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Albert Pommer
Albert Pommer
Albert Pommer
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Albert Pommer (1886 – 1946) was a German film producer.[1] He was the elder brother of Erich Pommer, the head of the leading German studio UFA during the 1920s. Albert worked on a number of films distributed by UFA. He had earlier been appointed by his brother an executive of the newly formed Decla Film in 1915.[2]

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Selected filmography

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Albert Pommer

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Albert Pommer is a German film producer known for his work in the silent film era of the Weimar Republic, most notably as the producer of the 1923 adaptation of Thomas Mann's novel Buddenbrooks. He was the elder brother of Erich Pommer, the prominent head of UFA studios during the 1920s. Born on 16 February 1886 in Hildesheim, Germany, Pommer entered film production in the 1910s and remained active through the 1920s, working on several silent features primarily in Berlin. His credits include Ein unbeschriebenes Blatt (1915), Satansketten (1921), Die Buddenbrooks (1923), Die Andere (1924), Die Zwei und die Dame (1926), and Zwei unterm Himmelszelt (1927). While less prominent than his brother, he contributed to the vibrant German film industry of the period before his death in 1946.

Early life

Birth and background

Albert Pommer was born on 16 February 1886 in Hildesheim, German Empire. Details about his early life, childhood, education, or pre-film activities remain largely undocumented in available sources.

Family and relation to Erich Pommer

Albert Pommer was the elder brother of Erich Pommer, the influential German film producer who led production at Decla-Bioscop and later headed UFA during the 1920s. Albert was born on 16 February 1886 in Hildesheim, Germany, three years before Erich's birth on 20 July 1889 in the same city. In 1915, while serving in the military during World War I, Erich Pommer founded the Decla-Film-Gesellschaft. During his absence from the company, the leadership was managed by his brother Albert Pommer together with Erich Morawsky. This role marked Albert's entry into the film industry through his familial connection to Erich.

Career

Entry into the film industry

Albert Pommer entered the film industry in 1915 when he assumed a leadership role at Decla Film Gesellschaft, the production company founded that year by his younger brother Erich Pommer. With Erich serving in the military during World War I, Albert Pommer joined Erich Morawsky in managing the company's leadership during Erich's absence. This marked his initial involvement in film administration at the independent studio. He also produced his first known film, ''Ein unbeschriebenes Blatt'' (1915). Over time, he transitioned to hands-on producing, with his career in film production spanning from 1915 to 1927.

Independent productions in the 1920s

After the war, Albert Pommer produced several German silent films primarily through his own company, Dea-Film GmbH, based in Berlin. His output included dramas, literary adaptations, and other genres typical of the Weimar era. His credits include ''Satansketten'' (1921), ''Pariserinnen'' (1921), ''Brigantenrache'' (1922), ''Der Ruf des Schicksals'' (1922), ''Lebenshunger'' (1922), ''Die Kette klirrt'' (1923), ''Die Buddenbrooks'' (1923), ''Die Andere'' (1924), ''Die Zwei und die Dame'' (1926), and ''Zwei unterm Himmelszelt'' (1927). No production credits are documented after 1927, and detailed accounts of his specific contributions remain scarce.

Filmography

Credits as producer

Albert Pommer was credited as producer on several German silent films, beginning in the 1910s and primarily during the 1920s, through affiliations with Decla Film early in his career and later Dea-Film productions distributed by UFA. His known producing credits include Ein unbeschriebenes Blatt (1915), Satansketten (The Devil's Chains, 1921), Pariserinnen (Parisian Women, 1921), Brigantenrache (Revenge of the Bandits, 1922), Der Ruf des Schicksals (The Call of Destiny, 1922), Lebenshunger (Lust for Life, 1922), Die Kette klirrt (The Chain Clinks, 1923), Die Buddenbrooks (The Buddenbrooks, 1923), Die Andere (The Other Woman, 1924), Die Zwei und die Dame (Two and a Lady, 1926), and Zwei unterm Himmelszelt (Two Under the Stars, 1927). These credits represent his verified work as producer in the German film industry of the silent era.

Later life

Activities after 1927

Albert Pommer's final film credit is for Zwei unterm Himmelszelt (1927). A planned film project titled Attila with director Arzén von Cserépy was announced in 1929 but did not materialize. His last documented public activity was in August 1930, when he lost a civil lawsuit against actor and director Alfred Abel over an unpaid amount of 2,500 Reichsmark. No further film credits, professional activities, or public endeavors are recorded after 1930. Biographical records contain no documentation of his life during the Nazi era (1933–1945) or the immediate post-war period leading up to his death in 1946, despite his Jewish family background. In contrast to his younger brother Erich Pommer, who sustained a prominent international career after 1927—including major productions through the 1950s and administrative roles in rebuilding the German film industry—Albert Pommer has no documented activities in that period.

Death

Circumstances of death

Albert Pommer died in 1946 at the age of 59–60. No detailed information is available regarding the exact date, location, or cause of his death in accessible historical or biographical sources. His passing occurred in the immediate aftermath of World War II.

Legacy and historical recognition

Albert Pommer is primarily remembered as the elder brother of Erich Pommer, one of the most prominent producers in German film history, and for his executive role at Decla Film during the company's early years. While Erich served in the military during World War I, Albert Pommer, together with Erich Morawsky, protected the leadership of Decla-Film Gesellschaft, helping sustain operations amid wartime challenges. His contributions remain largely overshadowed by his brother's achievements, with historical mentions typically confined to passing references or footnotes in accounts of silent-era German cinema and Weimar Republic production. The scarcity of dedicated studies and detailed archival records on his independent work underscores the limited extent of his recognized legacy and points to the need for further research to fully illuminate his role.
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