Robert Wiene | |
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![]() Robert Wiene in the early 1930s | |
Born | |
Died | 17 July 1938 65) | (aged
Occupations | |
Years active | 1913–1938 |
Relatives | Conrad Wiene (brother) |
Robert Wiene (German: [ˈviːnə] ; 27 April 1873 – 17 July 1938) was a film director of the silent era of German cinema. He is particularly known for directing the German silent film The Cabinet of Dr. Caligari and a succession of other expressionist films. Wiene also directed a variety of other films of varying styles and genres. Following the Nazi rise to power in Germany, Wiene, who was of Jewish descent, [1] fled into exile.
Robert Wiene was born in Breslau, in the German Province of Silesia (now the city of Wrocław in Poland), as the elder son of the successful theatre actor Carl Wiene. His younger brother Conrad also became an actor, but Robert Wiene at first studied law at the University of Berlin.[ citation needed ]
In 1908 he also started to act, at first in small parts on stage. His first involvement with film was in 1912, writing and (possibly) directing Die Waffen der Jugend .[ citation needed ]
His most memorable feature films are the horror film The Cabinet of Dr. Caligari (1920) and Raskolnikow (1923), an adaptation of Dostoyevsky's Crime and Punishment , both of which had a deep influence on the German cinema of that time.[ citation needed ]
Four months after the Nazis took power, Wiene's latest film, Taifun, was banned on 3 May 1933. A Hungarian film company had been inviting German directors to come to Budapest to make films in simultaneous German/Hungarian versions, and given his uncertain career prospects under the new German regime Wiene took up that offer in September to direct "One Night in Venice" (1934). [2] Wiene went later to London, and finally to Paris where together with Jean Cocteau he tried to produce a sound remake of The Cabinet of Dr. Caligari. [3]
Wiene never returned to Germany, although the reason is unclear. He had no connection to left-wing politics, and had collaborated with Nazi favorite Richard Strauss on "Der Rosenkavalier" in 1925. Although one German obituary identified him as a Jew, he had identified himself as a Protestant in Viennese university and residence records from 1894 through 1925. [2] In addition, Wiene had adapted from a novel and directed the 1923 silent religious film I.N.R.I. , depicting in a conventional way the events preceding the crucifixion of Christ.[ citation needed ]
Wiene died in Paris ten days before the end of production of a spy film, Ultimatum , after having suffered from cancer. The film was finished by Wiene's friend Robert Siodmak.[ citation needed ]
Only about 20 of the more than 90 movies in which Robert Wiene collaborated still exist: [4]
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Imprisoned Soul is a German silent drama film of 1917 directed by Rudolf Biebrach and starring Henny Porten, Paul Bildt, and Curt Goetz. A young woman, Violetta, falls under the hypnotic power of the villainous Baron von Groot. A young physician tries to rescue her from his clutches. She is finally released from Groot's power when he is found shot dead. The film's theme of hypnotic domination is very similar to that of The Cabinet of Dr. Caligari (1919) which the screenwriter Weine was to direct two years later.
Ernst Karl Heinrich Hofmann was a German stage and film actor.
The Homecoming of Odysseus is a 1918 German silent comedy film directed by Rudolf Biebrach and starring Henny Porten, Bruno Decarli and Arthur Bergen.
Life Is a Dream is a 1917 German silent drama film directed by Robert Wiene and starring Emil Jannings, Bruno Decarli and Maria Fein. A young aristocrat meets a man and marries him, but soon discovers he is a monster. After his death she grows increasingly mad, until a revolutionary new cure is attempted which makes her believe that the whole episode was simply a dream.
Steadfast Benjamin is a 1917 German silent comedy film directed by Robert Wiene and starring Arnold Rieck, Guido Herzfeld and Martha Altenberg.
The Man in the Mirror is a 1917 German silent drama film directed by Robert Wiene and starring Maria Fein, Bruno Decarli and Emil Rameau.
He This Way, She That Way is a 1915 German silent comedy film directed by Robert Wiene and starring Max Zilzer, Bogia Horska, Otto Treptow and Manny Ziener.
Panic in the House of Ardon is a 1920 German silent crime film directed by Robert Wiene and starring Stella Harf, Max Kronert and Paul Mederow. The film was finished by August 1920, but did not have its premiere until July 1921. It also had several alternative titles including Die Welteroberer. A crime syndicate attempts to discover the scientific secrets of the chemical company Ardon. The film was made in the Expressionist style that had been used for Wiene's earlier hit The Cabinet of Dr. Caligari. It features the popular detective Stuart Webbs, closely modeled on Sherlock Holmes.
Boarding House Groonen is a 1925 Austrian silent comedy film directed by Robert Wiene and starring Anton Edthofer, Karl Forest and Harry Nestor. It was Wiene's first film in Vienna, where he had moved to from Berlin to work for Pan Film. The film was made in 1924, but its premiere was delayed until 9 January 1925.
Johannes Riemann was a German actor and film director. Riemann was a member of the Nazi Party.
The Three Dances of Mary Wilford is a 1920 German silent drama film directed by Robert Wiene and starring Friedrich Feher, Erika Glässner and Ludwig Hartau. It is apparently a sequel to Director Léo Lasko's 1919 film, The Sinner .
Friedrich Feher was an Austrian actor and film director. He first entered the film business in 1913, starting out as an actor but quickly gravitated toward directing.
The Night of Queen Isabeau is a 1920 German silent historical drama film directed by Robert Wiene and starring Fern Andra, Fritz Kortner, Hans Heinrich von Twardowski and Elsa Wagner. The film depicts the marriage between the mad Charles VI of France and his wife Queen Isabeau. It was shot at the Babelsberg Studios in Berlin. The film is now considered a lost film, but contemporary reviews praised Wiene's direction. The story revolves around insanity, a common theme in his films.
The Guardsman is a 1925 Austrian silent comedy film directed by Robert Wiene and starring Alfred Abel, María Corda and Anton Edthofer. The film was shot at the Schönbrunn Studios in Vienna. It was based on the play Testőr by Ferenc Molnár and in 1931 remade as a movie by Sidney Franklin.
Typhoon is a 1933 German drama film directed by Robert Wiene and starring Liane Haid, Viktor de Kowa and Valéry Inkijinoff. It was based on the 1911 play Typhoon by the Hungarian writer Melchior Lengyel. It was the last German film made by Wiene, who had been a leading director of German silent cinema.
Ultimatum is a 1938 French historical drama film directed by Robert Wiene and Robert Siodmak and starring Dita Parlo, Erich von Stroheim and Abel Jacquin. The film's plot is set in 1914 against the backdrop of the July Crisis between the assassination of Archduke Franz Ferdinand and the beginning of the First World War. It focuses on the relationship between a Serbian officer and his Austrian-born wife and their involvement in espionage between the countries.
Victim of Society is a 1919 German silent drama film directed by Willy Grunwald and starring Conrad Veidt and Kurt Brenkendorf. Originally shot in 1918, the film was not released until 1919. It is now considered a lost film.
Willy Gaebel was a German cinematographer active during the silent era. Employed on a number of films at the major studio UFA, he later worked as a still photographer.
Precious Stones is a 1918 German silent drama film directed by Rudolf Biebrach and starring Paul Bildt, Henny Porten and Paul Hartmann.
Robert Heymann (1879–1946) was a German screenwriter and film director active during the silent era. He began as a playwright in 1901 and also wrote novels. He worked with the Berlin-based production company Luna Film. For them he directed the four-part Satan's Memoirs, the second most expensive German film made during the First World War. The 1931 film Panic in Chicago was adapted from his novel of the same title. Of Jewish heritage he had to leave Germany following the Nazi takeover.