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Andrews Engelmann
Andrews Engelmann
Andrews Engelmann
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Andrews Engelmann (23 March 1901 – 25 February 1992) was a Russian-born German actor.[1] He worked primarily in Germany, where he specialised in playing Russian roles, but also appeared in a number of British films during his career.[2] He was born as Andrei Engelman and also credited by various other names during his career including André von Engelman.[3]

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Andrews Engelmann

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Andrews Engelmann was a Russian-born German actor known for his portrayals of villains, Russian characters, and Soviet commissars in German and European cinema from the silent era through the postwar period. Born Andrei Engelman on March 23, 1901, in St. Petersburg to a Baltic German merchant family, he began medical studies at the Military Medical Academy there before fleeing Soviet Russia in 1921 via an adventurous escape across the Finnish border to Berlin, where he briefly continued his studies. Engelmann entered the film industry by chance in France in 1923, debuting as a Russian dancer in La flambee des reves and appearing in several French silent films before establishing himself in Germany, where he was frequently typecast as insidious villains. His notable works include G.W. Pabst's Diary of a Lost Girl (1929) opposite Louise Brooks, the Agfacolor production Münchhausen, and Karl Ritter's GPU (1942), in which he played Commissar Bokscha. He appeared in numerous films during the Third Reich and continued acting in France and West Germany after World War II. Tall and imposing, Engelmann was multilingual and described himself as a restless wanderer drawn to German film. Married to actress Charlotte Susa from 1939, he settled in Basel, Switzerland, in 1953, acquired Swiss citizenship, and retired from acting to work in technical manufacturing of air-conditioning devices. He lived there until his death on February 25, 1992.

Early life

Origins and education in Russia

Andrews Engelmann was born as Andrei Engelman on March 23, 1901, in Saint Petersburg, Russian Empire. He was the son of a merchant of Baltic German descent, part of the longstanding German-Baltic community in the Russian Empire. He attended a Realgymnasium in Saint Petersburg, completing his secondary education and receiving his Abitur in 1918. In 1919, he began his medical studies at the Military Medical Academy in Saint Petersburg.

Escape to Germany and medical studies

In 1921, Andrews Engelmann fled Soviet Russia in an adventurous escape, crossing the border into Finland on foot, hiding under potatoes near a Cheka-controlled area, and crossing an icy river at the end of October before making his way to Berlin. He arrived in Berlin in 1921 as a recognized refugee and received Nansen passport No. 26805 issued by the League of Nations. In Berlin, Engelmann resumed his medical studies at the Friedrich Wilhelm University, where he completed a physics course and the first clinical semester. He claimed in a 1934 interview to have earned a medical doctorate in Berlin and described himself as a doctor, but he also stated that he ran out of money before taking the state examination (preventing full qualification), especially after currency stabilization; these assertions are self-reported—primarily from 1934 interviews and biographical materials—and lack independent verification. During university breaks, he supported himself by working as a construction worker in Houplines, France.

Acting career

Beginnings in France and silent films

Andrews Engelmann's transition to acting began in France during breaks from his medical studies in Berlin, where he initially worked as a construction worker before entering films. In Paris, he was spotted by an agent who remarked that his Russian appearance and ability to perform a Russian dance could lead to opportunities; two days later, he danced the Cossack dance in a film studio, resulting in his accidental film debut in 1923 as a Russian dancer in La flambée des rêves. An agent soon signed him for the Théâtre des Variétés in Paris, where he made his stage debut in 1924 portraying the character Mr. Sakuskin in a production that ran every evening for six months, featuring his distinctive long-legged dancing. Engelmann appeared in eleven silent films across France, Germany, Spain, Great Britain, and America during this period, reflecting the international and itinerant nature of his early career. His tall, tough-looking physical presence and Russian background frequently led to typecasting in roles emphasizing those traits. A notable highlight of his silent era work was his role as the tyrannical director of the reformatory in G. W. Pabst's Diary of a Lost Girl (1929), where he appeared opposite Louise Brooks in one of the director's explorations of social hypocrisy and institutional cruelty. This performance marked the end of his silent film period as the industry shifted to sound.

Career in German cinema during the Nazi era

Andrews Engelmann relocated to Germany as his primary base during the 1930s, where he specialized in portraying insidious Russian villains, including commissars, Cossacks, and criminals. He appeared in 22 films produced during the Third Reich, as part of a career that encompassed 53 sound films from 1929 onward. Among his most prominent roles was the brutal Soviet Commissar Nikolai Bokscha in the Karl Ritter-directed propaganda film GPU (1942), which depicted the Red Terror and Soviet secret police activities; he also received a writing credit for the film. He also featured in other Karl Ritter propaganda productions, including Flüchtlinge (Refugees, 1933), Kadetten (1939), and Über alles in der Welt (1941). In 1941, Engelmann appeared in the propaganda film Carl Peters. He had an uncredited role in Heimkehr (1941) and played Prince Potemkin in the lavish Agfacolor fantasy Münchhausen (1943). Engelmann was cast as a Soviet farmer in the unfinished production Der Rückkehrer (1943/44). Despite his extensive work in Germany, Engelmann continued limited international travel using visas issued on his Nansen passport.

Post-war films and retirement

After World War II, Andrews Engelmann's screen appearances became infrequent as he transitioned to working primarily in France and West Germany. In the late 1940s and early 1950s, he appeared in several feature films, often taking supporting roles consistent with his established type as a character actor. Representative works from this period include the French productions Mystère à Shanghai (1950), where he played a supporting character in a mystery setting; Le cas du docteur Galloy (1951); Maître après Dieu (1951), also known in English as Skipper Next to God; and La fille au fouet (1952), released in English-speaking markets as Girl with the Whip. He also featured in the German film Das Geheimnis vom Bergsee (1952). These projects marked the conclusion of Engelmann's extensive acting career, which had spanned the silent era, the advent of sound film, and wartime productions across multiple countries. Following his final on-screen roles in the early 1950s, he retired from acting. In 1953, he relocated to Switzerland, where he spent his later years.

Personal life

Marriage and later citizenship

Andrews Engelmann married the German actress Charlotte Susa in 1939. The couple remained together for the rest of her life, until her death in 1976. In 1953, Engelmann acquired Swiss citizenship and settled in Basel, Switzerland. This move followed his earlier residence in France after World War II. He resided in Basel thereafter.

Business career in Switzerland

In 1953, Andrews Engelmann settled in Basel, Switzerland, where he became a Swiss citizen and worked as an independent technical businessman. He established himself as a manufacturer of air conditioning devices designed for industrial applications and telecommunications. This professional shift contrasted with his earlier nomadic lifestyle, as evidenced by a 1934 interview in which Engelmann described himself as a rootless traveler: "always in the car, always living out of a suitcase," "without a home, without followers," and driven by "the natural wandering instinct of the old comedians in my blood." He further characterized his existence as that of "a man who loves adventure has become a habit of life, who has become a philosopher through a hard fate and waits unmoved to see what the next day will bring without thinking about the next one." Despite this self-portrayal as a cosmopolitan figure drawn to German film opportunities yet unable to remain long in any place, Engelmann's later years in Basel represented a more stable phase focused on his technical manufacturing enterprise. Engelmann retired from acting after appearing in films through 1960.

Death

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