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Curt Goetz
Curt Goetz
Curt Goetz
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Curt Goetz (German: [kʊʁt ɡœt͡s] ⓘ; 17 November 1888 – 12 September 1960), born Kurt Walter Götz, was a Swiss German writer, actor and film director. He was regarded[by whom?] as one of the most brilliant German comedy writers of his time. With his wife Valérie von Martens, he acted in his own plays and also filmed them. He was a distant relative of Irish writer George Bernard Shaw, to whom he was often compared.[by whom?]

Key Information

Life and work

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Curt Goetz with Leopoldine Konstantin (1917)

Goetz was born in Mainz, Germany the son of Swiss wine examiner Bernhard Götz and his German wife of Italian-French descent, Selma (born Rocco). His father died in 1890. Two-year-old Curt and his mother then moved to Halle, Saxony-Anhalt, where she managed a private clinic.

In 1906 Goetz graduated from City High School in Halle,[1] where he played Franz Moor in The Robbers by Schiller.

His mother remarried, and his stepfather encouraged and financed Goetz's first steps in the theatre.[2] He studied acting under Berlin's Emanuel Reicher. In 1907 he made his stage debut at the Stadttheater in Rostock, and wrote his first sketches for the stage. He played at theatres in Nuremberg, then went to Berlin.[3] In 1912 he played the lead in the silent movie Black Blood, directed by Harry Piel.

In 1914 he married Erna Nitter; they divorced in 1917. He continued acting in silent movies, mainly comedies such as Ich möchte kein Mann sein (I Don't Want To Be A Man, 1918), directed by Ernst Lubitsch. One of his colleagues from that time was actor Max Landa.

In 1923 he married Valérie von Martens in Berlin, whom he met while acting in Vienna, and they toured together, acting in his own productions.

Statue of Curt Goetz in Halle, by Michael Weihe

In 1939 he went to Hollywood to study filmmaking, and decided to remain there, with Valérie, when war broke out. He worked with director Reinhold Schunzel and others, and several of his comedies become films. He was signed by MGM [4] and worked on a number of film scripts. He and Valérie bought a farm in Van Nuys, California, where they successfully bred chickens.[5]

In California, Goetz drafted his tale Tatjana and a new version of his Hokuspokus. He also reworked an older play into The House in Montevideo, which he successfully produced in Broadway's Playhouse Theatre in 1945.

The Goetzes returned to Europe in 1945, living in Switzerland by Lake Thun (Goetz had Swiss nationality from birth), where he wrote some successful novels. They later moved to Liechtenstein.

Goetz died in Grabs, St. Gallen, on 12 September 1960.

Works (originally published in German)

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Plays

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Curt Goetz' and his wife's grave

Novels

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  • Tatjana (1944)
  • Die Tote von Beverly Hills (1951)

Autobiography

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  • Die Memoiren des Peterhans von Binningen (Memoirs Vol. 1, 1960)
  • Die Verwandlung des Peterhans von Binningen (Memoirs Vol. 2)
  • Wir wandern, wir wandern ... (Memoirs Vol. 3, Reminiscences of Valérie von Martens, 1963)

Other works

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Filmography

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Screenplays

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Directing

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Acting

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Curt Goetz

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from Grokipedia
Curt Goetz is a Swiss-German playwright, actor, and film director renowned for his sophisticated boulevard comedies that satirized bourgeois double standards with finely honed wit. Regarded as one of the most brilliant comedy writers in the German-speaking world during his era, he created works that blended sharp social observation with lighthearted entertainment, many of which he also performed in alongside his wife and frequent collaborator Valérie von Martens. Born Kurt Walter Götz on November 17, 1888, in Mainz, Germany, Goetz made his stage debut in 1907 at the Stadttheater Rostock and began writing plays around 1911, quickly establishing himself in the theater world. His breakthrough came with the 1925 crime comedy Hokuspokus, which became one of his signature works and was later adapted for film multiple times. In the 1920s, he founded his own production company and directed the biographical film Friedrich Schiller – Eine Dichterjugend (1923), though he largely shifted focus to theater before returning to screenwriting and directing in the 1930s with titles such as Napoleon ist an allem schuld (1938). In 1939, Goetz emigrated to the United States with Valérie von Martens to escape the political climate in Germany, briefly working in Hollywood for MGM and declining a long-term contract before operating a chicken farm in California while continuing to write plays and a novel, Die Tote von Beverly Hills. He returned to Europe in 1946 and settled permanently in Switzerland, where he enjoyed renewed success through postwar film adaptations of his plays, including Dr. med. Hiob Prätorius (1949) and Das Haus in Montevideo (1951). These adaptations, along with his earlier successes, cemented his legacy until his death on September 12, 1960, in Grabs, Switzerland.

Early life

Birth and family background

Curt Goetz was born Kurt Walter Götz on November 17, 1888, in Mainz, German Empire. He was the son of Swiss merchant Bernhard Götz and his wife Selma Rocco, who was of German-Italian descent. His father died in 1890. The following year, his mother relocated with the two-year-old Curt to Halle (Saale), her hometown, where she ran a private clinic. Goetz held Swiss nationality from birth due to his father's heritage.

Education and early acting

Goetz graduated from the Gymnasium in Halle around 1906. He subsequently trained as an actor under Emanuel Reicher in Berlin. In 1907, Goetz made his professional stage debut at the Stadttheater Rostock. During his period in Rostock, he wrote his first sketches for the stage. He later acted in theaters in Nuremberg and Berlin. In 1912, Goetz married Erna Nitter; the marriage ended in divorce in 1917. He appeared in his early silent film lead role in Black Blood in 1912.

Theater career

Early plays and stage work

Curt Goetz's early dramatic output focused predominantly on one-act plays, which stood at the center of his writing career before he transitioned to full-length comedies. These short-form works drew on his practical experience as an actor, enabling him to craft sharp dialogue and effective dramatic structures suited to the intimate settings of Berlin's theaters. He remained active as a performer during this period, appearing in his own pieces as well as those by other authors at venues such as the Lessingtheater and Deutsches Künstlertheater. His first play, the comedy Der Lampenschirm, dates to 1911. This early effort was followed by collections of one-act plays that established his reputation for witty, satirical grotesques. In 1918/1919, he presented Nachtbeleuchtung, a cycle of five one-act pieces: Nachtbeleuchtung, Lohengrin, Tobby, Der fliegende Geheimrat, and Minna Magdalena. The following year, 1919, saw the release of Menagerie, comprising four one-act exercises: Der Spatz vom Dache, Die Taube in der Hand, Der Hund im Hirn, and Der Hahn im Korb. In 1924, Goetz completed Die tote Tante und andere Begebenheiten, a collection of three one-act plays: Die tote Tante, Das Märchen, and Der Mörder. These one-act collections exemplified Goetz's formative style, emphasizing concise comedic situations, ironic twists, and conversational flair within the constraints of the short form.

Major comedies and peak success

Curt Goetz achieved his greatest success as a playwright during the mid-1920s and 1930s, establishing himself as one of the leading exponents of elevated German boulevard comedy through a series of witty, well-constructed full-length plays that emphasized sophisticated dialogue, sharp repartee, and elegant entertainment free of political content. Often regarded as one of the most brilliant German comedy writers of his time, he was frequently compared to George Bernard Shaw, to whom he was distantly related, though his style drew more directly from the traditions of polished conversational theater and light satire. His breakthrough came with Ingeborg (1922), his first major full-length comedy, which signaled his shift from shorter pieces to more ambitious stage works. This was followed by Hokuspokus (1926, revised 1953), which marked his largest popular triumph, achieving thousands of performances across German theaters and becoming a staple of the boulevard repertoire through its clever construction and humorous exploration of truth and deception. Der Lügner und die Nonne (1928) continued this success with its playful treatment of morality and identity, while Frauenarzt Dr. med. Hiob Prätorius (1934, revised 1953) further cemented his standing by blending medical satire with elegant farce. Goetz often wrote starring roles for himself and his wife Valérie von Martens, enabling highly successful joint tours that amplified the plays' popularity among middle-class audiences seeking sophisticated yet accessible amusement. His apolitical approach, focused on witty, improbable situations and brilliant verbal exchanges, defined the peak of his theatrical career before the disruptions of the late 1930s.

Film career

Silent era acting

Curt Goetz began his screen career during the silent era, making his film debut as an actor in the lead role in Schwarzes Blut (Black Blood) in 1912. This short drama, directed by Harry Piel, featured him in a story about an Asian man seeking revenge in Germany. Over the next decade, Goetz appeared in numerous silent films between 1912 and 1923, contributing to German cinema during its formative years. His work as an actor in this period included roles in various dramas and other productions typical of the era's output. These early screen appearances established Goetz's presence in film before his later career developments in other capacities.

Directing and adaptations in the sound era

Curt Goetz made his mark as a director in the sound era primarily through adaptations of his own successful stage comedies, in which he frequently took on multiple roles as director, screenwriter, and lead actor. His early directing credit came with Friedrich Schiller (1923), a biographical film about the poet. In the late 1930s, he directed Napoleon ist an allem schuld (1938), a satirical comedy where he also served as screenwriter and starred as Lord Arthur Cavershoot. During the 1930s, Goetz also contributed screenplays and dialogue to films directed by others, including Glückskinder (1936), Les gais lurons (1936), Sieben Ohrfeigen (1937), and Land der Liebe (1937). His play Hokuspokus was adapted into the 1930 film of the same name directed by Gustav Ucicky. After the war, Goetz resumed filmmaking in West Germany with Doctor Praetorius (1950), co-directed with Karl Peter Gillmann and based on his own play Dr. med. Hiob Prätorius, in which he starred as the title character Dr. Hiob Prätorius. The following year, he co-directed Das Haus in Montevideo (1951) with his wife Valérie von Martens, adapting his own play of the same name and appearing as Professor Traugott Nägler. ) His play Dr. med. Hiob Prätorius also served as the basis for the Hollywood adaptation People Will Talk (1951), directed by Joseph L. Mankiewicz.

Personal life

Marriages and partnership with Valérie von Martens

Curt Goetz's first marriage was to Erna Nitter in 1912, which ended in divorce in 1917. He met actress Valérie von Martens in 1922 while performing in Vienna. They married on 20 December 1923 in Berlin, beginning a lifelong personal and professional partnership that lasted until his death in 1960. Von Martens became Goetz's frequent stage partner, appearing with him in his own plays and accompanying him on tours of his productions. The couple collaborated extensively in film as well, co-starring in adaptations of his works and sharing directing duties on occasion. Notable joint film projects included Napoleon ist an allem schuld (1938), Das Haus in Montevideo (1951)—which they co-directed and in which they played the lead roles—and Hocuspocus (1953). Their professional synergy was characterized by complementary roles on stage and screen, with von Martens often featured in pieces written or directed by Goetz.

Exile in Hollywood

Emigration and wartime activities

In 1939, Curt Goetz emigrated from Europe to the United States, sailing for New York before relocating to Hollywood to study filmmaking. Due to his apolitical stance during the Third Reich and Switzerland's neutrality—where he resided during the Nazi era—Nazi authorities did not interpret his departure as defection, allowing productions of his plays to continue in Germany even after he left. Goetz remained in the United States throughout World War II. He briefly worked for MGM, contributing to scripts including for Two-Faced Woman (1941), but declined a five-year contract offer. Together with his wife Valérie von Martens, Goetz purchased a chicken farm in Van Nuys, California, and successfully bred chickens as a side venture during their wartime exile.

Post-war career and later years

Return to Europe and final works

In 1946, Curt Goetz and his wife Valérie von Martens returned to Europe after their wartime exile in the United States, taking up residence in Switzerland by Lake Thun, where Goetz held Swiss citizenship by birth. They later relocated to Liechtenstein. During this post-war period, Goetz continued his prolific output across multiple genres. He completed the comedy play Das Haus in Montevideo in 1945, which was subsequently adapted into a successful film version in 1951 starring himself and von Martens. His novels from this era included Tatjana, published in 1946, and Die Tote von Beverly Hills in 1951. Goetz also revisited earlier material, revising his play Hokuspokus in 1953 for a new film adaptation in which he starred, and published the collection Miniaturen in 1958. Toward the end of his life, Goetz turned to autobiographical writing with the publication of the first volume of his memoirs, Die Memoiren des Peterhans von Binningen, in 1960; additional volumes appeared posthumously.

Death

Final years and legacy

Curt Goetz spent his final years in Switzerland, where he died on September 12, 1960, in Grabs, St. Gallen, at the age of 71. He is regarded as one of the most brilliant German-language comedy writers of the 20th century, particularly celebrated for his sophisticated boulevard comedies that combined sharp wit, elegant dialogue, and keen social observation. Following his death, posthumous publications included the collection Seifenblasen in 1962 and memoirs by his wife Valérie von Martens in 1963, which helped preserve and document his life and creative process. Goetz's legacy endures through the continued performance and appreciation of his plays in German-speaking theater, where his mastery of light yet incisive comedy remains influential.
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