Paul Hörbiger

Austrian stage and film actor Paul Hörbiger (1894-1981) belongs together with Hans Moser to the ‘primary rock’ of the Austrian cinema. His popularity was unique and was reflected in over 250 films, mostly lightweight comedies of the popular Wiener Film genre.


German cigarette card in the series Unsere Bunten Filmbilder by Ross Verlag for Cigarettenfabrik Josetti, Berlin, no. 240. Photo: Patria-Film.


German postcard by Ross Verlag, no. 7208/1, 1932-1933. Photo: Ufa.


German postcard by Ross Verlag, no. A 3118/1, 1941-1944. Photo: Terra / Wien-Film. Paul Hörbiger in Der liebe Augustin/The Dear Augustin (E.W. Emo, 1940).


German postcard by Ross Verlag, no. A 3337/2, 1941-1944. Photo: Terra.


Austrian postcard by Verlag Hubmann, Wien, no. 91. Photo: Union Film, Wien. Paul Hörbiger in Der Zigeunerbaron/The Gypsy Baron (Arthur Maria Rabenalt, 1954).

Breakthrough

Paul Hörbiger was born in Budapest, Austria-Hungary (now Hungary) in 1894. He was the son of Hans Hörbiger, an engineer who wrote 'Welteislehre' on glacial cosmology.

In 1902 his family returned to Vienna, while Paul attended the gymnasium (grammar school) at St. Paul's Abbey in the Lavanttal. In the First World War, he served in a mountain artillery regiment of the Austro-Hungarian Army, discharged in 1918 with the rank of an Oberleutnant.

After the war, he attended shortly the Otto Theatre school and made his stage debut in 1919 at the city theatre of Liberec (Reichenberg). From 1920 he performed at the Neuen Deutschen Theater (New German Theatre) in Prague.

In 1926, with a contract for Max Reinhardt's Deutsches Theater in Berlin, he made his breakthrough.

In the silent era, he impersonated witty and vicious characters in such films as the classic Spione/Spies (Fritz Lang, 1928) with Willy Fritsch and Lien Deyers, Schmutziges Geld/Show Life (Richard Eichberg, 1928) starring Anna May Wong, and another classic, Asphalt (Joe May, 1929) with Gustav Fröhlich.


German postcard by Ross Verlag, no. 6101/1, 1931-1932. Photo: Ufa.


German postcard by Ross Verlag, no. 6754/1, 1931-1932. Photo: Atelier Zander & Labisch, Berlin.


German postcard by Ross Verlag, no. 131/8. Photo: Ufa. Paul Hörbiger in Der Kongress Tanzt/The Congress Dances (Erik Charell, 1931).


German postcard by Ross Verlag, no. 141/5, 1931-1932. Photo: Ufa. Hans Albers, Paul Hörbiger, Paul Westermeier and Genia Nikolaieva in Quick (Robert Siodmak, 1931).


German postcard by Ross Verlag, no. 143/5. Photo: Ufa. Lilian Harvey and Paul Hörbiger in Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag no. 166/1. Photo: Indra-Film / Rolf Raffé. Ida Wüst, Else Elster, Paul Hörbiger and Mady Christians in Friederike/Frederica (Fritz Friedmann-Frederich, 1932).

Warmhearted Viennese

Paul Hörbiger's film image was subsequently shaped by the sound film comedies and operettas of Géza von Bolváry and Erik Charell. This can best be seen in the warm-hearted Viennese character ‘Feschak’, and most clearly in the figure of the old Weiring in Liebelei/Flirtation (Max Ophüls, 1933).

Other interesting films from this period are Der Kongress Tanzt/The Congress Dances (Erik Charell, 1931) starring Lilian Harvey, Es war einmal ein Walzer/Once There Was A Waltz (Victor Janson, 1932) starring Márta Eggerth, Quick (Robert Siodmak, 1932), and Scampolo, ein Kind der Straße/Scampolo, a Child of the Streets (Hans Steinhoff, 1932) featuring Dolly Haas.

Then followed hits like Walzerkrieg/The Battle of the Walzes (Ludwig Berger, 1933) with Renate Müller, Königswalzer/The Royal Waltz (Herbert Maisch, 1935) and Kitty und die Weltkonferenz/Kitty and the World Conference (Helmut Käutner, 1939) with Hannelore Schroth.

In 1935 he founded the Algefa film company together with director E.W. Emo and consul Karl Künzel.


German postcard by Ross Verlag, no. 7635/1, 1932-1933. Photo: Dr. Weller, Berlin.


German postcard by Ross Verlag, no. 173/1. Photo: Phoebus Tonfilm. Lee Parry and Paul Hörbiger in Keinen Tag ohne Dich/ Wovon soll der Schornstein rauchen/No Day Without You (Hans Behrendt, 1933).



German postcard by Ross Verlag, no. 8288/2, 1933-1934. Photo: Yva, Berlin.


German Postcard by Ross Verlag, no. A 3337/1, 1941-1944. Photo: Hämmerer.


German postcard by Film-Foto-Verlag, no. A 3495/1, 1941-1944. Photo: Hämmerer / Wien-Film.


German Postcard by Film-Foto-Verlag, no. A 3766/1, 1941-1944. Photo: Siegel / Metropolfilm.

High treason

From 1940 on, Paul Hörbiger was a member of the Viennese Burgtheater. During the war, he acted in films like Operette/Operetta (Willi Forst, a.o., 1940) and Wen die Götter lieben/Whom the Gods Love (Karl Hartl, 1942) starring Hans Holt as Wolfgang Amadeus Mozart.

These were often lightweight comedies of the Wiener Film genre, which was popular among German and Austrian audiences during the 1930s and 1940s. Hörbiger often played roles similar to those of Hans Moser: waiters, servants, cab drivers, porters as well as ballad singers and singers during wine festivities.

He also frequently plays such Austrian greats as Franz Joseph II, Haydn or Radetzky. He and Moser complemented one another brilliantly in such films as Wiener Geschichten/Viennese Stories (Géza von Bolváry, 1940), Schwarz auf weiß/Black on White (E.W. Emo, 1943) and Schrammeln/Strum (Géza von Bolváry, 1944).

Though in 1938 he openly acclaimed the Austrian Anschluss to Nazi Germany and smoothly continued his career in Propaganda films like Wunschkonzert/Request Concert (Eduard von Borsody, 1940) or Die grosse Liebe/The Great Love (Rolf Hansen, 1942) starring Zarah Leander, he was arrested in Vienna in the late days of World War II.

The Nazis accused him of high treason. The BBC already reported his death, but Paul Hörbiger survived the war.


Dutch postcard, no. 587. Photo: City Film. Publicity still for Gruss und Kuss - Veronika (Carl Boese, 1933) with Franciska Gaál.


Dutch postcard by M. B. & Z, (M. Bonnist & Zonen, Amsterdam), no. 1107. Sent by mail in 1941. Photo: Sonora Film.


Austrian postcard by Eberle Verlag, Wien (Vienna), no. 48. Photo: I.S.B. Films. In 1948, Paul Hörbiger narrated the film A Door Stands Open (directed by Karl Sztollar and with music by Robert Stolz). produced by the Information Services Branch (I.S.B.). The I.S.B. was the central agency in charge of cultural diplomacy in Austria after WW II. Sources: Reinhold Wagnleitner (Coca-Colonization and the Cold War) and Lary May (Recasting America: Culture and Politics in the Age of Cold War).


Austrian postcard by Eberle-Verlag, Wien (Vienna). Photo: I.S.B. Films.


West-German postcard by F.B.Z. Photo: Wesel. Paul Hörbiger in Der Bagnosträfling/The Prisoner (Gustav Fröhlich, 1949).

Stereotypical Roles

After the war, Paul Hörbiger remained one of the most popular German-speaking film actors. He played a small role as the intimidated doorman in the classic The Third Man (Carol Reed, 1949). More demanding roles followed in Das Tor zum Paradies/The Strange Story of Brandner Kaspar (Josef von Báky, 1949), Epilog: Das Geheimnis der Orplid/Epilogue (Helmut Käutner, 1950) and Hallo Dienstmann/Hello Dienstmann (Franz Antel, 1951).

Yet, soon the old stereotypical roles returned in Viennese Swindel films. He also starred in numerous Heimatfilme, again performing as the warm-hearted Viennese type and the Heurigen singer, often together with Hans Moser and director Franz Antel.

His best-known films of these years include Mädchenjahre einer Königin/The Story of Vickie (Ernst Marischka, 1954) featuring Romy Schneider, Banditen der Autobahn/Bandits of the Highway (Géza von Cziffra, 1955), and Sebastian Kneip (Wolfgang Liebeneiner, 1958) with Carl Wery.

In his later years, he focused on stage acting at the Burgtheater. He also had stage appearances in Zürich, Moscow, and New York as well as in West Germany and Israel. In 1969 he received the Filmband in Gold Award for his longtime contributions to German cinema.

He was married to actress Josepha Gettke, with whom he had four children. He was the father of actor Thomas Hörbiger, grandfather of actor Christian Tramitz and actress Mavie Hörbiger, brother of actor Attila Hörbiger and uncle of actress Christiane Hörbiger. Paul Hörbiger died in 1981 in Vienna, Austria. He was 86.


West-German postcard by Kunst und Bild, Berlin, no. A 376. Photo: Gundlach / Union-Film. Paul Hörbiger in Der fidele Bauer/The Merry Farmer (Georg Marischka, 1951).


West-German postcard by Rüdel-Verlag. Photo: Erma / Herzog-Film / Czerwonski. Paul Hörbiger in Mädchenjahre einer Königin/The Story of Vickie (Ernst Marischka, 1954).


West-German postcard by Kolibri-Verlag G.m.b.H., Minden/Westf., no. 2047. Photo: Rhombus / Herzog-Film / Appelt. Gunther Philipp, Paul Hörbiger and Joachim Fuchsberger in Lumpazivagabundus (Franz Antel, 1956).


German postcard by Agfa, no 506. Photo: Panorama Film. Herta Staal and Paul Hörbiger in Die Winzerin von Langenlois/The Winemaker from Langenlois (Hans H. König, 1957).


West-German postcard by Ufa/Film-Foto, Berlin-Tempelhof, no. FK 3758. Photo: Gruber / Donau Film / NF. The retail price was 25 Pfg.

Sources: Thomas Staedeli (Cyranos), Filmportal.de, Steffi-line.de, Wikipedia (English and German), and IMDb.

This post was last updated on 19 October 2024.

Ein blonder Traum (1932)

Today's film special is about one of the biggest box office successes of the Weimar Republic, the witty and enjoyable musical comedy Ein blonder Traum/Happy Ever After (Paul Martin, 1932). It featured the German dream couple of the 1930s, Lilian Harvey and Willy Fritsch, and Viennese actor-director Willi Forst.


German postcard by Ross Verlag, no. 6983/1. Photo: Ufa. Lilian Harvey, Willi Forst and Willy Fritsch in the musical comedy Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag, no. 6980/1, 1931-1932. Photo: Ufa. Lilian Harvey in Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag, no. 6980/2. Photo: Ufa. Photo Atelier Jacobi, Berlin. Lilian Harvey in Ein blonder Traum (Paul Martin, 1932).


German postcard by Ross Verlag, no. 6982/1, 1931-1932. Photo: Ufa. Willi Forst and Willy Fritsch in Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag, no. 6984/1, 1931-1932. Photo: Ufa. Lilian Harvey and Willi Forst in Ein blonder Traum/Happy Ever After (Paul Martin, 1932).

Blitz-Blank

Ein blonder Traum/Happy Ever After is situated in Berlin, during the Depression of the early 1930s. Two window cleaners of the Blitz-Blank company, Willy I and Willy II (Willi Forst and Willy Fritsch), pedal with ladder and washing utensils crisscross through the city, from job to job, from house to house.

One day the blonde Jou-Jou (Lilian Harvey) enters their lives. They see her through the window of the American Consulate General. When Jou-Jou is about to be thrown out of the house by the rough porter, the two friends show their chivalrous side.

Jou-Jou, who earned her living as a projectile in a traveling circus, dreams of a film career in America. A certain Mr. Merryman, allegedly a major Hollywood mogul, has once promised her a career in the movies - against payment of a fee of $ 25.

The two Willy's want to help the girl. They decide to take care of her and help her achieve success.

The two lifelong friends take her home with them, so she and her shaggy mutt, called Buffalo, get a roof over their heads. Both window cleaners live poor but happily in cranky railway wagons in the middle of the meadow, far from the gates of the city.

Inevitably, both Willy I and Willy II fall in love with 'the blonde dream' and their friendship will be tested.


German postcard by Ross Verlag, no. 7029/2, 1932-1933. Photo: Ufa. Willy Fritsch in Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag, no. 7029/3, 1932-1933. Photo: Ufa. Willy Fritsch in Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag, no. 7030/1, 1932-1933. Photo: Ufa. Willy Fritsch in Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag, no. 7032/1, 1932-1933. Photo: Ufa. Willi Forst in Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag, no. 7035/1, 1932-1933. Photo: Ufa. Willy Fritsch and Lilian Harvey in Ein blonder Traum/Happy Ever After (Paul Martin, 1932).

Evergreens

Ein blonder Traum/Happy Ever After was directed by the Hungarian-born Paul Martin. It was his first sole directorial effort. Lilian Harvey, who was his partner, had promoted the quite inexperienced young director at the Ufa offices. The screenplay was written by Walter Reisch and the young Billy Wilder.

Werner Richard Heymann composed with music by Gérard Jacobson the songs Wir zahlen keine Miete mehr, wir sind im Grünen zuhaus (We no longer pay rent, we are at home in the countryside) and Irgendwo auf der Welt gibt's ein kleines bißchen Gluck (Somewhere in the world there's a little bit of luck). Both songs became evergreens. Heymann went on to have a career composing film scores in Hollywood after the Nazi takeover in Germany.

When the film went in premiere in Berlin, on 23 September 1932, the censors banned it for the youth, but a month later, on 27 October 1932, the ban was lifted again and the film was released for the youth. Ein blonder Traum/Happy Ever After became one of the biggest box office successes in the late phase of the Weimar Republic.

Simultaneously with the German version, there were two alternate language versions in French and English produced. In both versions Harvey repeated her part. The French version was called Un Rêve blond and had Henri Garat in the Fritsch role and Pierre Brasseur in the Forst role. The British version was entitled Happy Ever After, the two Willys were played by Jack Hulbert and Sonnie Hale.


German postcard by Ross Verlag, no. 7036/1, 1932-1933. Photo: Ufa. Willy Fritsch in Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag, no. 7050/1, 1932-1933. Photo: Ufa. Willi Forst in Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag, no. 7135/1. Photo: Ufa. Photo Atelier Jacobi, Berlin. Lilian Harvey in Ein blonder Traum (Paul Martin, 1932).


German postcard by Ross Verlag, no. 7141/1. Photo: Ufa. Photo Atelier Jacobi, Berlin. Lilian Harvey in Ein blonder Traum (Paul Martin, 1932).


German postcard by Ross Verlag, no. 7191/1. Photo: Ufa. Photo Atelier Jacobi, Berlin. Lilian Harvey in Ein blonder Traum (Paul Martin, 1932).

An amusing and innovative daydream

One of the highlights in the film is an amusing and innovative daydream sequence in which Jou-Jou (Lilian Harvey) dreams that she and her two gallants run in a train out of the city of Berlin under the Atlantic Ocean to NYC and across to Hollywood.

Upon their arrival in New York City, even the Statue of Liberty beckons them. In Hollywood, however, everybody only makes fun of her. Then Jou-Jou wakes up with the words 'Now I have dreamed'.

Six months later, in January 1933, Lilian Harvey actually arrived in Hollywood. Though she starred in a few films for Fox, Harvey was unable to make it in the USA and she returned to Germany.


German postcard by Ross Verlag, no. 143/1. Photo: Ufa. Publicity still for Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag, no. 143/3. Photo: Ufa. Publicity still for Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag, no. 143/4. Photo: Ufa. Publicity still for Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag, no. 143/5. Photo: Ufa. Lilian Harvey and Paul Hörbiger in Ein blonder Traum/Happy Ever After (Paul Martin, 1932).


German postcard by Ross Verlag, no. 143/6 Photo: Ufa. Willi Forst, Lilian Harvey and Willy Fritsch in Ein blonder Traum/Happy Ever After (Paul Martin, 1932).

Sources: AllMovie, Wikipedia (German) and IMDb.