Advanced search

Hedy Lamarr, the woman many critics and fans alike regard as the most beautiful ever to appear in films, was born Hedwig Eva Maria Kiesler in Vienna, Austria. She was the daughter of Gertrud (Lichtwitz), from Budapest, and Emil Kiesler, a banker from Lemberg (now known as Lviv). Her parents were both from Jewish families. Hedwig had a calm childhood, but it was cinema that fascinated her. By the time she was a teenager, she decided to drop out of school and seek fame as an actress, and was a student of theater director Max Reinhardt in Berlin. Her first role was a bit part in the German film Geld auf der Straße (1930) (aka "Money on the Street") in 1930. She was attractive and talented enough to be in three more German productions in 1931, but it would be her fifth film that catapulted her to worldwide fame. In 1932 she appeared in a Czech film called Ekstase (US title: "Ecstasy") and had made the gutsy move to appear nude. It's the story of a young girl who is married to a gentleman much older than she, but she winds up falling in love with a young soldier. The film's nude scenes created a sensation all over the world. The scenes, very tame by today's standards, caused the film to be banned by the U.S. government at the time.

Hedy soon married Fritz Mandl, a munitions manufacturer and a prominent Austrofascist. He attempted to buy up all the prints of "Ecstasy" he could lay his hands on (Italy's dictator, Benito Mussolini, had a copy but refused to sell it to Mandl), but to no avail (there are prints floating around the world today). The notoriety of the film brought Hollywood to her door. She was brought to the attention of MGM mogul Louis B. Mayer, who signed her to a contract (a notorious prude when it came to his studio's films, Mayer signed her against his better judgment, but the money he knew her notoriety would bring in to the studio overrode any moral concerns he may have had). However, he insisted she change her name and make good, wholesome films.

Hedy starred in a series of exotic adventure epics. She made her American film debut as Gaby in Algiers (1938). This was followed a year later by Lady of the Tropics (1939). In 1942, she played the plum role of Tondelayo in the classic White Cargo (1942). After World War II, her career began to decline, and MGM decided it would be in the interest of all concerned if her contract were not renewed. Unfortunately for Hedy, she turned down the leads in both Gaslight (1940) and Casablanca (1942), both of which would have cemented her standing in the minds of the American public. In 1949, she starred as Delilah opposite Victor Mature's Samson in Cecil B. DeMille's epic Samson and Delilah (1949). This proved to be Paramount Pictures' then most profitable movie to date, bringing in $12 million in rental from theaters. The film's success led to more parts, but it was not enough to ease her financial crunch. She made only six more films between 1949 and 1957, the last being The Female Animal (1958).

Hedy retired to Florida. She died there, in the city of Casselberry, on January 19, 2000.

Fritz Lang was born in Vienna, Austria, in 1890. His father managed a construction company. His mother, Pauline Schlesinger, was Jewish but converted to Catholicism when Lang was ten. After high school, he enrolled briefly at the Technische Hochschule Wien and then started to train as a painter. From 1910 to 1914, he traveled in Europe, and he would later claim, also in Asia and North Africa. He studied painting in Paris from 1913-14. At the start of World War I, he returned to Vienna, enlisting in the army in January 1915. Severely wounded in June 1916, he wrote some scenarios for films while convalescing. In early 1918, he was sent home shell-shocked and acted briefly in Viennese theater before accepting a job as a writer at Erich Pommer's production company in Berlin, Decla. In Berlin, Lang worked briefly as a writer and then as a director, at Ufa and then for Nero-Film, owned by the American Seymour Nebenzal. In 1920, he began a relationship with actress and writer Thea von Harbou (1889-1954), who wrote with him the scripts for his most celebrated films: Dr. Mabuse, the Gambler (1922), Die Nibelungen: Siegfried (1924), Metropolis (1927) and M (1931) (credited to von Harbou alone). They married in 1922 and divorced in 1933. In that year, Nazi propaganda minister Joseph Goebbels offered Lang the job of head of the German Cinema Institute. Lang--who was an anti-Nazi mainly because of his Catholic background--did not accept the position (it was later offered to and accepted by filmmaker Leni Riefenstahl) and, after secretly sending most of his money out of the country, fled Germany to Paris. After about a year in Paris, Lang moved to the United States in mid-1934, initially under contract to MGM. Over the next 20 years, he directed numerous American films. In the 1950s, in part because the film industry was in economic decline and also because of Lang's long-standing reputation for being difficult with, and abusive to, actors, he found it increasingly hard to get work. At the end of the 1950s, he traveled to Germany and made what turned out to be his final three films there, none of which were well received.

In 1964, nearly blind, he was chosen to be president of the jury at the Cannes Film Festival. He was an avid collector of primitive art and habitually wore a monocle, an affectation he picked up during his early days in Vienna. After his divorce from von Harbou, he had relationships with many other women, but from about 1931 to his death in 1976, he was close to Lily Latte, who helped him in many ways.

As a nine-year-old boy, Leon Askin recited a 17-stanza eulogy for Emperor Franz Josef in front of the city hall in Vienna's 9th District. Little did the son of a salesman know then that he would one day be the student of Max Reinhardt and Louise Dumont, and discover Jura Soyfer while directing the political cabaret "ABC". Emigration brought him into contact with even more 20th-century luminaries: in 1938 he met Erwin Piscator, the founder of the school of Epic Realism, and worked with him for the next 30 years. On the set of Billy Wilder's One, Two, Three (1961), Wilder once exclaimed, "Here comes my professional!" Askin, who was often cast as the "funny villain", performed alongside Richard Burton, Doris Day and James Cagney. It is not merely exposure to big stars that distinguishes Leon Askin, though. He captured the hearts of critics and audiences with his impressive stage performances of "Faust" and "Shylock" on Broadway, which he also directed, and "Othello" in Hamburg. In addition, Askin made TV history as Gen. Burkhalter in the series Hogan's Heroes (1965).

Tall, portly Viennese character actor Walter Slezak simultaneously pursued two different careers after his arrival in America in 1930: one, as a star of musical comedy on the stage, and another, as a portrayer of villains, impish rogues or pompous buffoons on screen.

Walter was born in May 1902 in Vienna, Austria, to a musical family, the son of Elisabeth (Wertheim) and famous opera star Leo Slezak. He had Czech, Austrian, and Jewish ancestry. Walter studied medicine but quickly lost interest. For a while, he held a position working in a bank. At the age of twenty, he was spotted in a beer garden by the Hungarian actor/director Mihaly Kertesz (Michael Curtiz) and persuaded to appear in his motion picture Sodom and Gomorrah (1922). Subsequently, the then rather lean Walter Slezak was signed by Ufa and became a matinee idol in German films of the 1920s. Always somewhat too fond of the culinary arts, Slezak over the years put on so much weight that, by the end of the decade, he was no longer considered bankable as a romantic star and became relegated to playing character roles instead.

In 1930, Slezak emigrated to the United States and instantly hit it off with public and critics alike in his Broadway debut with the musical comedy 'Meet My Sister' (1930-31). Though publicly modest about his vocal abilities, Slezak gained further plaudits for his role in the Oscar Hammerstein II production, 'Music in the Air' (1932-33), scored by Jerome Kern. By the 1950s, Slezak had become an established name on Broadway, star of shows like 'My 3 Angels' (1953-54), written by Sam and Bella Spewack and directed by José Ferrer; the hit comedy 'The Gazebo' (1958-59), in which he starred as Elliott Nash, opposite Jayne Meadows (filmed afterwards at MGM, with Glenn Ford and Debbie Reynolds in the lead roles); and his greatest success, as the likable curmudgeon Panisse in the musical production of Marcel Pagnol's 'Fanny', directed by Joshua Logan. For this role, he won the 1955 Tony Award as Best Actor in a Musical. 'Fanny' chalked up an impressive run of 888 performances between 1954 and 1956. In 1959, Slezak fulfilled his dream of emulating his father by singing the part of Zsupan in 'The Gypsy Baron' at the Metropolitan Opera.

In motion pictures, Walter Slezak's career took quite a different path. He started in films in 1942, and just two years later, walked away with most of the acting honours for Alfred Hitchcock's claustrophobic thriller Lifeboat (1944). In it, he gave a compelling performance as the callous, methodical Nazi captain, who gradually assumes command of the vessel containing the survivors of the passenger ship torpedoed and sunk by his U-boat. Film critic Bosley Crowther, who had already been impressed with Slezak's previous performance as a Nazi agent in Once Upon a Honeymoon (1942), commented "Nor is he an altogether repulsive or invidious type. As Walter Slezak plays him, he is tricky and sometimes brutal, yes, but he is practical, ingenious and basically courageous in his lonely resolve. Some of his careful deceptions would be regarded as smart and heroic if they came from an American in the same spot" (New York Times, Jan.13 1944). The perceived incongruity of the enemy being portrayed with any sympathy whatever, resulted in criticism from other quarters for both the film and its director.

After 'Lifeboat', the ebullient Slezak appeared in a variety of lavish and colourful costume spectaculars: as a flamboyant pirate in the Bob Hope comedy The Princess and the Pirate (1944); as the reprehensible governor Don Alvarado, wooing Maureen O'Hara in the swashbuckler The Spanish Main (1945); and as yet another Spaniard, the boorish Don Pedro Vargas, having similar designs on Judy Garland in the MGM musical The Pirate (1948). He was also memorably evil as Sinbad's treacherous barber Melik in Sinbad, the Sailor (1947), the corrupt gumshoe Arnett in Robert Wise's gangster melodrama Born to Kill (1947), and as the scheming medicine-show man in The Inspector General (1949), starring Danny Kaye. (1949). He was again integral to the plot of Come September (1961), as enterprising major domo to Rock Hudson who secretly runs his employer's luxury villa as a hotel for eleven months of the year. Bosley Crowther described his comic performance as 'perfect'. Slezak further parodied his bad guy image in 'The Clock King' on TV's Batman (1966), then mellowed into the part of sagacious book dealer Strossel in The Wonderful World of the Brothers Grimm (1962) and the amiable Squire Trelawney in the 1972 version of 'Treasure Island'.

In his private life, Walter Slezak was known as an experienced pilot, a connoisseur of art, lover of chess and good books. His long career as one of the outstanding character players of his time ended with his retirement in 1980. Despondent over a series of debilitating medical problems, Slezak took his own life in April 1983.

Erich von Stroheim was born Erich Oswald Stroheim in 1885, in Vienna, Austria, to Johanna (Bondy), from Prague, and Benno Stroheim, a hatter from Gleiwitz, Germany (now Gliwice, Poland). His family was Jewish.

After spending some time working in his father's hat factory, he emigrated to America around 1909. Working in various jobs he arrived in Hollywood in 1914 and got work in D.W. Griffiths' company as a bit player. America's entry into WW1 enabled him to play sadistic monocled German officers but these roles dried up when the war ended. He turned to writing and directing but his passion for unnecessary detail such as Austrian guards wearing correct and expensively acquired regulation underwear which was never seen in 'Foolish Wives' caused the budget to reach a reported $1 million. Although the film became a hit the final edit was given to others resulting in a third of his footage being cut. Irving Thalberg fired him from 'Merry Go Round' which was completed by Rupert Julien. He then started on 'Greed', which when completed was unreleasable being 42 reels with a running time of 7 hours. It was eventually cut down to 10 reels which still had a striking effect on audiences. 'The Wedding March' was so long that even in it's unfinished state it was released as two separate films in Europe. Gloria Swanson fired him from her production of 'Queen Kelly' when with no sign of the film nearing completion the costs had risen to twice the budget partly due to him re-shooting scenes that had already been passed by the Hays office. She then had to spend a further $200,000 putting the footage into releasable state. It was the end for him as a director, but he made a reasonable success as an actor in the talkies.

The daughter of Bretislav Lvovsky, a.k.a. Emil Pick (1857-1910), a minor Czech opera composer, Lovsky was born in Vienna, where she trained at the Royal Academy of Arts and Music. She was a rising stage star in Vienna and Berlin in 1929, when she met future husband Peter Lorre. Celia accompanied the Jewish Lorre when he fled Hitler's Berlin to Vienna in 1933, then to Paris, then London where they married during the filming of The Man Who Knew Too Much (1934), in which Celia had an uncredited bit as a Russian aristocrat.

Although she accompanied Lorre to Hollywood, she did not act professionally while married; but, after their divorce in 1945, she became a Hollywood character actress, appearing in over 40 films between 1947-73, and some 200 television appearances between 1952 and 1974. Due to her accent, she played mostly European-born characters, often dignified or aristocratic; occasionally Hispanics, once a Native American (!), and T'Pau, the ruler of the planet Vulcan on Amok Time (1967). She remained a close friend of her former husband until his death in 1964, aged 59. She died of natural causes in 1979, at age 82.

An imposing Austrian import-turned-matinée idol on the silent screen, Hollywood actor Joseph Schildkraut went on to conquer talking films as well -- with Oscar-winning results. Inclined towards smooth, cunning villainy, his Oscar came instead for his sympathetic portrayal of Captain Alfred Dreyfus in The Life of Emile Zola (1937). His most touching role on both stage and screen would come as the Jewish father-in-hiding, Otto Frank, in The Diary of Anne Frank (1959).

Born on March 22, 1895, in Vienna, Austria, Joseph was the son of famed European/Yiddish stage actor Rudolph Schildkraut and his wife, the former Erna Weinstein. Nicknamed "Pepi" as a boy, the affectionate tag remained with him throughout his life. The family moved to Hamburg, Germany, when Joseph was 4. Joseph studied the piano and violin and grew inspired with his father's profession. On stage (with his father) from age 6, the family again relocated to Berlin where his father built a strong association with famed theatrical director Max Reinhardt.

Following Joseph's graduation from Berlin's Royal Academy of Music in 1911, the family migrated to America and settled in New York in 1912. His father continued making his mark in America's Yiddish theater while Joseph was accepted into the American Academy of Dramatic Arts. Offered lucrative theatre work back in Germany, Rudolf and family returned to Europe where Joseph began to grow in stature on the stage with the help of mentor Albert Bassermann. Joseph, like his father, would become well known not only for his prodigious talents on stage, but his marriage-threatening, Lothario-like behavior off-stage.

World War I and a call to the Austrian Army could have interrupted his career but his theatrical connections helped exempt him from duty. A thriving member of the Deutsches Volkstheatre (1913-1920), work became difficult to find in the post-war years so once again the family returned to America in 1920. Now an established stage player, Joseph was handed the title role in the Guild Theatre production (and American premiere) of "Liliom" opposite his leading lady of choice Eva Le Gallienne. It made stars out of both actors and both revisited their parts together on stage many years later in 1932.

Having appeared in a few silent pictures in Germany and Austria, Joseph was handed a prime role in the silent screen classic Orphans of the Storm (1921) starring the Gish sisters. This alone established him as an exotic matinée figure along the lines of a Valentino and Navarro. Preferring the stage, he nevertheless continued making films while conquering (on screen) Hollywood's loveliest of actresses, including Norma Talmadge in The Song of Love (1923), Seena Owen in Shipwrecked (1926), Marguerite De La Motte in Meet the Prince (1926), Bessie Love in Young April (1926) (which also co-starred father Rudolf), Lya De Putti in The Heart Thief (1927), and Jetta Goudal in The Forbidden Woman (1927). Most notable was his participation in the Cecil B. DeMille epics The Road to Yesterday (1925) and The King of Kings (1927), the latter co-starring as Judas Iscariot, with father Rudolf playing the high priest Caiaphas.

Joseph met his first wife, aspiring actress Elise Bartlett, during a herald run as "Peer Gynt" (1923) on Broadway. The impulsive romantic swept her off her feet, proposed to her on the day he met her, and married her the following week. The couple separated a few years later and his first wife fell to drink, dying at a fairly young age of an alcohol-related illness. His second marriage to Marie McKay was much happier and lasted almost three decades.

The actor's sturdy voice and strong command of the stage led to an easy transition into talking films. Among others, Joseph won the role of Gaylord Ravenal in the Kern and Hammerstein musical Show Boat (1929) opposite Laura La Plante as Magnolia. Despite his preference for the theater, Depression-era finances forced him to relocate to Los Angeles for more job security. Throughout the 1930s and 1940s, Joseph evolved into one of Hollywood's most distinctive character actors.

He played Wallace Beery's nemesis, General Pascal in MGM's Viva Villa! (1934), King Herod opposite Claudette Colbert in DeMille's Cleopatra (1934), and stole scenes as the cunning and underhanded Conrad, Marquis of Montferratin, in DeMille's The Crusades (1935). Joseph received his Oscar for his portrayal of Captain Dreyfus, a proud and robust French Jew wrongly convicted of treason and subsequently exiled to Devil's Island, in the biopic The Life of Emile Zola (1937). He soon became a Hollywood fixture appearing in everything from sumptuous costumers (Marie Antoinette (1938), The Three Musketeers (1939), The Man in the Iron Mask (1939), Monsieur Beaucaire (1946)), to action adventure (Lancer Spy (1937), Suez (1938)) to potent drama (The Rains Came (1939), The Shop Around the Corner (1940)). His film output slowed down considerably at the outbreak of WWII in 1941, however; nevertheless he continued to show vitality on the stage with notable successes in "Clash by Night" (1941) with Tallulah Bankhead, "Uncle Harry" (1942) and "The Cherry Orchard" (1944) (again with Eva Le Gallienne).

His Hollywood downfall happened when he signed his career away to the low budget Republic Pictures studio...for financial reasons. The films were unworthy of his participation and his roles secondary in nature to the storyline. His final Broadway appearance and greatest stage triumph would occur in 1955 as Otto Frank and he repeated his role on film but The Diary of Anne Frank (1959). In one of Hollywood's bigger missteps, he was not even nominated for an Academy Award. Sporadic appearances followed on stage and film -- his last movie role wasted on the trivial role of Nicodemus in the epic failure The Greatest Story Ever Told (1965). The film was released posthumously. On TV, however, he played Claudius to Maurice Evans' Hamlet in 1953 and filmed a memorable "Twilight Zone" episode in 1961.

Following his beloved second wife's death in 1961, he married one more time, in 1963, to a much younger woman named Leonora Rogers. Joseph died of a heart attack only months later at his New York City home on January 21, 1964, He was 68, almost the exact same age his father Rudolf was when he too suffered a fatal heart attack. Joseph was interred in the Beth Olam Mausoleum of the Hollywood Forever Cemetery in Los Angeles.

Because of his heavy generically "European" accent and Slavic-sounding surname (not an uncommon one among Czechs or Slovaks), many people assumed Oscar Homolka was Eastern European or Russian. In fact, he was born in Vienna (then Austria-Hungary), the multicultural capital of a large multi-ethnic empire at the time. It was there he began his successful stage career, which eventually led him to Hollywood. Homolka was one of the many Austrian and specifically Viennese actors (many of them Jewish) who fled Europe for the U.S. with the rise to power of Adolf Hitler and the Nazi party. Although often typecast in villainous roles - Communist spies, Soviet-bloc military officers or scientists and the like - he was nominated for an Oscar for his portrayal of Uncle Chris in I Remember Mama (1948).

Lotte Lenya was a Tony Award-winning and Academy award-nominated actress and singer. While best remembered in the U.S. for her supporting role as Rosa Klebb in the classic Bond film From Russia with Love (1963), she is celebrated in Germany for her ground-breaking performances in the plays of Kurt Weill and Bertolt Brecht and her recordings of songs from those works.

She was born Karoline Wilhelmine Charlotte Blaumauer on October 18, 1898, in Vienna, Austria (at that time Austro-Hungarian Empire), into a working class family. Young Lenya was fond of dancing. In 1914 she moved to Zurich, Switzerland. There she began using her stage name, Lotte Lenya. In Swizerland she studied classical dance, singing and acting and made her stage debut at the Schauspielhaus. In 1921 she moved to Berlin and blended in the city's cosmopolitan cultural milieu. In 1924 she met composer Kurt Weill, and they married in 1926. She performed in several productions of 'The Threepenny Opera', which became an important step in her acting career.

In 1933, with the rise of Nazism in Germany, Lotte Lenya escaped from the country. At the same time, being stressed by the circumstances of life, she divorced from Kurt Weil, to be reunited with him two years later. In 1935 both emigrated to the United States and remarried in 1937. After Kurt Weill's death, she dedicated her efforts to keeping Weill's music played in numerous productions worldwide. In 1957 she won a Tony award for her role as Jenny, performed in English, in a Broadway production of 'The Threepenny Opera'.

Lotte Lenya shot to international fame with her portrayal of Contessa Magda Terbilli-Gozales, Vivien Leigh's friend in The Roman Spring of Mrs. Stone (1961). The role brought Lenya an Academy Award nomination as Best Supporting Actress. She gained additional fame after she appeared as Rosa Klebb, former head of operations for SMERSH/KGB, and now a sadistic Spectre agent with poisonous knife in her shoe, in From Russia with Love (1963). She died of cancer on November 27, 1981, in New York. She is entombed with Kurt Weill in a mausoleum, in Mount Repose Cemetery, in Haverstraw, New York, USA.

Lilia Sofer was born on November 28, 1896, to Catholic Katharina Skala and Jewish Julius Sofer , in Vienna, Austria. Julius Sofer worked as a manufacturer's representative for the Waldes Kohinoor Company. Lilia had two sisters: Lisl (later known as renowned dance-therapy pioneer Elizabeth Polk); and Felicitas ("Lizi"--pronounced "Litzi"), an infant nurse. All three sisters adopted their mother's Gentile maiden name of "Skala" and emigrated to the United States.

Lilia Skala would become a star on two continents. In pre-World War II Austria she starred in famed Max Reinhardt's stage troupe, and in post-war America she would become a notable award-worthy matronly character star on Broadway and in films. Forced to flee her Nazi-occupied homeland with her Jewish husband, Louis Erich Pollak (who also adopted his mother-in-law's Gentile maiden name of "Skala") and two young sons in the late 1930s, Lilia and her family managed to escape (at different times) to England. In 1939, practically penniless, they emigrated to the USA, where she sought menial labor in New York's garment district. She quickly learned English and worked her way back to an acting career, this time as a sweet, delightful, thick-accented Academy Award, Golden Globe and Emmy nominee.

She broke through the Broadway barrier in 1941 with "Letters to Lucerne", followed by a featured role in the musical "Call Me Madam" with Ethel Merman. In the 1950s, she did an extensive tour in "The Diary of Anne Frank" as Mrs. Frank, and performed in a German-language production of Kurt Weill's "The Threepenny Opera". Lilia became a familiar benevolent face on TV in several early soap operas, including Claudia: The Story of a Marriage (1952).

She won her widest claim to fame, however, as the elderly chapel-building Mother Superior opposite Sidney Poitier in Lilies of the Field (1963), for which she won both Academy Award and Golden Globe nominations. That led to more character actress work in films, most notably as the dog-carrying Jewish lady in the star-studded Ship of Fools (1965) and as Jennifer Beals's elderly friend in Flashdance (1983). On TV she played Eva Gabor's Hungarian mother in Green Acres (1965) and earned an Emmy nomination for her work in the popular miniseries Eleanor and Franklin (1976)).

She continued filming into her 90th year. Her final film work, occurring in the 1980's, went on to include a touching role as Hanna Long in the hit musical Flashdance (1983), plus parts in Testament (1983), House of Games (1987) and Men of Respect (1990). A few years later, on December 18, 1994, Lilia died of natural causes in Bay Shore (Long Island), New York, a few weeks after her 98th birthday.

With a mysterious past and a mouth marred by burns, Reggie Nalder has a unique, if underappreciated, place in the history of cinema. Born Alfred Reginald Natzick in Vienna, Austria, the year of his birth has been a matter of speculation. While his obituary in the New York Times claimed 1922, photographic evidence has revealed that it was significantly earlier. Little is known about his early years. His mother was a beautiful actress who appeared in German films between 1919 and 1929. Nalder himself was an Apache dancer and stage actor in the 1920s and 1930s, and the anecdotes he occasionally shared with friends hint at a colorful career even before his life in films. Photos of Nalder from this period, which surfaced after his death, reveal a handsome young man in his early 20s, almost unrecognizable as the man we know from celluloid.

The burns that scarred the lower third of his face and forever cast him as a villain are also a source of uncertainty; Nalder had at least three different explanations for them. Whatever the true cause, it was this disfigurement which bestowed upon him a permanent place in the annals of film.

His career was punctuated by two definite high points. The first was his role as Rien, the leering assassin of Hitchcock's 1956 remake of "The Man Who Knew Too Much." His second great triumph was as the horrifyingly effective vampire Barlow in the TV mini-series "Salem's Lot" (1976). In between he had some memorable film and television appearances -- the cold Russian operative in "The Manchurian Candidate" (1962); the yellow-jacketed gunman in Dario Argento's "The Bird With the Crystal Plumage" (1969), a part written especially for him; the lecherous witch-hunter Albino in Adrian Hoven's notorious "Mark of the Devil" (1970); the title character in the Thriller episode "The Return of Andrew Bentley" (1961); and the alien Shras in the classic Star Trek episode "Journey to Babel" (1967). Though small, Nalder's role in Fellini's "Casanova" (1976) was also a source of personal pride.

Along the way were many forgotten roles, and a few of which he himself may have been embarrassed . However dubious the quality of some of the films in which he appeared, his gaunt face, expressive eyes, and soft, haunting voice never fail to absorb. In real life, Nalder was soft-spoken man of considerable culture and taste who knew four languages and enjoyed the opera ("Tosca" was reputedly his favorite). He died of bone cancer at a Santa Monica nursing home on November 11, 1991. With him went the truth behind "The Face That Launched a Thousand Trips" and the keys to much of his mystery-shrouded past.

Reggie Nalder may be far from a household name, and he may have appeared in many films of questionable artistic merit. But he has provided film buffs with indelible cinematic images and characterizations for which he was singularly well equipped. Whether you were chilled by the methodical killer behind the curtain at the Albert Hall in "The Man Who Knew Too Much" or terrified by the shining eyes of the vampire of "Salem's Lot," you along with cinemagoers the world over have felt the icy touch of Reggie Nalder.

Josef von Sternberg split his childhood between Vienna and New York City. His father, a former soldier in the Austro-Hungarian army, could not support his family in either city; Sternberg remembered him only as "an enormously strong man who often used his strength on me." Forced by poverty to drop out of high school, von Sternberg worked for a time in a Manhattan store that sold ribbons and lace to hat makers. A chance meeting in Prospect Park, Brooklyn, led to a new career in the cleaning and repair of movie prints. This job provided an entrée to the film production industry, then flourishing in Fort Lee, New Jersey. As an apprentice film-maker, from around 1916 to the early 1920s, von Sternberg developed a lasting contempt for most of the directors and producers he worked for (an exception was Emile Chautard, who acted in some of Sternberg's films of the 1930s), and was sure that he could improve on their products. Staked to a few thousand dollars -- even then an absurdly small budget -- von Sternberg proved himself right with The Salvation Hunters (1925), which became a critical and financial hit. For the next couple of years he seesawed between acclaim and oblivion, sometimes on the same project (for instance, he received the rare honor of directing a film for Charles Chaplin, but it was shelved after only one showing and later disappeared forever). His commercial breakthrough was Underworld (1927), a prototypical Hollywood gangster film; behind the scenes, von Sternberg successfully battled Ben Hecht, the writer, for creative control. With The Last Command (1928), starring the equally strong-willed Emil Jannings, von Sternberg began a period of almost a decade as one of the most celebrated artists of world cinema. Both his film career and his personal life were transformed in the making of The Blue Angel (1930). Chosen by Jannings and producer Erich Pommer to make Germany's first major sound picture, von Sternberg gambled by casting Marlene Dietrich, then obscure, as Lola Lola, the night-club dancer who leads Jannings' character into depravity. The von Sternberg-Dietrich story, both on-screen (he directed her in six more movies) and off (he became one of her legions of lovers, more in love with her than most) is a staple of film histories. His films of the mid-'30s are among the most visionary ever made in Hollywood, but in spite of their visual sumptuousness, contemporary audiences found them dramatically inert. The films' mediocre box office and a falling-out with Ernst Lubitsch, then head of production at Paramount Pictures (Sternberg's employer), meant that after The Devil Is a Woman (1935) he would never again have the control he needed to express himself fully. In his sardonic autobiography, he more or less completely disowned all of his subsequent films. In spite (or perhaps because) of his truncated career and bitter personality, von Sternberg remains a hero to many critics and filmmakers. His best films exemplify the proposition, as he put it, that in any worthwhile film the director is "the determining influence, and the only influence, despotically exercised or not, which accounts for the worth of what is seen on the screen."

As a young man, Kurt Kasznar enrolled in Max Reinhardt's seminars. He came to the US in the mid-30s in "The Eternal Road," in which he played at least 12 roles. In 1941, he produced the New York show, "Crazy with the Heat." That same year, he was drafted into the army, where he was trained as a cinematographer and served in the Pacific. His first major Broadway role was "The Happy Time." Kasznar also played in "The Sound Of Music," "Barefoot in The Park," "Waiting for Godot" and "Six Characters in Search of an Author." He has appeared in many films.

Ady Berber was born on 4 February 1913 in Vienna, Austria-Hungary [now Austria]. He was an actor and producer, known for Der Mörder mit dem Seidenschal (1966), Donauschiffer (1940) and The Return of Dr. Mabuse (1961). He was married to Anna Berber. He died on 3 January 1966 in Vienna, Austria.

This dark, debonair, dashing and extremely distinguished Austrian actor was christened Adolf Wohlbrück in Vienna, the scion of a family of circus clowns. He broke away easily from generations of tradition as the circus life had no appeal whatsoever to Walbrook.

Trained by the legendary director Max Reinhardt, Walbrook's reputation grew on both the Austrian and German stages. In between he managed a couple of undistinguished roles in silent films. Billed as Adolf Wohlbrück, the youthfully handsome actor graced a number of romantic films come the advent of sound beginning in 1931. Among them Waltz War (1933) and the gender-bending comedy Victor and Victoria (1933), which later served as the inspiration and basis for Blake Edwards' own Victor/Victoria (1982) starring wife Julie Andrews. Hollywood beckoned in the late 30s for Walbrook to re-shoot dialog for an upcoming international picture The Soldier and the Lady (1937) again playing Michael Strogoff, a role he had played impeccably in both previous French and German adaptations. With the rise of oppression in Nazi Germany he moved to Great Britain and took his trademark mustache and dark, handsome features to English language films where he went on to appear to great effect.

Portraying a host of imperious kings, bon vivants and and foreign dignitaries over the course of his career, he played everything from composer Johann Strauss to the Bavarian King Ludwig I. With a tendency for grand, intense, over-the-top acting, he was nevertheless quite impressive in a number of portrayals. Such included the sympathetic German officer in the landmark Powell and Pressburger satire The Life and Death of Colonel Blimp (1943) and gentle pacifist in another of their collaborations 49th Parallel (1941); as Prince Albert in the black-and-white glossy costumer Victoria the Great (1937) immediately followed by its color remake Queen of Destiny (1938) both opposite Anna Neagle's Queen Victoria; and, most notably, as the obsessively demanding impresario opposite ballerina Moira Shearer in the romantic melodrama The Red Shoes (1948). His stiff and stern military officers were just as notable which included sterling work in The Queen of Spades (1949) and last-speaking English film I Accuse! (1958).

He retired from films at the end of the 1950s, and in later years returned to the European stage and included television roles to his resume. He died in Germany in 1967 of a heart attack.

Austrian composer Max Steiner achieved legendary status as the creator of hundreds of classic American film scores. He was born Maximilian Raoul Walter Steiner in Vienna, Austria, the son of Marie Mizzi (Hasiba) and Gabor Steiner, an impresario, and the grandson of actor and theater director and manager Maximilian Steiner. His family was Jewish. As a child, he was astonishingly musically gifted, composing complex works as a teenager and completing the course of study at Vienna's Hochschule fuer Musik und Darstellende Kunst in only one year, at the age of sixteen. He studied under Gustav Mahler and, before the age of twenty, made his living as a conductor and as composer of works for the theater, the concert hall, and vaudeville. After a brief sojourn in Britian, Steiner moved to the USA and quickly became a sought-after orchestrator and conductor on Broadway, bringing the Western classical tradition in which he had been raised to mainstream audiences.

He was soon snatched up by the film studios with the advent of sound and helped the fledgling talkies become musically sophisticated within a brief few years. He was one of the first to fully integrate the musical score with the images on-screen and to score individual scenes for their content and create leitmotifs for individual characters, as opposed to simply providing vaguely appropriate mood music, as evidenced in King Kong (1933), which set the standard for American film music for years to come.

From the 1930s to the 1960s, he was one of the most respected, innovative, and brilliant composers of American film music, creating a truly staggering number of exceptional scores for films of all types. He was nominated for Academy Awards for his scores eighteen times and won three times. Years after his death in 1971, he remains one of the giants of motion picture history, and his music still thrives.

Pretty, soulful-eyed Austrian actress Rose Stradner was a rising 30s ingénue on the Viennese stage and in a few German film romances and musicals when MGM mogul Louis B. Mayer, who was in Europe searching for exotic talent, discovered her. Along with Greer Garson, Ilona Massey and Hedy Lamarr, she was brought to Hollywood and groomed as a foreign import. Unfortunately, her personal life became a shambles and eventually overwhelmed her ability to perform.

She was born Rosa Luise Maria Stradner in Vienna in 1913 and educated at a convent. Her desire to become an actress came young. At 16 she studied at the Academy for Music and Art in Zurich, Switzerland, and at the age of 19, she auditioned for Max Reinhardt and handed a contract. She appeared for Austrian producer Max Reinhardt at the Volkstheater and Theater in der Josefstadt, often in the classics (Shakespeare, Ibsen, Moliere) but also handled modern plays (Dreiser, O'Neill). In Europe she also appeared in some German language films between 1933 and 1936.

Rose, her then-husband Karl Heinz Martin, a stage director, and her mother arrived in the United States in 1936. She and her Martin divorced soon after however. Making her U.S. debut as Edward G. Robinson's put-upon wife in The Last Gangster (1937), she showed promise and was signed by MGM. Her second film Blind Alley (1939), which was more Freudian in nature, starred Chester Morris as a psychologically-disturbed mobster who abducts psychiatrist Ralph Bellamy. Rose had less to do in this picture.

The budding star met well-known writer/producer/director Joseph L. Mankiewicz at around this time and she placed her career on hold. The couple married in 1939 had two sons, Chris, born 1940, and Tom. Christopher Mankiewicz, born 1942, who went on to a successful career of his own as a screenwriter. Although Rose returned for a small but key role as a Mother Superior in her husband's film The Keys of the Kingdom (1944), her career was officially over after only three more films. In 1948 she was cast in the Edna Ferber play "Bravo!" but she had to be replaced during tryouts, which caused her severe mental strain.

On a positive note, her fluency in several languages helped her husband's screenplays but the marriage was rocky almost from the start. In addition to Mankiewcz' infamous affairs with such stars as Judy Garland and Linda Darnell, Rose did not take easily to being a "hausfrau," and turned to alcohol to deaden her unhappiness. She would be known for going into emotional tirades and was eventually admitted to sanitariums to treat her violent rates. Constantly threatening suicide, a lethal mix of bitterness and depression set in and on September 27, 1958 ended her pain with an overdose of sleeping pills in the Mt. Kisco, New York, home she shared with her husband. She was only 45.

Singer Maria Trapp was born on January 26, 1905, aboard a train, as her mother hurried from their village in the Tyrol to the hospital in Vienna, Austria. Her mother, Augusta (nee Rainer), died shortly after Maria was born, and her father, Karl Kutschera, died when she was 6 years old. As a guardian to Maria, the court appointed a man whom she has described as a passionate socialist and a violent anti-Catholic. Although she had been baptized, she grew up outside the Church until she was 18. She was, at that time, in her final year at the State Teachers College for Progressive Education in Vienna. To atone for her earlier life, Maria Kutschera decided to enter a convent. She was accepted as a candidate for the novitiate at the Nonnberg Benedictine Convent at Salzburg, where she considered herself a black sheep because of her tomboyish ways, her willful and independent nature, and her lack of religious training. She was teaching fifth graders at the convent when she was sent by the Mother Abbess as a governess to the children of Baron Georg von Trapp. The Baron, a much-decorated World War I submarine commander, had retired with his 7 children to a villa in Aigen, near Salzburg, after the death of his wife. Maria quickly won the affection of the lonely family with her lively, outgoing disposition and the songs, games, and customs of her Tyrolean girlhood. At the end of nine months, she expected to return to the convent and take the veil. When the Baron proposed marriage, she was torn between her religious devotion and her attachment to the family. With the blessing of the Mother Abbess at Nonnberg, however, she married the Baron on November 26, 1927. After the marriage, the family often sang together, especially during their traditional observance of religious festivals. As a result of the economic disorders that plagued Europe in the early 1930s, the Baron lost his fortune, and to earn a living, the family turned their large home into a guest house for students and clergymen. A special dispensation from the Archbishop of Salzburg permitted them to have a chapel where Mass could be celebrated in their own home. At Easter 1935, the Reverend Franz Wasner (now Monsignor Wasner) came to the Trapp home as a guest and officiating priest. An accomplished musician, he listened critically to the family's informal singing and then immediately took charge of their musical education, becoming their conductor as well as their personal chaplain. He remained with them during their entire career as entertainers. In August 1936, when they happened to be heard by Lotte Lehmann, who insisted that they enter a choral competition at the Salzburg Festival. After winning the contest, they received invitations to give concerts and broadcasts. They began their first European tour at the end of 1937, as the Trapp Family Choir. In March 1938, Austria was taken over by the Nazis. With only a few possessions, they fled across the mountains to St. Georgen, Italy. There they made arrangements with an American concert manager, who advanced them enough money for their passage to New York. The first American concert of the Trapp Family Choir took place at Lafayette College, Easton, Pennsylvania, in October 1938. Over the next few years, they did several traveling shows. In 1942, they spent their summer vacation in Stowe, Vermont. They found the Green Mountain countryside a peaceful retreat that resembled their native Austria, and before the summer ended, they had purchased a 660-acre farm on a hillside offering an expansive view. During a European tour in the summer of 1950, they appeared at the Salzburg Festival. There they were greeted and feted royally and paid a visit to their former home, which had been turned over to missionaries of the Society of Precious Blood after having been used as a Nazi headquarters during World War II. In 1955, the group disbanded permanently after a farewell tour climaxed by three Christmas concerts at Town Hall. Since then, Maria wrote about her life, which became fictionalized in plays (1959) and the popular movie The Sound of Music (1965). She spent the last days of her life as a resort owner with her children and grandchildren in Vermont.

Actor/director/producer Helmut Dantine was born in Vienna, Austria on October 7, 1917. He made a name for himself as an actor during World War Two playing German soldiers and Nazi villains in Hollywood films, most notably in Mrs. Miniver (1942). The young Dantine was a fervent anti-fascist/anti-Nazi activist in Vienna. As a leader in the anti-Nazi youth movement the 19-year old was summarily rounded up and imprisoned at the Rosserlaende concentration camp. Family influence persuaded a physician to grant him a medical release that June and he was immediately sent to Los Angeles to stay with the only friend they had in America. Dantine joined the Pasadena Playhouse, where he was spotted by a Warner Bros. talent scout who was struck by Dantine's dark good looks. Signed to a Warner's contract, he appeared in a variety of films after making his debut as a Nazi in International Squadron (1941) starring Ronald Reagan. He played supporting, second lead and eventually, lead roles in such films as Casablanca (1942) (where he was the newlywed who gambles away his visa money), Edge of Darkness (1943) (his first lead), the infamous Mission to Moscow (1943) and Passage to Marseille (1944). Two of his best films came on loan-out from Warners in 1942: Ernst Lubitsch's comic masterpiece To Be or Not to Be (1942) and William Wyler's Oscar-winning Mrs. Miniver (1942). Dantine directed the the unsuccessful Thundering Jets (1958). His wife, Niki Dantine, was the daughter of Loew's president Nicholas Schenck, the overall boss of Metro-Goldwyn-Mayer -- ostensibly the most powerful man in Hollywood since 1927. After Schenck was forced out of Loew's, the wily old movie veteran formed his own production and distribution company. In 1959, Dantine's acting career was on the wane and his attempt to become a director a relative failure, he became a producer. He was appointed vice-president of his father-in-law's Schenck Enterprises, eventually becoming president of the company in 1970. Dantine produced three minor Sam Peckinpah films in the mid-1970s, including Bring Me the Head of Alfredo Garcia (1974) and The Killer Elite (1975) in both of which,he had small supporting roles. Helmut Dantine died on May 2, 1982, at age 63, in Beverly Hills after suffering a massive heart attack. His body was interred at Westwood Memorial Park in Los Angeles, California.

A great number of Austrian and German actors were forced to flee their homeland during the rise of Adolf Hitler and the Nazis in the late 1930s only to find themselves smack dab in Hollywood pictures playing thoroughly nefarious Gestapo commanders. Viennese performer John Wengraf was one such actor. Born in 1897, his father was a theatre critic whose occupation obviously encouraged John's early interest in performing. His acting career began on the repertory stage in 1920, eventually becoming a member of the Vienna Volkstheater. He went on to earn a sturdy reputation as a dramatic performer both in his homeland and in Berlin.

Because he was Jewishm Wengraf emigrated to England in 1933 as the Nazis began their rise to power. There he appeared unbilled in a couple of films there, as well as in some of the first BBC live-television shows ever presented, but his career began to languish. In late 1941, however, he had the good fortune of appearing on Broadway with Helen Hayes in "Candle in the Wind" and decided to stay in the United Stes, where he eventually was naturalized. The following year he headed west and settled permanently in the Los Angeles area. A dark, cold-eyed, thin-lipped player with a precise, meticulous air about him, he found himself invariably playing the very characters he detested. Some of his more nefarious nasties surfaced in such films as the Humphrey Bogart classic Sahara (1943), as well as The Boy from Stalingrad (1943), U-Boat Prisoner (1944) and Till We Meet Again (1944).

In postwar years, he was often spotted portraying ethnic professionals (scientists, doctors, professors, foreign royalty). Some of the higher quality roles he portrayed were Tomorrow Is Forever (1946); Count Von Papen in 5 Fingers (1952); and Ronchin in the Ethel Merman musical Call Me Madam (1953). Although Wengraf never made it to the very top of the Hollywood character ranks, he remained a thoroughly strong and reliable player. In the 1950s and 1960s he transferred his talents to TV, appearing on a number of dramatic showcases and on such popular programs as The Untouchables (1959), Hawaiian Eye (1959), The Man from U.N.C.L.E. (1964) and The Time Tunnel (1966). His last few films included minor roles in the war-themed Judgment at Nuremberg (1961), Hitler (1962) and Ship of Fools (1965). He retired in 1966, and died in Santa Barbara, California, at age 77, on May 4, 1974.

Norbert Schiller was born on 24 November 1899 in Vienna, Austria-Hungary [now Austria]. He was an actor and writer, known for Young Frankenstein (1974), Hogan's Heroes (1965) and Morituri (1965). He died on 8 January 1988 in Santa Barbara, California, USA.

Here he grew up in the educated Jewish middle class, together with his brother Alfred. The Zweig family was not religious. He passed his high school diploma at the Wasagymnasium in Vienna. Zweig wrote his first poems here. At that time he was influenced by writers such as Hugo von Hofmannstahl and Rainer Maria Rilke. In 1901, Stefan Zweig's first volume of poetry entitled "Silberne Saiten" was published. He also began translating works by French writers at this time. In 1904 he completed his doctorate in German and Romance studies. Until 1910 he traveled extensively through Europe. The focus here was on exchanges with other writers and artists, with whom he mostly maintained friendship through intensive correspondence. By 1911, works such as "Tersites", "The House by the Sea" and "Burning Secret" as well as his first biography "Émile Verhaeren" had been created.

With his work "First Experience. Four Stories from Kinderland," Zweig approached an intuitive psychological style. At the beginning of the First World War, Stefan Zweig signed up as a volunteer. Here he was employed in the war press quarters until 1917. To demonstrate against war in any form, he wrote the drama "Jeremiah", which premiered in Zurich in 1918. From 1918 onwards, Zweig also worked as a journalist and correspondent for the Swiss newspaper "Neue Freie Presse". He also uses this medium to publish his non-partisan views. After the end of the war he settled in Salzburg. His idea was to found a spiritually, holistically and humanistically motivated alliance in Europe. So he began, initially in numerous lectures and essays, to warn against radicalization through nationalism and to call for calm, diplomacy and patience.

In 1920, Zweig published the writings "Fear", "The Compulsion" and, from 1920, three essays about master builders of the world: "Three Masters", in 1925 "The Fight with the Demon" and in 1928 "Three Poets of Their Life". Zweig enjoyed great stage success in 1926 with his adaptation of Ben Jonson's "Volpone". The publication of the book "Star Hours of Humanity" in 1927 was equally successful. In 1928 he traveled to the Soviet Union, where his books were also published in Russian at the instigation of Maxim Gorki, with whom he corresponded. After the NSDAP came to power in Germany, Stefan Zweig fled to London for fear of persecution. The book "Impatience of the Heart" was written here. From 1934 onwards, his works were no longer published in Germany and with the annexation of Austria to the Third Reich in 1938, production in his homeland also stopped. In 1935, Zweig wrote the libretto for the opera "Die schweigsame Frau" for Richard Strauss.

In 1936 the NSDAP immediately banned the sale of all of his works. His first marriage ended in divorce in 1938, and his second marriage was to Charlotte Altmann in 1939. In 1940 he received English citizenship from Great Britain. Nevertheless, he left Europe and traveled on to New York. In 1942 his chess novella and the monograph Brazil were published. After a short stay he visited Argentina and Paraguay. He then settled in Brazil. Here Stefan Zweig fell into deep sadness and depression.

Stefan Zweig committed suicide on February 22, 1942 in Petrópolis, near Rio de Janeiro. In 1944 his autobiography was published posthumously under the title "The World of Yesterday".

Robert Freitag was born on 7 April 1916 in Vienna, Austria-Hungary [now Austria]. He was an actor and director, known for The Great Escape (1963), Decision Before Dawn (1951) and Ein Monat auf dem Lande (1960). He was married to Maria Sebaldt and Maria Becker. He died on 8 July 2010 in Munich, Bavaria, Germany.

Born Willy Eichberger in Vienna, Austria, he changed his name to the ethnically nondescript Carl Esmond and went on to become a well-regarded actor both here and in Europe, a career that sustained itself for nearly 50 years. He initially studied drama in Vienna at the State Academy of Dramatic Arts and started things off with the German film Kaiserwalzer (1933) [The Emperor's Waltz]. He had developed into a matinée idol in both Germany and Austria with such films as Die Liebe siegt (1934) [Love Conquers] by the time he moved to London. He started treading the marquee boards there in such plays as "Victoria Regina" with a repertoire that would include everything from Shakespeare to Shaw.

In the late 1930s Esmond made a strategic career move to the United States, where he briefly changed his name yet again to Charles Esmond before reverting back to Carl. He eventually became an American citizen. Over the years, the slick, mustachioed, well-groomed actor poured on the charm in a number of popular war-era films as both cultivated romancers and urbane villains, in addition to the nefarious Teutonic officers he customarily played. Making his debut with the classic The Prisoner of Zenda (1937), Esmond went on to appear opposite Errol Flynn in The Dawn Patrol (1938), Gary Cooper in both Sergeant York (1941) and The Story of Dr. Wassell (1944), Ray Milland in Ministry of Fear (1944), Susan Hayward in Smash-Up: The Story of a Woman (1947) and Gregory Peck in The World in His Arms (1952).

By the 1950s Carl was a steady fixture on television drama and portrayed Victor Lazlo in a 1955 presentation of "Casablanca." A guest star of such series as "77 Sunset Strip," "Maverick," "the Big Valley" and "McMillan and Wife," his last film was the very forgettable Agent for H.A.R.M. (1966). Sporadically seen after that, he retired following his appearance in the TV mini-movie My Wicked, Wicked Ways: The Legend of Errol Flynn (1985), a biopic of his 30s co-star Errol Flynn. Long wed to literary agent Ruth Taub, who predeceased him, he died of natural causes at 102 years.

Amon Göth was born on 11 December 1908 in Vienna, Austria-Hungary [now Austria]. He died on 13 September 1946 in Kraków, Poland.