Else Reval

''Else Reval'' is a German actress known for her extensive career as a supporting player in German cinema and theater, spanning more than forty years from the silent film era to the early 1960s. ^[1] Originally trained as a ballerina, she made her stage debut with the Deutsche Oper in 1907 before transitioning to acting around 1914, where she established herself as a comedienne in Berlin theaters and early silent films. ^[1] With the arrival of sound films, Reval became particularly successful in comic supporting roles, frequently cast as jovial cooks, gossips, chatty wives, or other hearty "fat lady" characters that capitalized on her distinctive presence. ^[1] The 1930s represented the peak of her productivity, though she continued working steadily through World War II and into the postwar years, appearing in notable films such as Hochzeit auf dem Bärenhof (1942) and Eine kleine Sommermelodie (1944). ^[1] She remained a popular character actress until her retirement following roles in Die Nashörner (1961) and Hafenpolizei (1962). ^[1] Born Else Langer in Berlin in 1893, she passed away in West Berlin in 1978. ^[2]

Early Life and Training

Birth and Youth

Else Reval was born Else Langer on June 14, 1893, in Berlin, German Empire. ^{[2] [3]} Berlin remained her place of origin throughout her early years, though detailed accounts of her childhood and adolescence are limited in historical records. ^[2]

Ballet Training and Transition to Acting

Else Reval was trained as a ballerina before embarking on her professional performing career.^[1] She made her first stage appearance dancing with the Deutsche Oper in 1907.^[1] By 1914, Reval had switched to acting.^[1] This transition marked her shift from dance to spoken roles, where she began working regularly as a comedienne in Berlin theatres.^[1]

Stage Career

Early Stage Work in Berlin

In 1914, Else Reval returned to Berlin and transitioned from her earlier work as a dancer to acting, where she worked regularly as a comedienne in various Berlin theaters. ^[1] This period established her presence on the stage in the German capital, focusing on comedic performances amid the vibrant theater scene of the time. ^[1] Her stage engagements continued concurrently with her initial foray into silent films around 1919, though her primary activity during these early years remained rooted in Berlin's theatrical world. ^[1]

Film Career

Silent Film Era (1919–1930)

Else Reval began her screen career in the silent film era, making her debut in 1919 while continuing her established work as a comedienne on Berlin stages. ^[2] She appeared in silent movies during the late 1910s and 1920s, contributing to German cinema as a supporting player in various productions. ^[2] Her involvement in films grew notably in the mid-to-late 1920s, where she became a frequently cast character actress in German features, often taking on small but memorable supporting roles in comedies, dramas, and light entertainment pictures of the period. ^[4] This prolific activity in the silent era helped establish her as a reliable presence in the German film industry before the transition to sound. ^[4] Her silent film credits include early works such as Diskretion (1919) and Das Caviar-Mäuschen (1919), followed by a steady stream of appearances through 1930 in titles like Krieg im Frieden (1925), Die Welt will belogen sein (1926), and Der falsche Prinz (1927). ^[4] These roles typically featured her in character parts, setting the pattern for her later typecasting in sound films. ^[2]

Sound Film Breakthrough and 1930s Peak

With the introduction of sound films in Germany, Else Reval successfully transitioned from her silent era work and saw her career blossom in the new medium. ^[1] She became a highly sought-after supporting actress, popularly typecast in comedic roles as jovial cooks, gossips, chatty wives, or assorted "fat ladies," which capitalized on her expressive presence and timing honed from years in Berlin theater. ^[1] The 1930s represented the peak and busiest decade of her career, during which she appeared in a substantial number of productions, often in characteristic supporting parts that made her a recognizable figure in German cinema of the era. ^[1] Representative films from this period include Er und sein Diener (1931), where she contributed to the comedic ensemble, and Ein Mann will nach Deutschland (1934), showcasing her in line with her established role types. ^[2] Her prolific output in the sound film era solidified her status as a reliable character performer before the challenges of the wartime years shifted the industry's landscape. ^[1]

Wartime and Immediate Postwar Period (1939–1950)

With the outbreak of World War II in 1939, Else Reval continued working in the German film industry, which operated under the control of the Nazi regime and focused on entertainment and propaganda productions. ^[2] She appeared in several films during the war years, typically in supporting character roles that suited her established screen persona. ^[2] Her wartime credits include roles in Hochzeit auf dem Bärenhof (1942) and Eine kleine Sommermelodie (1944). ^[1] The end of the war in 1945 brought a near-total halt to film production in Germany due to the destruction of studios, shortages of materials, and denazification processes. Reval, like many actors of her generation, faced a difficult transition but resumed her career in West Germany as the industry slowly revived under Allied supervision. ^[2] Her first postwar film appearance was in the 1949 comedy Sag die Wahrheit, directed by Helmut Weiss, which marked an early effort to produce light entertainment in the newly established Federal Republic. ^[2] By 1950 her activity remained limited compared to her prewar and wartime output, reflecting the broader challenges of rebuilding the German film sector.

Later Career and Retirement (1950–1966)

After World War II, Else Reval continued her career as a supporting actress in West German cinema, taking on character roles in a variety of light entertainment films, comedies, and Heimatfilme throughout the 1950s. ^[2] She appeared in productions such as Grün ist die Heide (1951), Emil und die Detektive (1954), Der Hauptmann und sein Held (1955), Das haut hin (1957), and Der Greifer (1958), typically cast in small but memorable parts that drew on her established comic timing and presence. ^[2] Her screen activity gradually declined in the late 1950s and early 1960s, coinciding with a shift toward other engagements. ^[1] Her final film appearances came in Die Nashörner (1961) and Hafenpolizei (1962). ^[1] Reval retired from the film business in the early 1960s after a career that spanned approximately 40 years and included over 160 film roles. ^[1]

Television Appearances

Roles in Television Productions

Else Reval made limited but notable appearances in German television during the 1960s, marking a brief extension of her long acting career into the emerging medium. ^[2] In 1961, she appeared as Frau Ochs in the TV movie Die Nashörner. ^[2] She guest-starred in the crime drama series Hafenpolizei, portraying Oma Mine Batters in the 1963 episode "Licht im Wasser". ^{[5] [2]} In 1966, she appeared as Frau Stramka in two episodes of the television series Das Millionending. ^{[6] [2]} These roles are her last known screen credits. ^[2]

Death

Final Years and Passing

In her later years, Else Reval continued acting into the mid-1960s, with her last credits in television productions in 1966, before withdrawing from public life after a long career in film and stage.^[7] She died on January 25, 1978, in West Berlin, West Germany, at the age of 84.^[2][8][9]

Legacy

Else Reval is remembered as one of the most prolific supporting actresses in German cinema history, with a career spanning more than four decades and encompassing over 160 credits in film and television from the late silent era through the postwar period. ^{[2] [10]} She specialized in comedic character roles, often cast as jovial cooks, gossipy neighbors, chatty wives, resolute landladies, or other humorous and folksy supporting figures that added levity to light entertainment, revue, homeland, and comedy films across multiple decades. ^{[1] [10]} Her extensive body of work provided a consistent presence in popular German filmmaking and television, bridging the Weimar Republic, the Nazi era, and the postwar years in West Germany, where she continued to appear regularly in genre productions until the mid-1960s. ^[10] Despite this longevity and productivity, detailed primary sources on her personal life remain scarce, and no major awards or formal recognitions are documented in standard filmographies or biographical accounts. ^{[1] [10]} Information on her early stage work in Berlin and her precise contributions to silent films is also limited, with notable gaps in documentation that highlight the need for additional archival research to more fully assess her overall impact on German entertainment cinema. ^[10]