Olaf Fönss

Olaf Fönss (1882-1949) was one of Denmark and Germany's biggest stars of the silent film era. He played a mad scientist/monster in the popular Homunculus film series. Fönss also worked as a film director, producer, and censor.

German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 9663. Photo: Deutsche Bioscop Geselsschaft. Olaf Fønss in the German film Homunculus (Otto Rippert, 1916).


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 9667. Photo: Deutsche Bioscop Geselsschaft. Publicity still for Homunculus, 1. Teil/Homunculus (1916).


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 9668. Photo: Deutsche Bioscop Geselsschaft. Publicity still for Homunculus, 1. Teil/Homunculus (1916).


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 9182. Photo: Deutsche Bioscop Geselsschaft. Publicity still for Homunculus, 1. Teil/Homunculus (1916).


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 9184. Photo: Deutsche Bioscop Geselsschaft. Publicity still for Homunculus, 1. Teil/Homunculus (1916).


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 9185. Photo: Deutsche Bioscop Geselsschaft. Publicity still for Homunculus, 1. Teil/Homunculus (1916).


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 9186. Photo: Deutsche Bioscop Geselsschaft. Publicity still for Homunculus, 1. Teil/Homunculus (1916).


German postcard by Verleih Hermann Leiser, Berlin-Wilm., no. 9151. Photo Deutsche Bioscop Gesellschaft. Publicity still for Homunculus, 1. Teil/Homunculus (1916).

Homunculus

Olaf Holger Axel Fønss was born in Århus, Denmark in 1882. He was the son of school administrator and organist William Lars Clement Fønss and wife Henriette Volffine Mathea Fønss-Zimmermann, and he was the older brother of actors Johannes and Aage Fønss. At 17, Olaf Fönss ran away to Copenhagen to become an actor. He had his stage debut in 1903 at the Dagmarteatret in Copenhagen.

He started his film career in 1912 with the short silent films Dødsridtet/The Leap to Death (Rasmus Ottesen, 1912) and Bryggerens datter/The Brewer's Daughter (Rasmus Ottesen, 1912, both written by Carl Theodor Dreyer. Denmark was a world power in the international film business in the 1910s and the most important studio was Nordisk Film. In the spring of 1913, Fönss came to Nordisk, where he would play the lead role in 30 films.

His leading role in the Nordisk production Atlantis (August Blom, 1913) made his face recognisable to international film fans. The story, influenced by the Titanic tale, was filmed off the coast of New Zealand, and with its 1 hour and 53-minute running time it was one of the first full-length films ever made.

At IMDb, Trent Bolden writes: "The film was hailed as an impressive achievement for the cinema of 1913, especially for the sinking liner sequence influenced by the Titanic disaster. It was also one of the most popular films of the silent decades, and a worldwide smash hit". Fönss worked with director A.W. Sandberg at Cowboymillionæren/The Cowboy Millionaire (1915) with Else Frölich.

In 1915 Fönss tried his luck in Germany. He played a mad scientist/monster in the Homunculus film series, written by Robert Reinert and directed by Otto Rippert. A homunculus is an artificial creature made in a lab. After discovering he has no soul, he takes his revenge on mankind. The first part of Homunculus was released in 1916, with enormous success. The series earned Fönss the status of a top matinee idol in Europe. However, despite the serial's success, Fönss did not stay in Berlin.


German postcard by Verlag Hermann Leiser, Berlin, no. 5348. Unclear is for which film this picture was made. It is probably a publicity still for a stage production of Shakespeare's 'Romeo and Juliet'.


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 1884.


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 3088.


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 5303.


German postcard by Ross Verlag, no. 404/2, 1919-1924. Photo: Alex Binder.


German postcard by Ross Verlag, no. 404/5, 1919-1924. Photo: Alex Binder.


German postcard by Ross Verlag, no. 4079/1, 1929-1930.

Called Back

Olaf Fönss was called back to Copenhagen after Danish star Valdemar Psilander had committed suicide. He was engaged as the new artistic director of the Psilander Film Company. He also reunited with August Blom for the Sci-Fi drama Verdens undergang/The End of the World (August Blom, 1916).

Other films were Du skal ære/Thou Shall Honour (Fritz Magnussen, 1918) with Gudrun Brun, Hævneren (1918) - also his first film as a director, Lægen/The Plague (Fritz Magnussen, 1918) and Bajadser/Bajazzo (Fritz Magnussen, 1919).

During the early 1920s, he returned to Germany and starred in box office hits such as Das Indische Grabmal/The Indian Tomb (Joe May, 1921) opposite Mia May and Conrad Veidt. He also worked with famous director Friedrich Wilhelm Murnau at Der Gang in die Nacht/Journey Into the Night (F.W. Murnau, 1921) starring Erna Morena. In 1925 he starred opposite Evelyn Holt in the Jane Eyre adaptation Die Waise von Lowood/The Orphan of Lowood (Kurt aka Curtis Bernhardt, 1926).

In later years, Fønss became politically active by directing two films for Denmark's Socialdemokratiske Parti (Social Democratic Party). He was president of the Dansk Skuespillerforbund (Danish Actor's Union) from 1933 to 1947 and was a censor for Statens Filmcensur (the National Film Censor of Denmark) for 14 years.

Olaf Fönss died in 1949 in Copenhagen, Denmark, at 66. He was married twice, to actress Thilda Elisabeth Lilja Johnsen and to Else Dorthea Bast. He was the father of author Pallet Fønss (1915-1962) and actress Tove Fønss (1920-1941).


German postcard by Verlag Hermann Leiser, Berlin, no. 3127.


German postcard, no. 7280. Olaf Fönss and Ebba Thomsen in Verdens Undergang/The End of the World (August Blom, 1916).


German postcard by Verlag Hermann Leiser, Berlin, no. 3128. Olaf Fønss in the Danish film Praesten fra havet/The Priest at the Sea (Fritz Magnussen, 1918), released in Germany as Der Pfarrer am Meer.


German postcard by Verleih Hermann Leiser, Berlin, no. 5018. Olaf Fønss and Gudrun Brunn in the Danish film Praesten fra havet/The Priest at the Sea (Fritz Magnussen, 1918), released in Germany as Der Pfarrer am Meer.


German postcard by Verlag Hermann Leiser, Berlin, no. 3134. Photo: probably a publicity still for the Danish film Du skal aere/Thou Shall Honour (Fritz Magnussen, 1918). The German title on the postcard, Die Ehre seiner Schwestern, translates as The Honour of His Sister.


German postcard by Verlag Herm. Leiser, Berlin-Wilm., no. 5406. Photo: publicity still for Laegen/Die Seuche/The Plague (Fritz Magnussen, 1918).


German postcard by Verlag Herm. Leiser, Berlin-Wilm., no. 5000. Photo: publicity still for Laegen/Die Seuche/The Plague (Fritz Magnussen, 1918).


German postcard by Ross Verlag, Berlin, no. 595/6, 1919-1924. Photo: publicity still for Bajadser/Armer Bajazzo/Bajazzo (Fritz Magnussen, 1919).


German postcard by Ross Verlag, Berlin, no. 599/1, 1919-1924. Photo: Deutsche Bioscop. Olaf Fønss in Hendes fortid/Her Past (Fritz Magnusssen, 1921), released in Germany as Schatten der Vergangenheit.


German postcard by Ross Verlag, Berlin, no. 602/1, 1919-1924. Photo: Deutsche Bioscop. Olaf Fønss in Scenens børn/The Children of the Stage (Fritz Magnussen, 1920), released in Germany as Bretter, die die Welt bedeuten.


German postcard by Ross Verlag, Berlin, no. 604/2, 1919-1924. Photo: Deutsche Bioscop. Olaf Fønss in Samvittighedskvaler/Pain of Conscience (Olaf Fønss, 1920), released in Germany as Qualvolle Stunden.


German postcard by Ross Verlag, Berlin, no. 605/2, 1919-1924. Photo: Deutsche Bioscop. Olaf Fønss in Dømmer ikke/Do Not Judge (Fritz Magnussen, 1920), released in Germany as Du lässt den Armen schuldig werden.

Sources: Thomas Staedeli (Cyranos), Trent Bolden (IMDb), Danskefilm.dk (Danish), Wikipedia, and IMDb.

This post was last updated on 28 March 2024.

Praesten fra havet (1918)

Olaf Fønss was one of Denmark and Germany's biggest stars of the silent film era. He played the leading role in the Dansk Film production Praesten fra havet (Fritz Magnussen, 1918), released in Germany as Der Pfarrer am Meere (The Priest at the Sea). German publishing house Verlag Hermann Leiser produced this sepia tinted series with scenes from the film for the German release of the film.


German postcard by Verlag Hermann Leiser, Berlin, no. 3128. Photo: Olaf Fønss in Praesten fra havet (Fritz Magnussen 1918), released in Germany as Der Pfarrer am Meere (The Priest at the Sea).


German postcard by Verlag Hermann Leiser, Berlin, no. 3129. Photo: Olaf Fønss in Praesten fra havet/The Priest at the Sea (Fritz Magnussen 1918).


German postcard by Verlag Hermann Leiser, Berlin, no. 3130. Photo: Gudrun Bruun and Olaf Fønss in Praesten fra havet/The Priest at the Sea (Fritz Magnussen 1918).

A vicar caught in a battle

In Praesten fra havet, Olaf Fønss plays vicar Strom. He is caught in a battle between the poor fishermen of the coastal village and the merchant Warming (Cajus Bruun), who owns all the fishing boats.

Warming's daughter, Agnete (Gudrun Bruun a.k.a. Gudrun Brunn and Gudrun Bruun Stephensen), is in love with the young vicar and tries to help him to lessen her father's demands on the fishermen.

Warming's demands of having the fishermen fish day and night is refused, and the merchant calls a lock-out, with poverty and starvation as a result. One day Warming is caught in a storm and the fishermen refuse to assist. They say: "He himself forbade us to use the boats!"

However, when vicar Strom himself enters the boat single-handedly, they are convinced to turn the other cheek and try to save Warming from certain death.


German postcard by Verlag Hermann Leiser, Berlin, no. ?. Photo: Olaf Fønss in Praesten fra havet/The Priest at the Sea (Fritz Magnussen 1918).


German postcard by Verlag Hermann Leiser, Berlin, no. 5001. Photo: Olaf Fønss in Praesten fra havet/The Priest at the Sea (Fritz Magnussen 1918).


German postcard by Verlag Hermann Leiser, Berlin, no. 5018. Photo: Gudrun Bruun and Olaf Fønss in Praesten fra havet/The Priest at the Sea (Fritz Magnussen 1918).

Sources: Danish Film Institute and IMDb.

Homunculus (1916)

The third film special in our new weekly series is about Homunculus (Otto Rippert, 1916). This silent super-serial was part of the German artificial-creature film genre, including Der Golem (1914 and 1920), Alraune (1918, 1928, 1930) and Metropolis (1926). Danish star Olaf Fönss played the perfect creature, manufactured in a laboratory. During World War I, Homunculus was the most popular and influential serial in Germany. It even influenced the fashion in Berlin.


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 9667/1. Photo: DBG (Deutsche Bioscop-Gesellschaft). Publicity still for Homunculus, 1. Teil/Homunculus (1916).


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 9668. Photo: DBG (Deutsche Bioscop-Gesellschaft). Publicity still for Homunculus, 1. Teil/Homunculus (1916).

Little human

After having played in Danish films in the early and mid-1910s, Olaf Fönss tried his luck in Germany in 1915.

He immediately became the protagonist of the serial Homunculus, written by Robert Reinert, directed by Otto Rippert and released in 1916.

The script was written by Fritz Lang, and the film foreshadows various elements of his film Metropolis (Fritz Lang, 1929), which will be the subject of EFSP's film special next Sunday.

Homunculus is an artificial creature, test tube bred in a lab by Dr. Hansen (Theodoor Loos) and his assistant Edgar Rodin (Friedrich Kühne). They call their created baby 'Homunculus', Latin for 'little human.

Homunculus is brought up thinking he is a normal man. After learning of his true identity, the adult Homunculus understands he has no soul and is incapable of love. He hates Hansen for making him. Hansen's daughter loves Homunculus, but he is unable to feel much beyond hate.

Homunculus leaves, haunted by the incapability to feel human emotions. During his travels, he adopts a stray dog, feeling pity - if not love. He instigates revolutions and becomes a monstrous but beautiful tyrant, relentlessly pursued by his creator-father who seeks to rectify his mistake.


German postcard by Verlag Hermann Leiser, Berlin-Wilmersdorf, no. 9184. Photo: DBG (Deutsche Bioscop-Gesellschaft).


German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 9185. Photo: DBG (Deutsche Bioscop-Gesellschaft). Publicity still for Homunculus, 1. Teil. Der künstliche Mensch/Homunculus (Otto Rippert, 1916) with Olaf Fönss as Homunculus and Aud Egede Nissen.


German postcard by Verleih Hermann Leiser, Berlin, no. 9186. Photo: DBG (Deutsche Bioscop-Gesellschaft). Publicity still for Homunculus, 2. Teil. Das geheimnisvolle Buch/Homunculus. The mysterious book (Otto Rippert, 1916).


German postcard by Verlag Herm. Leiser, Berlin, no. 9664. Sent by mail in 1917. Photo: DBG (Deutsche Bioscop-Gesellschaft). Publicity still for Homunculus 3. Die Liebeskomödie des Homunculus/The tragic love story of the Homunculus (Otto Rippert, 1916). The girl could be Ilse Lersen (Luise) or Erna Thiele (Anna). Before he wants to destroy the world, Homunculus wants to explore love.


German postcard by Verlag Herm. Leiser, Berlin, no. 9183. Photo: DBG (Deutsche Bioscop-Gesellschaft). Publicity still for Die Liebeskomödie des Homunculus/The tragic love story of the Homunculus (Otto Rippert, 1916).


German postcard by Verlag Herm. Leiser, Berlin, no. 9182. Photo: DBG (Deutsche Bioscop-Gesellschaft). Publicity still for Homunculus, 5. Teil. Die Vernichtung der Menschheit/Homunculus. The Destruction of Mankind (Otto Rippert, 1916).

Wonderful photography

Homunculus was set up as a super-serial, composed of six feature-length episodes. It was meant to play not only as a serial, but as a series.

Bob Lipton notes at IMDb that the film "has some wonderful photography [by Carl Hoffmann] (notice the strong use of framing not by irising, as was still very common at this time, but by using structure and set decoration to change the effective frame size) and toning (a process in which the black silver nitrate is replaced by other compounds with colors, resulting in white whites, black blacks but colors instead of grays)".

The story asks the question: is the soul born with the body, or the gift of god?

After making Homunculus, Olaf Fönss did not stay in Berlin. He was called back to play in Danish films after Danish star Valdemar Psilander had committed suicide.

But his German film serial was a huge success during the dark years of World War I, and Homunculus would inspire many later artificial human films, including James Whale's horror classic Frankenstein (1931) featuring Boris Karloff as Frankenstein's monster.

Prints of Homunculus exist in the George Eastman House film archive (only a 1920 coloured re-release version of about 75 min. with Italian language intertitles, preserved in 2002); in the Bundesarchiv-Filmarchiv (one black & white episode); in the Národní Filmovy Archiv (one black & white episode); and in the Cinémathèque Suisse film archive (250 metres).


German postcard by Verlag Herm. Leiser, Berlin, no. 5017.


German postcard by Verleih Hermann Leiser, Berlin, no. 9151. Photo: DBG (Deutsche Bioscop-Gesellschaft). Publicity still for Homunculus, 1. Teil/Homunculus (Otto Rippert, 1916).

Sources: Bob Lipton (IMDb), Stephen Prince (The Horror Film), Silent Era, Wikipedia, and IMDb.