Herb Andress

Herb Andress (born Herbert Andreas Greunz; 10 October 1935 – 6 March 2004) was an Austrian film and television actor known for his collaborations with director Rainer Werner Fassbinder, particularly in the television series Eight Hours Don't Make a Day and the feature film Lili Marleen. ^{[1] [2]} Born in Bad Goisern, Upper Austria, Andress pursued acting from an early age and began his professional career in France in 1957 before relocating to the United States in the late 1950s. ^{[3] [1]} There, he appeared in American television series such as Combat!, My Favorite Martian, and Burke's Law, as well as films including The Ghost in the Invisible Bikini, frequently typecast in German or Nazi roles. ^[3] In the late 1960s, he returned to Europe and established a long career in German-language film and television, working with prominent directors including Fassbinder across dozens of productions. ^{[3] [1]} He appeared in international projects such as Enemy Mine and continued acting into the early 2000s until his death from cancer in Grasbrunn near Munich. ^{[3] [4]}

Early life

Birth and early aspirations

Herb Andress was born Herbert Andreas Greunz on January 10, 1935, in Bad Goisern, Upper Austria. ^{[3] [1]} He grew up in Upper Austria and always intended to become an actor from an early age. ^[1]

Move to France and debut

In 1957, Herb Andress relocated from Austria to France in pursuit of an acting career.^[1] He made his film debut the following year with an uncredited bit part in the French production Chaque jour a son secret (1958), directed by Claude Boissol.^[1][5] This marked his initial entry into international cinema before his later career developments.^[1]

American career

Relocation to the United States

In 1961, Herb Andress relocated to the United States, initially settling in New York before later moving to San Francisco. ^[6] During this early period in America, he collaborated with Elena Williams in a nightclub performance act known as "The Magical Dolls," which they presented in Las Vegas and Los Angeles. ^{[6] [7]} This act served as one of his primary professional engagements upon arrival, marking his transition into the American entertainment scene before focusing on acting opportunities. ^[6]

Training and early roles

Herb Andress spent two years in an acting workshop at Columbia Pictures, where his teachers included Ida Lupino, Ralph Nelson, and Charlton Heston. ^[1] His earliest credited performances in the United States were billed under the name Herbert Andreas. ^[1] During this early period, he frequently appeared in German roles in the television series Combat!. ^[1]

Typecasting as German characters

During his time in the United States in the 1960s, Herb Andress was frequently typecast in stereotypical German roles, particularly as soldiers or Nazis in television and film productions. ^{[3] [1]} This pattern emerged prominently in the war drama series Combat!, where he appeared as German Lieutenant and German #2 across multiple episodes from 1964 to 1966, often portraying enemy officers in the classic World War II setting. ^[8] He also played a German Lieutenant (uncredited) in the 1966 comedy film What Did You Do in the War, Daddy?. ^[9] Other American credits during this period included appearances in My Favorite Martian (1965–1966) as Assistant and Mechanical Man, as well as an uncredited role as a statue in The Ghost in the Invisible Bikini (1966), though these parts did not necessarily align with the German stereotype. ^[8] Frustrated by the limited range of such typecasting, Andress relocated to Rome in 1968 to pursue more varied opportunities in international cinema. ^[1]

Return to Europe

Move to Rome and name change

In the late 1960s, after being typecast in stereotypical German and Nazi roles in American television series such as Combat! and films, Herb Andress relocated to Rome in 1968. ^{[3] [1]} This move marked a deliberate shift away from the limitations of his U.S. career, where he had performed under variations of his birth name Herbert Andreas Greunz, including Herbert Andreas. ^[1] In Rome, he adopted the professional name Herb Andress and began a second career in international films. ^[1] He eventually settled in Germany, where he continued working in European cinema. ^[1] Later, he collaborated with Rainer Werner Fassbinder. ^[3]

International films and career shift

Following his relocation to Rome in 1968 and adoption of the stage name Herb Andress, he pursued a second career in international film productions. ^[1] During this period of career transition from his earlier American work, he appeared in several European and co-production films. ^[1] He played the role of Mark, also credited as Coach, in the 1971 production Beware of a Holy Whore. ^[10] He also featured as Little Ivan in the 1972 Italian-West German exploitation film The Big Bust-Out. ^[11] Additionally, he portrayed an FBI Agent in the 1974 film Who?. ^[1] He had prominent roles in Rainer Werner Fassbinder projects during the same era. ^[1] These international credits marked his shift toward European-based cinema before his later focus on German television. ^[1]

Collaboration with Rainer Werner Fassbinder

Eight Hours Don't Make a Day

Herb Andress portrayed the character Rüdiger in Rainer Werner Fassbinder's television miniseries Eight Hours Don't Make a Day (Acht Stunden sind kein Tag), which was broadcast in five episodes from 1972 to 1973.^[12][13] The series follows the daily lives of working-class factory workers and their families in West Germany, centering on toolmaker Jochen and his efforts, alongside colleagues, to challenge management practices and secure better working conditions through collective organization.^[2] Andress appeared in all five episodes as Rüdiger, a fellow toolmaker in Jochen's unit who frequently acts in self-interest and opposes group solidarity, providing a contrasting perspective to the series' emphasis on mutual support among the workers.^[14] This role represented one of Andress's most significant early collaborations with Fassbinder, appearing in a work commissioned for public television that combined family drama with social commentary on labor issues and class relations.^[13] The miniseries achieved strong audience reception upon its original airing and has since been praised as an atypically optimistic entry in Fassbinder's oeuvre, with an IMDb user rating of 8.3/10.^[12][15]

Lili Marleen

Andress continued his collaboration with Rainer Werner Fassbinder in the 1981 feature film Lili Marleen, where he portrayed the character Reintgen.^[16] The film stars Hanna Schygulla as a German cabaret singer who rises to fame performing the titular song in wartime Switzerland while navigating a forbidden love affair with a Jewish composer played by Giancarlo Giannini.^[17] Set against the backdrop of World War II and Nazi propaganda efforts, Lili Marleen examines themes of fame, love, and political manipulation in Fassbinder's distinctive melodramatic style.^[17] Andress's role as Reintgen, a figure connected to German broadcasting and propaganda, represented his final on-screen work with Fassbinder before the director's death in 1982.^[16] This collaboration built on their earlier television project Eight Hours Don't Make a Day and solidified Andress's association with the New German Cinema movement through Fassbinder's influential productions.^[16] No additional joint projects between Andress and Fassbinder are documented beyond these two works.^[16]

Later career

German television series

In his later career, Herb Andress became a familiar face in German television through guest roles in popular crime and procedural series. He frequently portrayed authoritative or complex characters in long-running formats that emphasized investigative drama and character-driven stories. ^[18] Andress appeared in multiple episodes of SOKO München between 1999 and 2004, taking on the role of Dr. Johannes Bartenheimer in one installment and Steiner in another. ^[1] These appearances reflected his continued presence in Munich-based police procedurals, where he often played professional or enigmatic figures. ^[18] He also featured in Polizeiruf 110 as Richter in a 2000 episode, contributing to the series' tradition of diverse guest performers in East German-origin crime stories. ^[18] In Tatort, Andress made several guest appearances across different eras. ^[18] These roles underscored a pattern of guest spots in high-profile German series, allowing him to sustain an active television presence in his later years. ^[18]

Final film and TV roles

In the mid-1980s, Herb Andress appeared in the American feature film Enemy Mine (1985), playing the character Hopper in the science fiction drama. ^[8] After focusing primarily on German television for much of the intervening period, his final feature film roles came in 2003 with Gunter in the biographical historical drama Luther and Juri Roos in the thriller Baltic Storm. ^[8] His last credited performance was in the television movie So fühlt sich Liebe an (2004), where he portrayed the Verleger (publisher). ^[8] Andress's screen work concluded in 2004, including occasional appearances in German television series alongside these final one-off roles. ^[8]

Death

Illness and passing

Herb Andress died on April 8, 2004, at the age of 69 in his home in Grasbrunn, a suburb of Munich, Germany, after a prolonged battle with cancer. ^{[19] [20]} He had fought bladder cancer for two years prior to his death. ^[21] In the days leading up to his passing, Andress contacted close friends to say goodbye, expressing a sense of peace and even anticipation for what lay ahead, stating in a weakened voice that he was "at peace with myself and the universe" and felt "a kind of anticipation for another life." ^[21] His partner later recalled that he remained full of zest for life until the very end and continued to share that positivity with those around him. ^[21]

Legacy

Andress's legacy rests primarily on his collaborations with Rainer Werner Fassbinder. These roles, including his performance as Rüdiger in the television series Eight Hours Don't Make a Day (1972–1973), exemplified his ability to portray complex, everyday characters within Fassbinder's distinctive style. ^[1] He reflected on his disillusionment with the American film industry in the statement: "Hollywood is all magic - until you start working there...." ^[22]