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375 Acknowledgments Of all those people who have supported and trusted me, the first I want to thank are the members of the University Press of Kentucky staff, especially Patrick McGilligan and Anne Dean Dotson. It was Marc Hairapetian who in late 1993 introduced me to “Lili Marlene” composer Norbert Schultze, whose personal recollections of Veit Harlan encouraged me to write a book about this director. A friend of Marc’s, Holger Stuhlmacher (d. 1998), then working with Holocaust survivor Camilla Spira on her autobiography, provided me with addresses of actors who had worked under Harlan. This was an easy task for Holger, in whose flat I discovered, to my amazement, his correspondence with Marlene Dietrich, understandably framed behind glass, and a picture of him having tea with Elisabeth Bergner. With his help, I contacted Joachim Fuchsberger (d. 2014), Margot Hielscher, Ilse Kubaschewski (d. 2001), Heinz Lausch (d. 1996), Maria Milde (d. 2005), Anna Moik, Lutz Moik (d. 2002), Lola Müthel (d. 2011), Günter Pfitzmann (d. 2003), Carl Raddatz (d. 2004), Mady Rahl (d. 2009), Sabina Sesselmann (d. 1998), Will Tremper (d. 1998), and Christian Wolff. Just having visited Harlan’s widow Kristina Söderbaum (d. 2001) in Munich, Holger told me that in her state of mind she was very difficult to talk to, so I decided that reading her autobiography would suffice. In more than one case, I felt like a messenger of death, extracting vital information before the witness’s demise. My chief contact throughout was Maria Körber, Harlan’s daughter. I also got some information from his son Caspar, whom I contacted through Hans-Christoph Blumenberg. Marlene Wolf provided me with information about the Harlan family’s life data. As much as I admired Thomas Harlan’s vivid imagination—or rather because of it—I decided not to contact him. On my own, I found Marianne Augustin (d. 2014), partner of the late composer Wolfgang Zeller. Christl Pillen, who owned a salon in the house where Harlan’s regular composer Hans-Otto Borgmann had lived, told me where to find his daughter, Dr. Maria Borgmann. The management of the Acknowledgments 376 Grenzlandtheater des Kreises Aachen gave me the address of Lena Hutter, who, I learned much later, was the mother of cinematographer Michael Ballhaus. Underground filmmaker Lothar Lambert helped me contact actress Marion Michael (d. 2007). Through Tilman Krause, I met concentration camp survivor Kurt von Ruffin (d. 1996), who had been convicted of violating the antigay paragraph 175 of the legal code during the Nazi era. Kurt Friedrich, a former coal miner and male prostitute during the 1950s, told mestoriesaboutFriedrichJoloff,whomheknewatthetimeJoloffappeared in Harlan’s film Anders als du und ich. Roland Martsch and Klaus Hinze gave me much-needed technical assistance; it was for the task of writing the German-language Harlan book thatIacquiredmyfirstcomputer.IfoundvaluablematerialintheAmerikaGedenkbibliothek ; Berlin Document Center; Bibliothek der Deutschen Film- und Fernsehakademie Berlin; Bundesarchiv/Filmarchiv Berlin; Friedhof Heerstrasse (the cemetery where Harlan’s parents are buried); Landesarchiv Berlin; Stiftung Archiv der Akademie der Künste; Stiftung Deutsche Kinemathek Berlin; and Theatersammlung Wilhelm Richter. Rare occasions to see Harlan’s films on the big screen were provided by Berlin’s Eva-Lichtspiele and Thalia-Filmtheater. Offering material, information , or unintentional inspiration were Guido Altendorf, Rolf Aurich, Knut Elstermann, Karsten Frank, Jörg Friess, Christoph Funke, Rolf Giesen, William Gillespie, the Herbach & Haase literary agency, Jens Hinrichsen, Dr. Ingrid Hoffmann-Viefhaus (d. 2007), Wolfgang Jansen, Jörg Jannings, Jürgen Kasten (who rightfully pointed to my partial coverage of the Harlan/Kortner feud), Björn Klimek, Friedrich Knilli, Micha Kurth, Bodo Werner Lang (d. 2006), Jürgen Michel, Christoph Nestel, Ernst Offermanns, Eric A. Peschler (d. 2005), Leni Riefenstahl’s secretary Gisela Jahn, Günther Rühle, John Simon, Philipp Stiasny, Gerhard Teuscher (d. 2013), Wolfgang Theiss, the poet and Gottfried Benn protégé Simon Traston, and producer Markus Zimmer, whom I met while he was writing a thesis on Opfergang and who many years later would produce Oskar Roehler’s film Jud Süss—Film ohne Gewissen. I did not get much information out of Fritz Hippler (d. 2002) and felt rather uncomfortable during our short phone conversation, but omitting him from this list of people to whom I owe thanks would be dishonest. I was particularly moved by the generosity of Karsten Witte (d. 1995), who, despite his dislike of Harlan and the fact that he was terminally ill, granted Acknowledgments 377 me an unforgettable hour of conversation. Eric Rentschler and...

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Additional Information

ISBN
9780813167022
Related ISBN
9780813167008
MARC Record
OCLC
940502002
Pages
464
Launched on MUSE
2016-02-26
Language
English
Open Access
No
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