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Karl Dall
Karl Dall
Karl Dall
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Karl Bernhard Dall (German: [kaʁl ˈdal] ⓘ, 1 February 1941 – 23 November 2020) was a German comedian, singer, and television presenter. His distinctive 'hanging' eye was caused by a congenital ptosis.

Key Information

Family

[edit]

Karl Dall was born in Emden, the son of a school rector and a teacher. Karl Dall had two sisters and a brother. He lived in Hamburg-Eppendorf. Dall married his wife Barbara in 1971. They had one daughter, Janina, who works as a stuntwoman in Canada.[1]

Career

[edit]

Karl Dall left school after the 10th grade and accomplished an apprenticeship as a typesetter in a print shop in the town of Leer, East Frisia.

Together with Ingo Insterburg, Jürgen Barz and Peter Ehlebracht, he founded in 1967 the comedy group Insterburg & Co. [de] of which he was a member until it ceased to exist in the 1970s. Moreover, he created the TV show Musikladen for Radio Bremen and had since then worked for television broadcasters.

From 1983 until 1990, Dall used to appear in the hidden camera comedy show Verstehen Sie Spaß?, playing for example a chaotic film presenter or a telephone prankster.

In the German radio broadcast of Radio Luxemburg (RTL), he presented his own comedy show and was also among the first TV presenters of television channel RTLplus. There, he had his own talkshow named Dall-As which was aired from 19 January 1985 until the end of 1991.[2] The concept was to irritate and provoke the guests. On 4 January 1992, he continued this show at the rivalling television channel Sat.1 as Jux und Dallerei.

From 1991 until 1993, Dall presented the game show Koffer Hoffer on television channel Tele 5. In this show, lost luggage, of which the owner could not be identified anymore, was auctioned to the candidates. Later, he was member of the initial ensemble of the comedy show 7 Tage, 7 Köpfe. The spontaneous Dall left the show after a few years due to differences of opinion with Rudi Carrell who always scheduled his shows meticulously.

In September 2006, Dall's autobiography Auge zu und durch was published.

On 23 October 2020, precisely a month before his untimely death, Dall evaluated his participation as the lead in the upcoming theater-farce WIN=WIN about social distancing during the COVID-19 pandemic. According to its author-producer Roger Steinmann, he seemed fit and eager, "having read the entire play within five hours".[3]

Dall died on 23 November 2020, having suffered a stroke twelve days earlier.[4]

Filmography

[edit]

Awards

[edit]

References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Karl Dall

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from Grokipedia
Karl Dall was a German comedian, singer, actor, and television presenter known for his deliberately crude, embarrassing, and politically incorrect "Blödel" humor that pushed boundaries in post-war German entertainment. He gained national recognition as a founding member of the comedy and music group Insterburg & Co. in the late 1960s, where he contributed to absurd songs and nonsense performances that stood out in a politically serious era. Following the group's split, Dall built a lasting solo career with novelty hits, stage programs, and provocative television formats, establishing himself as a polarizing yet enduring figure in German media for over five decades. Dall's television breakthrough came in the 1980s as a prank caller and sidekick on Verstehen Sie Spaß?, where he appeared alongside hosts Kurt and Paola Felix. He later hosted the confrontational late-night talk show Dall-As on RTL, notorious for its chaotic style, sharp guest interactions, and frequent boundary-pushing, which continued in formats like Jux und Dallerei on Sat.1. Throughout his career, he also acted in films such as Quartett im Bett and Sunshine Reggae auf Ibiza, contributed to series including Notruf Hafenkante, and made guest appearances across major German entertainment programs. Born Karl Bernhard Dall on 1 February 1941 in Emden, East Frisia, he developed his distinctive comedic style early on and remained active until his death on 23 November 2020 at age 79, following a stroke sustained while filming the telenovela Rote Rosen.

Early life

Family background and youth

Karl Bernhard Dall was born on 1 February 1941 in Emden, Lower Saxony, Germany. He was the youngest of four children, born to a school rector as father and a teacher as mother, with two sisters and one brother named Otto Dall, who later became a professor of technology didactics at the Technical University of Dortmund. Shortly after his birth, the family was evacuated to Hesse due to Allied bombing raids targeting Emden during World War II. The evacuation to Bensheim an der Bergstraße occurred amid the war's dangers to the region. Following the end of the war in 1945, the family resettled in the Gehlbergen area near Bremen, where Dall spent his early post-war childhood. From 1948, he attended the primary school in the neighboring village of Wöpse, a one-classroom village school serving multiple grades. In 1950, the family moved to Leer in East Frisia, closer to their original home region of Emden. Dall was born with congenital ptosis, causing his distinctive drooping right eyelid, which marked his appearance from infancy.

Education and early employment

Karl Dall left the Mittelschule in Brinkum after the 10th grade in 1959. Classmates recalled that orderly lessons were hardly possible with him present, as he frequently disrupted class from the 8th grade onward. Although he initially aspired to become a photographer or cameraman, he instead completed an apprenticeship as a typesetter (Schriftsetzer) at the Ostfriesenzeitung in Leer, finishing in 1962. In 1963 he moved to Berlin, continuing in his trained profession as a typesetter until 1968. Alongside his typesetting work, he took employment as a stagehand (Kulissenschieber) and accepted roles as a film extra (Komparse). His first small public appearances occurred in pubs in the Kreuzberg district. In 1965 he appeared as an uncredited extra in a saloon scene of the film Winnetou 1. Teil, playing a saloon visitor.

Insterburg & Co.

Formation and group activities

Insterburg & Co. was co-founded in 1967 by Karl Dall together with Ingo Insterburg, Jürgen Barz, and Peter Ehlebracht, when the four presented their first joint program titled Musikalisches Gerümpel at the Reichskabarett in Berlin. The group had previously gained early stage experience individually in Berlin's student bars alongside contemporaries such as Reinhard Mey and Ulrich Roski. Their activities centered on a mix of comical musical pieces and spontaneous sketches, often incorporating unconventional instruments built by Ingo Insterburg from everyday objects. The quartet built their reputation through extensive live performances that regularly filled large halls during the late 1960s and 1970s, complemented by frequent television exposure as regular guests on programs such as Radio Bremen's Musikladen and Hans Rosenthal's Dalli Dalli. The group remained active in its original lineup until disbanding at the end of the 1970s, with their final performance occurring in spring 1979 (the last without Peter Ehlebracht). Karl Dall stayed with Insterburg & Co. throughout its existence until the dissolution.

Music and comedy output

Insterburg & Co. specialized in "Blödel-Schlager," a genre of nonsense comedy schlager featuring absurd, humorous lyrics and a deliberately amateurish, satirical style. Karl Dall typically spoke his parts rather than singing them, which amplified the group's comedic effect and set their output apart from conventional schlager acts. Their material blended comic songs with spontaneous sketches, creating a distinctive mix of music and verbal humor that resonated in the German entertainment landscape of the 1970s. The group's most prominent chart success came with "Ich liebte ein Mädchen," which peaked at number 8 on the German singles chart in 1974 and spent 18 weeks in the rankings. They followed with "Diese Scheibe ist ein Hit," which reached number 42 in 1975. These tracks exemplified their self-referential, tongue-in-cheek approach to pop music. Insterburg & Co. regularly appeared on Musikladen specials produced by Radio Bremen, where they performed their blend of comedy and music live. Later, Karl Dall scored a solo hit with "Millionen Frauen lieben mich, doch meine Frau erkennt das nicht!," which peaked at number 30 on the German charts in 1988 and charted for seven weeks.

Television career

Early contributions and Musikladen

Karl Dall gained early television exposure through his involvement with the pop music series Musikladen, produced by Radio Bremen. The program launched in 1972 as the successor to the long-running Beat-Club series. Musikladen provided a platform for Dall's comedy group Insterburg & Co. to perform regularly during its early years, featuring their distinctive blend of music and humor that helped elevate the quartet's national recognition on German television. These appearances marked a key phase in the group's visibility before Dall pursued solo endeavors later in the decade. In 1979, Dall took on a recurring comedic role in the WDR production Plattenküche, portraying the cantine cook Karl Toffel in multiple sketches throughout the year. This marked one of his notable pre-1980s television appearances outside the Musikladen format.

Prank and hidden-camera appearances

Karl Dall became widely known in the 1980s for his contributions to prank and hidden-camera formats, particularly as a regular performer on the ARD show Verstehen Sie Spaß? from 1983 to 1990. In the series hosted by Kurt Felix and Paola Felix, he portrayed characters including a chaotic film projectionist who disrupted playback and screenings, as well as a prank caller who conducted telephone tricks on unsuspecting participants. His role as a Spaßvogel and Telefonschreck involved tricking victims in hidden-camera setups and phone-based pranks, making him a central comedic element alongside the show's core team. He also developed nonsense-style interviews in the regional program Brettl-Talk on Südwest 3, featuring unusual and absurd conversations in a talk-show-like setting. Additionally, Dall moderated a Blödelshow on Radio Luxemburg's German-language service, delivering silly and irreverent humor typical of prank-oriented radio entertainment. This provocative approach in prank formats foreshadowed his later work in more confrontational television hosting.

Talk show hosting

Karl Dall's talk show career began with Dall-As on RTLplus (later renamed RTL), which premiered on 19 January 1985 and ran until 1991 with 182 episodes. The program was Germany's first late-night talk show on private television and was deliberately provocative, featuring Dall's aggressive and irritating humor as he insulted guests, asked indiscreet questions, ridiculed promotional appearances, and aimed to unsettle participants with mocking or distorted comments. Episodes were recorded bi-weekly in various hotels and broadcast on Saturday evenings at 22:00, with the format parodying the American series Dallas through its title, theme music, and opening credits. A prominent controversy arose in 1986 when singer Roland Kaiser angrily walked out after Dall sarcastically urged him to sing "so we can get it over with." Dall also served as the uncredited executive producer of the show. Following the end of Dall-As, Dall launched a successor program, Jux und Dallerei, on Sat.1 starting 4 January 1992 and running until 1994 with 79 episodes. The show continued the same unconventional, provocative interview style with prominent guests, leading RTL to file a lawsuit alleging excessive similarity to Dall-As; although a preliminary injunction forced a temporary rename to Karl Dall Show, RTL ultimately lost the case and the original title was restored. Like its predecessor, it aired bi-weekly on Saturday evenings at 22:00. In later years, Dall returned to RTL with Karls Kneipe in 1997, a short-lived pub-themed talk show that attempted to revive his earlier "mean" approach but was discontinued after limited success. He followed this with Die Karl Dall-Show, which aired from 1999 to 2000 with 26 episodes beginning 2 July 1999. The weekly comedy talk show featured prominent guests subjected to Dall's tactless, offensive, and provocative commentary, initially in a Friday late-night slot before shifting to Saturdays with extended runtime in its second season.

Game shows and later formats

Karl Dall hosted the game show Koffer Hoffer on Tele 5 from 1991 to 1993. In the following years, he joined the original ensemble of the satirical panel show 7 Tage, 7 Köpfe on RTL in 1996, where he contributed his characteristic spontaneous and improvisational humor to the weekly retrospective of events. He left the program after two years in 1997 due to creative differences with Rudi Carrell, whose meticulous preparation style clashed with Dall's more unscripted approach. From 2003 to 2004, Dall presented Weißt du noch? Das Retro-Quiz on Kabel 1, an hour-long panel quiz centered on nostalgic trivia, objects, and events from the 1950s through the 1990s, with fixed team members Jenny Elvers and Dieter Kürten alongside rotating guests. The format emphasized anecdotes and shared memories over competitive scoring. In his later years, Dall toured with the live program Der alte Mann will noch mehr from May 2015 to October 2016, a retrospective stage show drawing from across his decades-long career in comedy and entertainment. In 2016, he also appeared as guide, moderator, and commentator in the Tele 5 documentary series Old Guys on Tour, which followed four veteran entertainers on a multi-week pilgrimage along the Jakobsweg over 12 episodes.

Acting career

Early roles and extras

Karl Dall's acting career began with uncredited extra roles in the popular Karl May Western film adaptations of the early 1960s. He appeared as a saloon extra in Der Schatz im Silbersee (Treasure of Silver Lake, 1962), as part of the saloon cast in Winnetou 1. Teil (Apache Gold, 1963), and as a man in the saloon in Freddy in the Wild West (1964). These minor background appearances marked his initial foray into film while he was still establishing himself in comedy and music. In 1967, Dall received his first credited role, playing a pimp in the comedy Pension Clausewitz (also known as Hotel Clausewitz). The following year, he appeared as himself in Quartett im Bett (1968) alongside his group Insterburg & Co., blending his emerging music-comedy career with on-screen work. During the 1970s, Dall took on small supporting parts in feature films, including Sportsfreund in the sex comedy Der Bettenstudent oder: Was mach' ich mit den Mädchen? (Student of the Bedroom, 1970) and Karl Napp in Chapeau claque (1974).

1980s comedy films

In the 1980s, Karl Dall expanded his career into feature films, appearing in several low-budget German comedy productions that typified the era's popular mix of slapstick humor, holiday settings, and mild erotic elements. These roles built on his comedic persona and distinctive appearance, allowing him to play exaggerated, often naive or eccentric characters in films aimed at mainstream audiences seeking light entertainment. Dall took a leading role in the 1983 comedy Sunshine Reggae auf Ibiza, directed by Franz Marischka, where he portrayed Karl, a simple farmer from northern Germany who travels to the island to meet his pop idol and becomes involved in a case of mistaken identity with a wealthy look-alike named Exzellenz Gobrukin. The film combined summer vacation vibes, romantic misunderstandings, and broad humor, with Dall's performance contributing to its status as a nostalgic example of 1980s German "trash" cinema. In the same year, he appeared in Gib Gas – Ich will Spaß, directed by Wolfgang Büld, playing a truck driver in this youth comedy centered on new wave music and teenage rebellion, featuring performances by artists like Nena and Markus. He also featured in Das verrückte Strandhotel (released in some markets as Dirndljagd am Kilimandscharo), another 1983 comedy involving chaotic antics among German tourists at an African vacation hotel. Dall continued with supporting and character roles in similar genre films, including Ein irres Feeling (1984), Drei und eine halbe Portion (1985), and Starke Zeiten (1988), all of which showcased the prolific output of light-hearted, often formulaic comedies in West Germany during the decade. These appearances marked a phase where Dall's television and stage experience translated effectively to cinematic comedic parts, though the films generally received modest critical attention.

Later guest and supporting roles

In the later stages of his career, Karl Dall primarily took on guest and supporting roles in German television series and films, moving away from leading parts in comedy films during the 1980s. He appeared as Räuber Grabsch in the 1999 film Hans im Glück. In 2003, he played Mann mit Erfahrung (Im Café) in the feature film In Search of an Impotent Man. Dall guest-starred as König Theoderich in one episode of the anthology comedy series Die ProSieben Märchenstunde in 2006. The following year, he appeared as Willie in a 2007 episode of the sitcom Hausmeister Krause – Ordnung muss sein. During the 2010s, he featured in guest spots on long-running crime dramas, including two episodes of Großstadtrevier in 2011 and 2013, where he portrayed the characters Charly and Ströve respectively. He played the recurring character Karl-Heinz Rufenberg in seven episodes of the ZDF police procedural Notruf Hafenkante from 2012 to 2014. In 2015, Dall appeared as a patient in the television movie Der Liebling des Himmels. Outside of screen acting, he made his stage debut in 2012 with the one-man play Der Opa, performed at the Schmidt Theater in Hamburg. In 2020, Dall was involved in filming for the ZDF telenovela Rote Rosen when he suffered a stroke on set, leading to his death shortly afterward. He continued occasional acting appearances until his final years.

Personal life

Marriage and family

Karl Dall married Barbara in 1971, and the couple remained married until his death in 2020. They had one daughter, Janina Dall, who became a stuntwoman and relocated to Canada. In 1972, Dall purchased the decommissioned Haseborg windmill (also known as Windmühle Möhlenwarf) in Möhlenwarf and converted the historic Dutch-type mill into a private residence, where he lived for nearly four decades. He sold the property in 2010. Later in life, he resided in the Hamburg-Eppendorf district. The family maintained close ties, with Dall and his wife visiting their daughter in Canada as often as possible. Karl Dall was known for his distinctive hanging right eye, resulting from congenital ptosis, a condition involving weakness in the levator muscle of the eyelid. This feature was present from birth, and during his first three years of life the affected eye did not open at all. Although corrective surgery was possible in his youth, Dall chose not to pursue it, and the condition became his unmistakable trademark throughout his career. In a separate legal matter, the Bezirksgericht Zürich acquitted Karl Dall on 9 December 2014 of charges of rape and attempted coercion related to an alleged incident in September 2013. The complainant filed an appeal, but withdrew it in July 2015, rendering the acquittal final and legally binding.

Death and legacy

Final years and passing

In his final months, Karl Dall accepted a guest role in the ARD telenovela Rote Rosen, playing the aging rock star Richie Sky. Filming began in early November 2020 in Lüneburg, where he was staying in an apartment for the production. On 11 November 2020, shooting was abruptly interrupted when Dall suffered a stroke involving cerebral hemorrhages, leading to immediate medical treatment and surgery. He never regained consciousness following the event. Dall died on 23 November 2020 at the age of 79 from the consequences of the stroke. He had pre-arranged and paid for a sea burial during his lifetime. Due to the COVID-19 pandemic, the ceremony was postponed until restrictions eased, and his ashes were scattered in the North Sea off Sylt on 26 June 2021. His family released a statement noting that he had become "a part of the great and infinite sea, the waves, the ebb and flow," adding that "the roar of the sea tells many stories and now with a bit more humor."

Awards and autobiography

Karl Dall was awarded the Preis der beleidigten Zuschauer in 1993, a satirical negative prize given for particularly offensive television appearances, in his case due to misogynistic remarks that provoked viewer complaints. He accepted the award despite its critical intent, underscoring his irreverent and polarizing approach to comedy. In 1999, Dall received the Ehrenpreis für sein Lebenswerk from the Deutscher Comedypreis, honoring his extensive contributions to German entertainment and comedy over several decades. In September 2006, Dall published his autobiography Auge zu und durch with Hoffmann und Campe Verlag. The book offers candid reflections on his life, covering his childhood in East Frisia, his time in the Bundeswehr, his move to Berlin in the 1960s, successes and setbacks with the group Insterburg & Co., and his long television career marked by bold, unfiltered humor and self-criticism.

Cultural recognition

Karl Dall is widely regarded in Germany as an icon of television entertainment, celebrated for his irreverent, self-deprecating humor and distinctive appearance marked by a congenital drooping eye and thick glasses that became his trademark. His provocative and often boundary-pushing style helped shape German comedy during the 1970s and 1980s, influencing late-night TV formats and encouraging a more satirical and bold approach in the medium. Following his death in 2020, numerous obituaries and retrospectives in German media reflected on his lasting impact, describing him as a pioneer of quirky, self-ironic comedy and one of the most recognizable personalities in post-war German entertainment. Tributes emphasized his role in bringing humor to broad audiences through his quick wit and unapologetic persona. His cultural significance remains largely confined to German-speaking countries, with limited attention in international or English-language media, where coverage relies heavily on translations of German obituaries, TV archives, and his autobiography. This gap highlights his strong regional influence within German comedy traditions rather than global reach.

References

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