abroad.
Victoria and Her Hussar is a 1931 German musical film directed by Richard Oswald and starring Michael Bohnen, Friedel Schuster and Iván Petrovich. It is an Operetta film based on the operetta Viktoria und ihr Husar by Paul Abraham which was itself inspired by a work by Emric Földes. Two later film versions of the operetta were made in 1954 and 1982.
Georg Alexander was a German film actor who was a prolific presence in German cinema. He also directed a number of films during the silent era.
Bruno Ziener was a German film actor and director. He appeared in over 100 films between 1913 and 1941. He also directed 28 silent films such as The Flight into Death (1921).
Grandstand for General Staff is a 1932 German comedy film directed by Eugen Thiele and starring Iván Petrovich, Elga Brink, and Betty Bird.