Arthur Reinhardt

Arthur Reinhardt is a German actor known for his prolific career in German-language films, spanning from the silent era to the post-World War II period. ^[1] He appeared in over seventy films, often in supporting or minor roles, and also worked as an assistant director in his early career. ^[1] His work encompassed the Weimar Republic, Nazi-era cinema, and the early years of West German film production. ^[1] Notable films in which he appeared include Metropolis (1927), White Slaves (1937), Water for Canitoga (1939), and Quartet of Five (1949). ^{[2] [1]} Little is documented about his personal life, but his extensive screen presence made him a familiar figure in German cinema during a transformative half-century. ^[1]

Early life

Birth and background

Arthur Reinhardt was born on May 18, 1899, in Berlin, Germany.^[1][3] Limited verifiable information exists regarding his family origins or early residence in Germany prior to his professional career.^[1]

Career

Acting debut and early roles (1927–1932)

Arthur Reinhardt began his acting career in 1927 with an uncredited role as a worker (Arbeiter) in Fritz Lang's landmark silent film Metropolis.^[4] This appearance in the iconic German expressionist production marked his initial foray into acting during the late Weimar Republic era.^[5] Details on his subsequent roles between 1928 and 1932 remain limited in available primary film databases, with his early work primarily consisting of small or uncredited parts as the German film industry transitioned from silent to sound films around 1929–1930.^[1] No confirmed credited roles or specific typecasting from this period are documented beyond his debut, reflecting the common path of many supporting actors building experience in Weimar-era productions.^[6]

Main acting career (1933–1945)

Arthur Reinhardt's main acting career unfolded during the Nazi era in German cinema from 1933 to 1945, where he worked as a supporting character actor in numerous productions under the UFA and other studios. ^[1] He appeared in a range of films, often in minor or uncredited roles such as functionaries, agents, or incidental characters, contributing to both entertainment-oriented pictures and those aligned with regime propaganda objectives. ^[1] Among his credits in the early part of this period were Die Reiter von Deutsch-Ostafrika (1934), Varieté (1935), and Ich liebe dich (1938), where he took on supporting parts typical of his career trajectory. ^[1] By the early 1940s, he featured in higher-profile titles including Ohm Krüger (1941), a major anti-British propaganda film directed by Hans Steinhoff and Karl Anton, as well as Carl Peters (1941), another colonial-themed production with propagandistic elements. ^[1] In 1942 alone, he had roles in G.P.U. (as Frunses Helfer in this anti-Soviet film), Anschlag auf Baku (as an English agent), Fronttheater (uncredited as a comrade in an anti-aircraft unit), Dr. Crippen an Bord (uncredited as a court officer), Zwischen Himmel und Erde, and Sein Sohn. ^[1] His output continued into the later war years with appearances in Liebe, Leidenschaft und Leid (1943) and Ein fröhliches Haus (1944), maintaining a steady presence in the industry despite the increasing constraints on film production. ^[1] Across this period, Reinhardt's roles remained predominantly small-scale, reflecting his status as a reliable character actor rather than a leading star in the controlled environment of Nazi German cinema. ^[1]

Post-war acting career (1945–1955)

Following World War II, Arthur Reinhardt's acting career in the German film industry continued but became markedly less prolific than in previous decades.^[1] His post-war appearances were limited to three supporting roles between 1949 and 1955.^[1] In 1949, he played the 2. Wachtmeister in Quartett zu fünft.^[1] In 1953, he appeared as a Schutzmann in the comedy So ein Affentheater.^[1] His final acting credit came in 1955 with a role in Herr über Leben und Tod, after which he did not appear in any further films.^[1] These sporadic engagements reflect the challenges of the reconstruction-era German cinema, in which many pre-war actors secured only occasional work.^[1]

Work as assistant director

Arthur Reinhardt occasionally worked as an assistant director early in his involvement with German cinema. ^[1] He served as Regie-Assistenz (assistant director) on the 1920 silent film Das Mädchen aus der Ackerstraße - 2. Teil, directed by Werner Funck. ^{[7] [1]} This credit appears to be his only documented work in an assistant director capacity, as his professional output subsequently focused on acting roles across numerous German-language productions. ^[1]

Personal life and later years

Family and later years

Little is known about Arthur Reinhardt's personal life. No verified details are available regarding his family, including any spouse or children. ^[8] He died in Hollywood, California, USA on September 29, 1979. ^[8]

Death

Filmography

Acting credits

Arthur Reinhardt was a prolific character actor with 70 acting credits, primarily in German films from the late 1920s to the mid-1950s.^[1] His roles were often supporting or uncredited, reflecting his work as a reliable background performer in both silent and sound eras.^[1] He made his screen debut with an uncredited appearance as a worker (Arbeiter) in Fritz Lang's Metropolis (1927).^[4] In the 1930s, he continued with small parts, such as the gas station attendant (Tankstellenwart) in Ein Unsichtbarer geht durch die Stadt (1933) and a role in The Last Waltz (1934).^[1] During the 1940s, Reinhardt appeared frequently in wartime productions, including Carl Peters (1941), Ohm Krüger (1941), The Way to Freedom (1941) as a revolutionary in a Pomeranian inn (Revolutionär in pommerschen Dorfkrug), Leichte Muse (1941), Sein Sohn (1942), Zwischen Himmel und Erde (1942), G.P.U. (1942) as Frunze's helper (Frunses Helfer), Anschlag auf Baku (1942) as an English agent (Ein englischer Agent), Fronttheater (1942) as a comrade in the anti-aircraft unit (Ein Kamerad der Flakeinheit, uncredited), Dr. Crippen an Bord (1942) as a court usher during the trial (Wachtmeister bei der Gerichtsverhandlung, uncredited), Liebe, Leidenschaft und Leid (1943), and Ein fröhliches Haus (1944).^[1] Post-war, his credits included Quartett zu fünft (1949) as the second watchmaster (2. Wachtmeister), So ein Affentheater (1953) as a policeman (Schutzmann), and Herr über Leben und Tod (1955).^[1] The following table presents a partial chronological selection of his verified acting credits: This selection is drawn from primary industry records; his full filmography includes many additional small and uncredited appearances across the specified periods.^[1][4]