Conrad Veidt
Veidt in 1941
Born
Hans Walter Conrad Veidt

(1893-01-22)22 January 1893
Berlin, German Empire
Died3 April 1943(1943-04-03) (aged 50)
Los Angeles, California, U.S.
Resting placeGolders Green Crematorium, London, England
Citizenship
  • Germany (until 1939)
  • United Kingdom (from 1939)
OccupationActor
Years active1913–1943
Spouses
​
​
(m. 1918; div. 1922)​
    Felizitas Radke
    ​
    ​
    (m. 1923; div. 1932)​
      Ilona Prager
      ​
      (m. 1933)​
      Children1
      Signature

      Hans Walter Conrad Veidt[1][2] (/faɪt/; 22 January 1893 – 3 April 1943) was a German-British actor.[3][4] He attracted early attention for his roles in the films Different from the Others (1919), The Cabinet of Dr. Caligari (1920), and The Man Who Laughs (1928). After a successful career in German silent films, where he was one of the best-paid stars of UFA, Veidt and his new Jewish wife Ilona Prager left Germany in 1933 after the Nazis came to power. The couple settled in Britain, where he took citizenship in 1939. He appeared in many British films, including The Thief of Bagdad (1940), before emigrating to the United States around 1941, which led to his being cast in what may be his best remembered role as Major Strasser in Casablanca (1942). This was Veidt's last film role to be released during his lifetime.

      Early life

      Conrad Veidt with his mother Amalie, 1893

      Hans Walter Conrad Veidt was born on 22 January 1893[5] in his parents' home at Tieckstraße 39 in Berlin[6] to Amalie Marie (née Gohtz) and Philipp Heinrich Veidt, a former military man turned civil servant.[7] Veidt would later recall, "Like many fathers, he was affectionately autocratic in his home life, strict, idealistic. He was almost fanatically conservative." By contrast, Amalie was sensitive and nurturing.[8] Veidt was nicknamed "Connie", also spelled "Conny", by his family and friends. His family was Lutheran,[8] and Veidt was baptized on 26 March 1893.[9] He was later confirmed in a ceremony at the Protestant Evangelical Church in Alt-Schöneberg, Berlin on 5 March 1908.[10] Veidt's only sibling, an older brother named Karl, died in 1900 of scarlet fever at the age of 9.[11] The family spent their summers in Potsdam.[6]

      Two years after Karl's death, Veidt's father fell ill and required heart surgery. Knowing that the family could not afford to pay the lofty fee that accompanied the surgery, the doctor charged only what the family could comfortably pay. Impressed by the surgeon's skill and kindness, Veidt vowed to "model my life on the man that saved my father's life" and he wished to become a surgeon. His hopes for a medical career were thwarted, though, when, in 1912, he graduated without a diploma and ranked 13th out of 13 pupils and became discouraged over the amount of study necessary for him to qualify for medical school.[11]

      A new career path for Veidt opened up in 1911 during a school Christmas play in which he delivered a long prologue before the curtain rose. The play was badly received, and the audience was heard to mutter, "Too bad the others didn't do as well as Veidt."[11] Veidt began to study all of the actors he could and wanted to pursue a career in acting, much to the disappointment of his father, who called actors 'gypsies' and 'outcasts'.

      With the money he raised from odd jobs and the allowance his mother gave him, Veidt began attending Berlin's many theatres. He stood outside of the Deutsches Theater after every performance, waiting for the actors and hoping to be mistaken for one. In the late summer of 1912 he met a theatre porter who introduced him to actor Albert Blumenreich, who agreed to give Veidt acting lessons for six marks.[12] He took 10 lessons before auditioning for Max Reinhardt, reciting Goethe's Faust. During Veidt's audition, Reinhardt looked out of the window the entire time. He offered Veidt a contract as an extra for one season's work, from September 1913 to August 1914 with a pay of 50 marks a month. During this time, he played bit parts as spear carriers and soldiers. His mother attended almost every performance.[13] His contract with the Deutsches Theater was renewed for a second season, but by this time World War I had begun, and on 28 December 1914, Veidt enlisted in the army.

      In 1915, he was sent to the Eastern Front as a non-commissioned officer and took part in the Battle of Warsaw. He contracted jaundice and pneumonia, and had to be evacuated to a hospital on the Baltic Sea. While recuperating, he received a letter from his girlfriend Lucie Mannheim, telling him that she had found work at the Front Theatre in Libau.[14]

      Intrigued, Veidt applied for the theatre as well. As his condition had not improved, the army allowed him to join the theatre so that he could entertain the troops. While performing at the theatre, his relationship with Mannheim ended. In late 1916, he was re-examined by the Army and deemed unfit for service; he was given a full discharge on 10 January 1917. Veidt returned to Berlin where he was readmitted to the Deutsches Theater.[15][16][17][18] There, he played a small part as a priest that got him his first rave review, the reviewer hoping that "God would keep Veidt from the films" or "God save him from the cinema!"[6]

      Career

      Veidt c. 1922

      From 1917 until his death, Veidt appeared in more than 100 films. One of his earliest performances was as the murderous somnambulist Cesare in director Robert Wiene's The Cabinet of Dr. Caligari (1920), a classic of German Expressionist cinema, with Werner Krauss and Lil Dagover. His starring role in The Man Who Laughs (1928), as a disfigured young outcast servant whose face is cut into a permanent grin, provided the (visual) inspiration for the iconic Batman villain the Joker. Veidt starred in other silent horror films such as The Hands of Orlac (1924), also directed by Robert Wiene, The Student of Prague (1926) and Waxworks (1924), in which he played Ivan the Terrible. Veidt also appeared in Magnus Hirschfeld's film Anders als die Andern (Different from the Others, 1919), one of the earliest films to sympathetically portray homosexuality, although the characters in it do not end up happily.[19] He had a leading role in Germany's first talking picture, Das Land ohne Frauen (Land Without Women, 1929).

      Conrad Veidt (left) and Lawson Butt in The Beloved Rogue (1927)

      He moved to Hollywood in the late 1920s and made a few films there, but the advent of talking pictures and his difficulty with speaking English led him to return to Germany.[20] During this period, he lent his expertise to tutoring aspiring performers, one of whom was the later American character actress Lisa Golm.

      Emigration

      Portrait of Conrad Veidt by Milena Pavlović-Barili

      Veidt opposed the Nazi regime and later contributed funds for the relief of Britons during the German Blitz bombings.[21][22] Soon after the Nazi Party took power in Germany, by March 1933, Joseph Goebbels was purging the film industry political opponents and Jews. In April 1933, a week after Veidt's marriage to Ilona Prager, a Jewish woman, also known as "Lilli" or "Lily", the couple emigrated to Britain before any action could be taken against either of them.

      Goebbels had imposed a "racial questionnaire" in which everyone employed in the German film industry had to declare their "race" to continue to work. When Veidt was filling in the questionnaire, he answered the question about his Rasse (race) by writing Jude (Jew).[23] Veidt was not Jewish, but his wife was, and Veidt would neither renounce the woman he loved nor collaborate with the regime as many others did.[23]

      Veidt was opposed to antisemitism and showed solidarity with the German Jewish community, who were being stripped of their rights as German citizens in the spring of 1933. Veidt had been informed that if he divorced and declared support for the new regime, he could continue to act in Germany. Several other leading actors unsympathetic to the Nazis before 1933 switched allegiances. In answering the questionnaire by stating he was a Jew, Veidt rendered himself unemployable in Germany, but stated this sacrifice was worth it as there was nothing in the world that would compel him to break with his wife.[23] Goebbels remarked that he would never act in Germany again.

      Conrad Veidt in The Spy in Black (1939)

      After arriving in Britain, Veidt improved his English and starred in the original anti-Nazi versions of The Wandering Jew (1933) and Jew Süss (1934). The latter film was directed by the exiled German-born director Lothar Mendes and produced by Michael Balcon for Gaumont-British. He naturalised as a British subject on 25 February 1939.[24] By this point multi-lingual, Veidt made films both in French with expatriate French directors and in English, including three of his best-known roles for British director Michael Powell in The Spy in Black (1939), Contraband (1940) and The Thief of Bagdad (1940).

      Nazi Agent (1942) lobby poster

      Later career in the US

      Veidt in Above Suspicion (1943), his final film role.

      By 1941, he and Ilona had settled in Hollywood to assist in the British effort in making American films that might persuade the then-neutral and still isolationist United States to join the war against the Nazis, who at that time controlled all of continental Europe and were bombing the United Kingdom. Before leaving the UK, the Veidts gave a large portion of their life savings to the British government to help finance the war effort, and then provided an American home for an English child for the duration of the war.[19] [25] Realizing that Hollywood would most likely typecast him in Nazi roles, he had his contract mandate that they must always be villains.[19]

      He starred in a few films, such as George Cukor's A Woman's Face (1941), where he received billing under Joan Crawford, and Nazi Agent (1942), in which he had a dual role as both an aristocratic German Nazi spy and the man's twin brother, an anti-Nazi American. His best-known Hollywood role was as the sinister Major Heinrich Strasser in Casablanca (1942), a film which began pre-production before the United States entered World War II. Commenting about this well-received role, Veidt noted that it was an ironical twist of fate that he was praised "for portraying the kind of character who had forced him to leave his homeland".[26]

      Ivan J. Rado, the nephew of Veidt's third wife Lily, commented:

      The fact that he wanted to leave Hollywood had nothing to do with anything but his disgust at the parts offered him, which was mainly Nazis. In Above Suspicion, he is at some rally, and when at the end everyone goes "Heil", he just very casually half lifts his right hand, more in a wave than a salute, and with an ironic smile on his face, which to me, embodies his feelings. . . . The fact that he left Germany . . . was his disgust at what was happening that made him move to London with Lily.[27]

      Personal life

      Veidt enjoyed sports, gardening, swimming, golfing, classical music, and reading fiction and nonfiction (including occultism; Veidt once considered himself a powerful medium).

      Interest in the supernatural

      While some movie magazine ink may have been creative writing by agents and editors, or stars themselves drawing fans to the theaters while keeping their real thoughts private, stories and "quotations" of Veidt are of interest:

      In a September 1941 interview with Silver Screen, Veidt said,

      I see a man who was once for years studying occult things. The science of occult things. I had the feeling there must be – something else. There are things in our world we cannot trace. I wanted to trace them. The power we have to think, to move, to speak, to feel – is it electricity, I wanted to know? Is it magnetism? Is it the heart? Is it the blood? When the body dies, where is all that? Where is the power that made the body live? No one can tell me it is not somewhere. If you believe in waves, which you must believe after you have the radio, why couldn't human beings contact the wavelengths of someone who is dead? ... this is the kind of thing with which I was, for many years, preoccupied. This is what I tried to find, the answer. I did not find it. But in looking for it there was etched, perhaps, on my face, some hint of the strange cabals I kept with unseen and unknown powers. I did not find it, I say. But I found something else. Something better. I found –faith. I found the ability, very peaceful, to accept that which I could neither see, nor hear nor touch. I am a religious man. My belief is that if we could help to make all people a little more religious, we would do a great lot. If we would pray more ... we forget to pray except when we are in a mess. That is too bad. I believe in prayer. Because when we pray, we always pray for something good.

      He went on:

      I must tell you something that will disappoint you ... far from being one engaged in strange rituals of thought or action, what I like best to do is sit in this small garden, on this terrace, and – just sit. Sometimes, I confess, I think a lot; about my past. About my parents who are dead. I like to dream, to go away ... At other times, I sit and read. I read, often, a whole day through. I play golf. I used to be a golf fiend. Now I am not a fiend even on the links. Now I play because it is relaxation. I like the beach very much, the sea. I go to the films often, to the neighborhood theater, my wife and I. Sometimes we go to the Palladium, where there is dancing. It is an amazing sight to me to see young people, how they are like they were thirty years ago, how they hold hands, how they enjoy their lives. To me, the most beautiful thing in California is the Hollywood Bowl, the Concerts Under the Stars. For me, it is a terrific experience. I have never seen an audience in my life like that. 30,000 people, simple people, most of them, listening to music under the stars. I have never seen 30,000 people, simple people, so quiet. I like to think of them as a symbol that one day there may be that oneness for all mankind....[28]

      Marriages

      Gussy Holl

      On 10 June 1918, Veidt married Gussy Holl, a cabaret entertainer.[29][30] They had first met at a party in March 1918, and Conrad described her to friends as "very lovely, tall, dignified and somewhat aloof". They separated in 1919 but attempted to reconcile multiple times.[31] Holl and Veidt divorced in 1922.

      Veidt said of Holl, "She was as perfect as any wife could be. But I had not learnt how to be a proper husband," and "I was elated by my success in my work, but shattered over my mother's death, and miserable about the way my marriage seemed to be foundering. And one day when my wife was away, I walked out of the house, and out of her life, trying to escape from something I could put no name to." Holl later told Françoise Rosay, "I excused a lot of his failings and whims because I loved him. But one day he did something to me that I couldn't forgive. I was singing that evening at the cabaret. I left him home and he told me: 'I invited a few friends; we'll dine while we wait for you.' And it just so happened I had received a new dress from Paris. That evening, after work, I arrived home and what do I see? All these gentlemen dressed as women. And Conrad had put on my Paris dress. At this point, I divorced!"[32]

      Felizitas Radke

      Veidt's second wife, Anna Maria "Felizitas" Radke,[33] was from an aristocratic Austrian family.[34] They met at a party in December 1922 or at a Charleston dance competition in 1923.[35] Radke divorced her husband for him, and they married on 18 April 1923. Their daughter, Vera Viola Maria, nicknamed "Kiki" and also known as "Viola", was born on 10 August 1925. Conrad was not present at her birth due to being in Italy working on The Fiddler of Florence, but took the first train to Berlin and wept as he met mother and child at the hospital; he was so hysterical from joy they had to sedate him and keep him in the hospital overnight.

      Emil Jannings was Viola's godfather and Elisabeth Bergner was her godmother. She was named after one of Bergner's signature characters, Shakespeare's Viola. The birth of his daughter helped Veidt move on from the death of his mother, who had died of a heart condition in January 1922.[36]

      From September 1926 to 1929 Veidt lived with his wife and daughter in a Spanish-style house in Beverly Hills.[6] Veidt enjoyed relaxing and playing with his daughter in their home, and enjoyed the company of the immigrant community, including F. W. Murnau, Carl Laemmle, and Greta Garbo, as well as the American Gary Cooper. The family returned to Germany in 1929, and moved several times afterwards, including a temporary relocation to Vienna, Austria, while Veidt participated in a theatrical tour of the continent.

      Radke and Veidt divorced in 1932, with Radke saying the frequent relocations and the separations necessitated by Veidt's acting schedule frayed their marriage. Radke at first granted custody of their daughter to Veidt, but after further consideration he decided that their daughter needed the full-time parent. Conrad received generous visitation rights, and Viola called her summer vacations with her father "The Happy Times". She stayed with him three or four months of the year until the outbreak of World War II.[37][34]

      Viola passed away on 2 February 2004 in New Orleans, Louisiana in the U.S.

      Lilli Greger

      Veidt last married Flora Ilona Barta Greger,[38][39] a Hungarian Jew also known as "Lilli" or "Lily", in Berlin 24 March 1933. They remained together until his death. The two had met at a club in Berlin.[40]

      Veidt said of Lilli in an October 1934 interview with The Sunday Dispatch,

      Lilli was the woman I had been seeking all my life. For her I was the man. In Lilli I found the miracle of a woman who had all to give that I sought, the perfect crystallisation in one lovely human being, of all my years of searching. Lilli had the mother complex too. But in the reverse ratio to mine. In her, the mother instinct was so powerful that she poured it out, indiscriminately almost, on everyone she knew. She mothers her own mother. Meeting Lilli was like coming home to an enchanted place one had always dreamed of, but never thought to reach. For her it was the same. Our marriage is not only flawless, it is a complete and logical union, as inevitable as daybreak after night, as harmonious and right as the words that exactly fit the music. My search is finished. The picture in my mind of my mother is of a woman great and holy. But it is a picture clear and distinct, a deep and humble memory of a woman no one could replace; but now it is not blurred by the complex which before had harassed my mind.

      Veidt and Lilli moved from London to Los Angeles, arriving on 13 June 1940. They resided at 617 North Camden Drive in Beverly Hills.[41]

      Wartime efforts

      Even after leaving England, Veidt was concerned over the plight of children cooped up in London air raid shelters, and he decided to try to cheer up their holiday. Through his lawyers in London, Veidt donated enough money to purchase 2,000 one-pound tins of candy, 2,000 large packets of chocolate, and 1,000 wrapped envelopes containing presents of British currency. The gifts went to children of needy families in various air raid shelters in the London area during Christmas 1940. The air raid shelter marshal wrote back to Veidt thanking him for the gifts. Noting Veidt's unusual kindness, he stated in his letter to him, "It is significant to note that, as far as is known to me, you are the only member of the Theatrical Profession who had the thought to send Christmas presents to the London children."[42]

      Veidt smuggled his parents-in-law from Austria to neutral Switzerland, and in 1935 he managed to get the Nazi government to let his ex-wife Radke and their daughter move to Switzerland.[43] He also offered to help Felizitas' mother, Frau Radke, of whom he was fond, leave Germany. However, she declined. A proud, strong-willed woman who was attached to her home country, she declared that "no damned little Austrian Nazi corporal" was going to make her leave her home. She reportedly survived the war, but none of the Veidts ever saw her again.[42]

      Preferences

      Veidt was perhaps bisexual. During his youthful career in the decadent Weimar Republic cabaret-era he was part of the avant-garde, experimental artists' lifestyle, even cross-dressing. [44][45]

      Rado, while having a family interest, commented with insights consistent with the record available:

      . . . there are a few facts that I would like to share with everyone interested.

      Aside from his work, which was also his life, there is little to know about Conny; he was an intensely private man who loved his home and his friends, but did not carouse in public nor was prey to scandalous behavior.

      In his work, he was intense and generous, the consummate professional. . . .

      Early on he saw what was happening in Germany, and moved to London, where he did some important work in movies. He was not a political person, and was certainly not to be caught out on religious themes. The fact that his wife was Jewish meant nothing to him; they loved each other and loved being together. He was always honest, totally straight forward and kind.[46]

      Shirley Conway, in her 1993 tribute, also comments, consistent with other reports of the man being somewhat different from the screen image, that "Veidt surprised and delighted everyone with his modesty and ineffable charm."[47]

      He showed fondness and respect for women. In a 1941 interview he said,

      There are two different kinds of men. There are the men men, what do you call them, the man's man, who likes men around, who prefers to talk with men, who says the female can never be impersonal, who takes the female lightly, as playthings. I do not see a man like that in my mirror. Perhaps, it is because I think the female and the male attract better than two men, that I prefer to talk with females. I do. I find it quite as stimulating and distinctly more comfortable. I have a theory about this – it all goes back to the mother complex. In every woman, the man who looks may find – his mother. The primary source of all his comfort. I think also that females have become too important just to play with. When men say the female cannot discuss impersonally, that is no longer so. When it is said that females cannot be geniuses, that is no longer so, either. The female is different from the male. Because she was born to be a mother. There is no doubt about that. But that does not mean that, in some cases, she is not also born a genius. Not all males are geniuses either. And among females today there are some very fine actresses, very fine; fine doctors, lawyers, even scientists and industrialists. I see no fault in any female when she wears slacks, smokes (unless it is on the street, one thing, the only thing, which I don't like), when she drives a car ... when men say things like "I bet it is a woman driving" if something is wrong with the car ahead – no, no. These are old, worn out prejudices, they do not belong in today.[28]

      Death and legacy

      In the 1930s, Veidt learned that he had a heart condition which had killed his mother; the condition was aggravated by his chain smoking, and Veidt took nitroglycerin tablets. He died of a heart attack on 3 April 1943 while playing golf at the Riviera Country Club in Los Angeles with singer Arthur Fields and his personal physician.[19][48][43]

      The Conrad Veidt Society (CVS) was formed in 1990 to commemorate his 1993 centennial of birth and then to find a final home for the Veidt ashes, which Lily Veidt's nephew Ivan Rado had given to the society's founder James H. Rathlesberger along with Veidt family papers and memorabilia.[49] An earlier German-based Conrad Veidt Society had become inactive some years before the US-based society began.

      The CVS motto "Courage Integrity Humanity" honored qualities the legendary film star exemplified while claiming to be "only an actor."

      CVS supported 1993 retrospectives at the Internationale Filmfestspiele in Berlin, La Cinematheque Francaise in Paris, the Goethe Institute and British Film Institute's National Film Theatre in London, the Museum of Modern Art in New York,[50] as well as the Gay Museum in Berlin.[51] CVS donated most of the Veidt materials to the University of California's Berkeley Art Museum and Pacific Film Archive.[52] Among its efforts was a 650 Deutschmark/$450 contribution to the Stiftung Deutsche Kinemathek as seed money for SDK's Homage to Conrad Veidt film series held during the 1993 Berlin International Film Festival.

      Two Veidt scrapbooks, his monogrammed silver cigarette case and gold Dunhill lighter went to the Margaret Herrick Library, Center for Motion Picture Study, Academy of Motion Picture Arts and Sciences.[53] Film, video and audio mix from a short film entitled "Conny" that Rado produced using memorabilia inherited from Lily was donated to the University of Southern California Max Kade Institute and UCLA Film & Television Archive.[54] The PFA in Berkeley has a VHS tape of the film, as does the Max Kade Institute and the Ayn Rand Institute.[55]

      Urn with Veidt's ashes at Golders Green Crematorium

      CVS reached out to German film officials who wished to receive the Veidt ashes but hesitated to act following controversies surrounding similar honors for Marlene Dietrich. After efforts stalled to take the Veidt ashes to Berlin, CVS raised funds for interment at Golders Green, close to where the Veidts had lived in London. Londoner Vivienne Phillips was instrumental in arranging this. On 3 April 1998, on the 55th anniversary of his passing, Veidt's ashes, mixed in the original urn with those of his wife Lily, were placed in a niche of the columbarium at the Golders Green Crematorium in north London. The ceremony drew attendees from two continents and was broadcast by BBC Radio 4.[56][57][58]

      Complete filmography

      YearTitleRoleNotes
      1917The Path of DeathRolfFilmed in late 1916, Veidt's screen debut
      Lost film
      1917Let There Be LightHerr KramerThe film had four parts which premiered throughout 1917 to 1918. Lost film[59]
      1917When the Dead SpeakRichard von WorthLost film
      1917FearIndian PriestPrint exists at the Swedish Film Institute
      1917The Sea BattleLost film
      1917The SpySteinauLost film
      1918The Mystery of BangaloreDinjaLost film[60]
      1918The SerenyiLost film
      1918The MexicanLost film[61]
      1918The House of Three GirlsBaron SchoberLost film
      1918Diary of a Lost WomanDr. JuliusLost film
      1918Jettchen Gebert's StoryDoctor Friedrich KöstlingLost film
      1918ColombaHenrik van RhynLost film
      1918The Story of Dida IbsenErik NorrensenPrint exists at the George Eastman House
      1918Henriette JacobyDoctor Friedrich KöstlingLost film[62]
      1918Victim of SocietyProsecutor ChrysanderLost film
      1918Not of the Woman BornSatanLost film
      1919OpiumDr. Richard Armstrong Jr.Print survives at the Century Guild archive[63]
      1919Nocturne of LoveFrederic ChopinLost film[64]
      1919The Japanese WomanThe SecretaryLost film[64]
      1919Prostitution (2 parts)Alfred WernerLost film
      1919Around the World in Eighty DaysPhileas FoggThis film exists in the Archiv Filmkunde Paul Sauerlaender
      1919Peer Gynt (2 parts)Ein fremder PassagierLost film[64]
      1919Different from the OthersPaul KörnerRestored version of the film exists
      1919The OcarinaJaapLost film
      1919Prince CuckooKarl KrakerLost film
      1919MadnessBankier LorenzenVeidt's directorial debut
      Lost film
      1919Eerie TalesDeath (framing story) / The stranger (ep.1) / The assassin (ep.2) / Traveller (ep.3) / Club president (ep.4) / Husband (ep.5)Original negative is lost, but a restored version of the film exists
      1920The Count of CagliostroThe MinisterLost film
      1920Figures of the NightClownLost film
      1920SatanLucifer / Hermit / Gubetta / GrodskiLost film
      1920The Cabinet of Dr. CaligariCesare
      1920The Merry-Go-RoundPetre Karvan
      1920PatienceSir Percy ParkerLost film
      1920The Night at GoldenhallLord Reginald Golden / Harald GoldenDirected by Veidt
      Lost film
      1920The Eyes of the WorldJohannes Kay, Julianne's LoverLost film
      1920Temperamental ArtistArpad Czaslo
      1920KurfürstendammSatanLost film
      1920Der JanuskopfDr. Warren / Mr. O'ConnorLost film
      1920MoriturusWilmosLost film
      1920The Clan
      1920Evening – Night – MorningBrilburn – Maud's brotherLost film
      1920Manolescu's MemoirsManolescuLost film
      1920-1921Christian Wahnschaffe (2 parts)Christian WahnschaffeIncomplete, Opening act does not survive but the remainder of the film was restored in 2018[65][66]
      1921People in EcstasyProfessor MunkLost film
      1921The Secret of BombayDichter Tossi
      1921Journey into the NightThe Painter
      1921Love and PassionJalenko, the GypsyLost film
      1921The Love Affairs of Hector DalmoreHektor DalmorePrint exists at the Cinémathèque royale de Belgique[67]
      1921DesireIvan – a young Russian dancerLost film
      1921Country Roads and the Big CityRaphael, der GeigerPrint exists at the Cinémathèque royale de Belgique[67]
      1921Danton
      1921Lady HamiltonLord NelsonCopy exists in a Russian film archive[68][69]
      1921The Indian Tomb (2 parts)Ayan III / Prince von Eschnapur / The Majarajah of Bengal
      1921The Passion of Inge KrafftHendryck Overland
      1922Lucrezia BorgiaCesare Borgia
      1923PaganiniNiccolò PaganiniLost film
      1923William TellHermann Gessler
      1923Gold and LuckThe CountLost film
      1923Bride of VengeanceCesare BorgiaLost film[70]
      1924Carlos and ElisabethDon Carlos
      1924The Hands of OrlacPaul Orlac
      1924WaxworksIvan the Terrible
      1924Husbands or LoversDer Liebhaber, ein Dichter
      1925Count KostiaCount KostiaLost film
      1925Love is BlindDr. LamareLost film
      1925DestinyCount L. M. VrannaLost film
      1925Ingmar's InheritanceHellgum
      1926The Fiddler of FlorenceRenées Vater
      1926The Brothers SchellenbergWenzel Schellenberg / Michael Schellenberg
      1926Should We Be Silent?Paul Hartwig, MalerIncomplete film, exists in fragmentary form
      1926The Woman's CrusadeProsecutor
      1926The Student of PragueBalduin, a student
      1926The Flight in the NightHeinrich IV
      1927The Beloved RogueKing Louis XI
      1927A Man's PastPaul La RocheLost film
      1928The Man Who LaughsGwynplaine / Lord Clancharlie
      1929Gesetze der Liebe
      1929Land Without WomenDick Ashton, telegrapherVeidt's talkie debut
      Lost film
      1929The Last PerformanceErik the GreatIncomplete film
      Filmed and released in New York in 1927, exists but 10 minutes are missing
      1930The Last CompanyHauptmann Burk
      1930Menschen im Käfig (People in the Cage)KingsleyLost film
      1930The Great LongingHimself
      1931The Man Who MurderedMarquis de Sévigné
      1931The Night of DecisionGeneral Gregori PlatoffLost film
      1931The Other SideHauptmann StanhopeIncomplete film, exists but 10 minutes are possibly missing
      1932Rasputin, Demon with WomenGrigori Rasputin
      1932The Congress DancesPrince Metternich
      1932The Black HussarRittmeister Hansgeorg von Hochberg
      1932Rome ExpressZurta
      1933The Empress and IMarquis de Pontignac
      1933F.P.1Maj. Ellissen
      1933I Was a SpyCommandant Oberaertz
      1933The Wandering JewMatathias
      1934William TellGessler (both German- and English-language versions)
      1934Jew SüssJosef Süss Oppenheimer
      1934Bella DonnaMahmoud Baroudi
      1935The Passing of the Third Floor BackThe Stranger
      1935King of the DamnedConvict 83
      1937Dark JourneyBaron Karl Von Marwitz
      1937Under the Red RobeGil de Berault
      1938Storm Over AsiaErich Keith
      1938The Chess PlayerBaron Kempelen
      1939The Spy in BlackCaptain Hardt
      1940ContrabandCapt. Andersen
      1940The Thief of BagdadJaffar
      1940EscapeGeneral Kurt von KolbWon an NBR Award for Best Acting
      1941A Woman's FaceTorsten Barring
      1941Whistling in the DarkJoseph Jones
      1941The Men in Her LifeStanislas Rosing
      1942All Through the NightEbbing
      1942Nazi AgentOtto Becker / Baron Hugo Von Detner
      1942CasablancaMajor Heinrich Strasser
      1943Above SuspicionHassert SeidelReleased posthumously

      References

      1. ↑ Soister, John T. (2 September 2015). Conrad Veidt on Screen: A Comprehensive Illustrated Filmography. McFarland. ISBN 9781476611228.
      2. ↑ Giesen, Rolf (28 February 2019). The Nosferatu Story: The Seminal Horror Film, Its Predecessors and Its Enduring Legacy. McFarland. ISBN 9781476635330.
      3. ↑ "BFI Screenonline: Veidt, Conrad (1893-1943) Biography". www.screenonline.org.uk. Retrieved 14 December 2023.
      4. ↑ Connelly, Charlie (8 April 2020). "Conrad Veidt: The unique life of one of the 20th centuries most memorable film villains". The New European. Retrieved 14 December 2023.
      5. ↑ Giesen, Rolf (2019). The Nosferatu Story: The Seminal Horror Film, Its Predecessors and Its Enduring Legacy. Jefferson, N.C.: McFarland & Company. p. 29. ISBN 9781476672984.
      6. 1 2 3 4 "Conrad Veidt (1893-1943) - Major Strasser in 'Casablanca' | The German Way & More". Archived from the original on 2 August 2013.
      7. ↑ "Veidt, Conrad (1893–1943)". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/60813. (Subscription or UK public library membership required.)
      8. 1 2 Allen, Jarry (1987). Conrad Veidt: from Caligari to Casablanca. boxwood. p. 5. ISBN 978-0940168046.
      9. ↑ Ancestry record
      10. ↑ Allen, Jerry C. (1987). Conrad Veidt: From Caligari to Casablanca. Boxwood Press. ISBN 9780940168046.
      11. 1 2 3 Soister, John T. (2 September 2015). Conrad Veidt on Screen: A Comprehensive Illustrated Filmography. McFarland. ISBN 9781476611228.
      12. ↑ "His Nickname is Connie". thethunderchild.com.
      13. ↑ Soister, John T. (September 2015). Conrad Veidt on Screen: A Comprehensive Illustrated Filmography. McFarland. ISBN 9781476611228.
      14. ↑ Allen, Jerry C. (1987). Conrad Veidt: From Caligari to Casablanca. Boxwood Press. ISBN 9780940168046.
      15. ↑ "Conrad Veidt: The Cinema's Master". The Conrad Veidt Society.
      16. ↑ "Conrad Veidt". A History of Horror. Archived from the original on 9 March 2011. Retrieved 3 April 2011.
      17. ↑ "Conrad Veidt: Cinema's Dark Prince, 1893–1943". Monster Zine. October–December 2000. Archived from the original on 7 February 2005.
      18. ↑ "Focus on Film". 1974.
      19. 1 2 3 4 "Meet Conrad Veidt, Badass". Badass Digest. 9 July 2013. Archived from the original on 7 April 2014. Retrieved 1 April 2014.
      20. ↑ Turner Classic Movies Conrad Veidt
      21. ↑ "How Sir Michael helped German star flee Nazis. - Free Online Library".
      22. ↑ Thomas, Laura (June 2017). "Casablanca and the refugee trail". The Lancet Psychiatry. 4 (6): 450. doi:10.1016/S2215-0366(17)30199-2. Retrieved 19 September 2021.
      23. 1 2 3 Hull, David Stewart Film in the Third Reich, New York: Simon & Schuster, 1973 page 90.
      24. ↑ "No. 34605". The London Gazette. 7 March 1939. p. 1546.
      25. ↑ July 29, 1991 Conrad Veidt Society “Letter to Leaders,” attaching Veidt family papers now in the University of California Berkeley Pacific Film Archive.
      26. ↑ Roth, Michael S. (17 April 2017). "Here's Looking at You, 'Casablanca'". www.chronicle.com. Retrieved 18 August 2020.
      27. ↑ January 31, 1996 letter from Ivan J. Rado to James H. Rathlesberger
      28. 1 2 "Conrad Veidt Looks in a Mirror". thethunderchild.com.
      29. ↑ Allen, Jerry C. (January 1987). Conrad Veidt: From Caligari to Casablanca. Boxwood Press. ISBN 9780940168046.
      30. ↑ Ancestry record
      31. ↑ "Conrad Veidt: Cinema's Master of Shadows-2". thethunderchild.com.
      32. ↑ Rosay, Françoise (1974). "La traversée d'une vie".
      33. ↑ Ancestry record
      34. 1 2 Playbills to Photoplays: Stage Performers Who Pioneered the Talkies. Xlibris Corporation. December 2010. ISBN 9781453587751.
      35. ↑ Soister, John T. (2 September 2015). Conrad Veidt on Screen: A Comprehensive Illustrated Filmography. McFarland. ISBN 9781476611228.
      36. ↑ "Focus on Film". 1974.
      37. ↑ Allen, Jerry C. (1987). Conrad Veidt: From Caligari to Casablanca. Boxwood Press. ISBN 9780940168046.
      38. ↑ Allen, Jerry C. (1987). Conrad Veidt: From Caligari to Casablanca. ISBN 9780940168046.
      39. ↑ Ancestry record
      40. ↑ "The Story of Conrad Veidt-8". thethunderchild.com.
      41. ↑ "Conrad Veidt (1893-1943) - Major Strasser in 'Casablanca' | the German Way & More". Archived from the original on 2 August 2013. Retrieved 29 December 2020.
      42. 1 2 "Conrad Veidt: Cinema's Master of Shadows-5". thethunderchild.com.
      43. 1 2 "Conrad Veidt | Conrad Veidt: Cinema's Dark Prince, 1893-1943 |". www.monsterzine.com.
      44. ↑ Rosay, Françoise, La Traversée d'une vie (ed. Robert Laffont, 1974) "il aimait surtout les femmes, les belles filles. [...] Il était très amoureux d'une très belle fille que j'ai d'ailleurs fait travailler [...] Je dirais franchement que Conrad Veidt aimait aussi les messieurs, de temps en temps." ("...he mostly loved women, beautiful girls. [...] He was very much in love with a beautiful girl whom I trained. [...] I'll say frankly that Conrad also loved men, once in a while.")
      45. ↑ Shipman, David, The Great Movie Stars 1: The Golden Years, Rev. and updated ed. 1989 London. pp. 585 "Veidt's friends regarded him as heterosexual when sober, homosexual when drunk."
      46. ↑ January 31, 1996 letter from Ivan J. Rado to James H. Rathlesberger.
      47. ↑ Shirley Conway, Conrad Veidt: Retrospective, 1993
      48. ↑ "Conrad Veidt Obituary", Los Angeles Times, 1943
      49. ↑ "Capital man protects memory, ashes of German movie actor". Sacramento Bee: B1, B6. 2 December 1997.
      50. ↑ January 1993 Members Calendar, The Museum of Modern Art, New York, NY. See also MOMA Department of Film January 22-26, 1993 From the Archives: CONRAD VEIDT, On the 100th anniversary of his birth in Berlin: January 22, 1893.
      51. ↑ Veidt is respected for controversially in 1919 using his role in the “hygiene” film Different from the Others into a statement for acceptance of gay rights rather than a condemnation.
      52. ↑ Letter to Rathlesberger from UC-Berkeley Chancellor Tien, March 27, 1997
      53. ↑ December 23, 1997 letter to Rathlesberger from Linda Harris Mehr, director of Margaret Herrick Library, Academy of Motion Picture A&S
      54. ↑ October 11, 2000 electronic correspondence between Rathlesberger and Rob Stone, assistant archivist, Motion Picture Collection, UCLA Film & Television Archive; September 10, 2001 electronic correspondence from Rathlesberger to Associate Professor Cornelius Schnauber, director, Max Kade Institute, USC.
      55. ↑ March 6, 1995 letter from Ayn Rand Institute Executive Director Michael S. Berliner to Rathlesberger commented “Conrad Veidt is listed #1 on her handwritten list of favorite actors.”
      56. ↑ "Newspaper reports of reinterrment". Conrad Veidt Society. Retrieved 23 November 2017.
      57. ↑ Soister, John T. (September 2015). Conrad Veidt on Screen: A Comprehensive Illustrated Filmography. McFarland. ISBN 9781476611228 – via Google Books.
      58. ↑ "The man best remembered as the Nazi villain in Casablanca was, in real life, blacklisted by Hitler. Even stranger, 50 years after his death, his ashes are being laid to rest in Golders Green". The Guardian: 6–7. 3 April 1998.
      59. ↑ Linge, Ina (2018). "Sexology, Popular Science and Queer History in Anders als die Andern (Different from the Others)". Gender & History. 30 (3): 595–610. doi:10.1111/1468-0424.12381. PMC 6282845. PMID 30546198.
      60. ↑ "Lost Films".
      61. ↑ "Конрад Фейдт". lostfilm.info.
      62. ↑ Soister, John T. (2 September 2015). Conrad Veidt on Screen: A Comprehensive Illustrated Filmography. McFarland. ISBN 9781476611228.
      63. ↑ "Opium [1919] Silent Film Limited Edition Museum Print (20 x 29)". Century Guild.
      64. 1 2 3 Soister, John T. (2 September 2015). Conrad Veidt on Screen: A Comprehensive Illustrated Filmography. McFarland & Company. ISBN 9781476611228.
      65. ↑ "CHRISTIAN WAHNSCHAFFE, TEIL 1: WELTBRAND | Il Cinema Ritrovato Festival". Retrieved 13 December 2022.
      66. ↑ "Christian Wahnschaffe, Teil 2: Die Flucht aus dem goldenen Kerker | Christian Wahnschaffe, Part 2: The Escape from the Golden Prison". www.berlinale.de.
      67. 1 2 "Homunculus and his friends". Retrieved 13 December 2022.
      68. ↑ "Lady Hamilton (1921)". 18 December 2011.
      69. ↑ "Lady Hamilton (1921)". 20 October 1921 – via Internet Archive.
      70. ↑ "List of 7200 Lost U.S. Silent Feature Films 1912-29" (PDF). Library of Congress. Archived from the original (PDF) on 15 May 2018.

      Further reading

      • Alistair, Rupert (2018). "Conrad Veidt". The Name Below the Title: 65 Classic Movie Character Actors from Hollywood's Golden Age (softcover) (First ed.). Great Britain: Independently published. pp. 244–248. ISBN 978-1-7200-3837-5.
      • Allen, Jerry C. (1993). Conrad Veidt, From Caligari to Casablanca. 2nd edition. Pacific Grove, CA: The Boxwood Press. ISBN 0-940168-27-8
      • Battle, Pat Wilks (1993). “Conrad Veidt”. Parts 1, 2 and 3. Films in Review, April (pp. 74-87), June (pp. 154-163) and August (pp. 234-241) 1993. New York: National Board of Review of Motion Pictures. ISSN 0015-1688
      • Battle, Pat Wilks “Journey's End?, The Amazing Career of Conrad Veidt”. Filmfax, Aug./Sept. 1999, No. 74, pp. 50-56, 89. Evanston, Illinois. ISSN 0895-0393
      • Bowman, David K. “Conrad Veidt”. Cult Movies, No. 29, 1999 (pp. 26-34). Hollywood, CA.
      • ‘Conway, Shirley. (1993). Conrad Veidt (1893-1943), A Tribute to “A Well Grac’d Actor”. Self-published.
      • Jay, Charles. (31 December 2022). "Hidden Film History: The antifa 'Casablanca' star who defied Goebbels for the Jewish woman he loved". Daily Kos.
      • Soister, John T. (2002). Conrad Veidt's on Screen, A Comprehensive Illustrated Filmography, with a biography by Pat Wilks Battle. North Carolina: McFarland & Co. ISBN 0-7864-1289-5
      • Schwientek, Sabine (2023). Conrad Veidt, Demon of the Silver Screen: His Life and Works in Context. North Carolina: McFarland & Co. ISBN 1476690812
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