Arthur Bergen

Arthur Bergen is a German Jewish actor and film director known for his contributions to the silent and early sound film eras in German cinema, as well as his tragic fate as a victim of the Holocaust. ^{[1] [2]} Born on 24 October 1875 in Breslau, Silesia, Germany (now Wrocław, Poland), Bergen began his artistic career in 1894 as a stage actor at the Hoftheater in Meiningen, followed by engagements in Berlin. ^[2] He transitioned to film in 1913, initially acting and later directing, with his most active period occurring in the 1920s when he helmed several silent features including Erinnerungen einer Nonne (1927), Frühere Verhältnisse (1927), and Das Lebenslied (1926). ^[1] After a period of reduced film work, Bergen returned to acting in the sound era, featuring in productions like Gruß und Kuß - Veronika (1933) and Kaiserwalzer (1933). ^[1] In 1943, he and his wife were deported to Auschwitz concentration camp where both were murdered during the Nazi regime's persecution. ^[2]

Early life

Birth and background

Arthur Bergen was born on 24 October 1875 in Vienna, Austria (then Austria-Hungary). ^[3] He was of Jewish descent, a heritage that later subjected him to Nazi persecution during the Holocaust. ^[4] Limited verified information exists regarding his parents, siblings, education, or early residence beyond his birthplace. He transitioned to stage acting in 1894, marking the beginning of his professional career. ^[1]

Stage career

Arthur Bergen began his acting career in 1894 with his stage debut at the Hoftheater in Meiningen. ^[5][2][6] This marked the start of his professional work in theater, where he initially took on roles at the ducal court theater known for its ensemble traditions. Subsequent engagements followed, leading him to Berlin, where he continued his stage activities as an actor. ^[5][2] His work in the theater preceded his entry into film in 1913, with his early career focused on live performances before shifting toward cinematic roles. ^[5] There is no record of stage appearances by Bergen following the onset of his film work.

Film career

Entry into film and early acting roles

Arthur Bergen entered the film industry in 1913, transitioning from his established stage career to silent cinema in Germany. His early involvement included a writing credit for the 1916 production Lehmanns Brautfahrt, demonstrating his multifaceted engagement with the medium beyond acting. He quickly established himself as an actor in German silent films. One of his early notable roles came in 1918 with Die Heimkehr des Odysseus, where he appeared in the silent adaptation of the classical epic. In 1920, he portrayed Dr. Kitamaru in Yoshiwara, die Liebesstadt der Japaner, a film that also marked his debut as a director (detailed further in the directing career section). Bergen's acting career continued through the early 1920s with roles in other German silent productions. In 1922, he played the Schamanenzauberer in Der falsche Dimitri. By 1925, he appeared as Gustav in Die Verrufenen (also known as Slums of Berlin), directed by Gerhard Lamprecht. During this period, he remained primarily active as an actor in German-language silent films, contributing to the vibrant Weimar-era cinema scene.

Directing career

Arthur Bergen directed 11 films between 1920 and 1928, with his work concentrated in the mid-1920s silent era of German and Austrian cinema. ^[1] He began his directing career in 1920 with Yoshiwara, die Liebesstadt der Japaner, a film for which he also wrote the screenplay. (Note: his acting role in this film as Dr. Kitamaru is detailed in the entry into film section.) After a brief hiatus, he returned to directing in 1925 with Die Aßmanns. In 1926, Bergen was particularly prolific, directing four films: Die vom anderen Ufer, Die Wiskottens, Ich hab mein Herz in Heidelberg verloren, and Das Lebenslied, the latter of which he also co-wrote. The following year, he directed Erinnerungen einer Nonne (also as writer), Frühere Verhältnisse, and Arme kleine Sif. He concluded his directing career with two films in 1928: So küsst nur eine Wienerin and Anastasia, die falsche Zarentochter. Bergen did not direct any further films after 1928. ^[1] His output as director consisted entirely of silent productions typical of mid-1920s German-language cinema, often in dramatic or light romantic genres.

Later acting in sound films

Arthur Bergen returned to acting in the early sound film era after concluding his directing work in 1928. He appeared in a series of German productions from 1930 to 1933, taking supporting roles during the transition to synchronized sound in German cinema.^[5] His credits during this period included Fire in the Opera House (1930), Panik in Chicago (1931), Different Morals (1931), The Mad Bomberg (1932), Under False Flag (1932), Greetings and Kisses, Veronika (1933), and The Emperor's Waltz (1933), among others such as Moderne Mitgift (1932) and Heut' kommt's drauf an (1933). These appearances marked his contributions to the emerging sound film landscape in Germany.^[5][7] Bergen's last verified film credits date to 1933, after which no further acting roles are documented due to Nazi persecution barring him as a Jewish artist from the industry.^[5]

Personal life

Marriage and family

Arthur Bergen was married, although the name of his wife is not verified in primary sources or major biographical records. He and his wife were deported together to Auschwitz concentration camp in 1943, where both were murdered. ^[2] There is no documented information on any children or other relatives, and details of his family life remain sparse, primarily known only in the context of their shared fate during the Holocaust. No further personal events or relationships are recorded in reliable sources.

Persecution and death

Nazi persecution and career end

With the rise of the National Socialist regime in 1933, Arthur Bergen's career in the German and Austrian film industries came to an abrupt end. ^[8] Classified as a Non-Aryan due to his Jewish heritage, he was subjected to an immediate work ban (Arbeitsverbot) that prohibited him from any further professional activity in film. ^[8] This measure aligned with the Nazis' systematic exclusion of Jewish artists from cultural sectors through racial policies enforced by the Reich Film Chamber and related institutions. ^[8] Bergen's final credits all date to 1933, including roles in Heut' kommt's drauf an, Kaiserwalzer, Gruß und Kuß - Veronika, and Polizeiakte 909. ^{[1] [8]} No verified film work appears after that year, reflecting the complete halt to his acting and directing opportunities as a direct consequence of antisemitic legislation. ^[8] As a Jewish artist, Bergen was among the many in the interwar German-language cinema who faced professional ostracism and erasure under Nazi rule. ^[8]

Deportation and murder at Auschwitz

In 1943, Arthur Bergen and his wife were deported from Vienna to the Auschwitz concentration and extermination camp. ^[9] Bergen was murdered at the camp later that year, though the exact date of his death remains unknown. ^{[10] [11]} No detailed personal accounts or records of the deportation route or his final days survive. ^[9]