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Karl Haacker
Karl Haacker
Karl Haacker
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Karl Haacker (25 July 1890 – 15 December 1945) was a German art director active in designing film sets during the Weimar and Nazi eras.[1] He is sometimes credited as Carl Haacker.

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Selected filmography

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References

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Karl Haacker

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Karl Haacker was a German art director and production designer known for his contributions to film set design in German cinema during the Weimar Republic and Nazi eras. Born on 26 July 1890 in Berlin, Germany, Haacker began his career in the late 1920s and worked on numerous films through the early 1940s, often credited in roles as art director or production designer. His notable credits include Mutter Krausens Fahrt ins Glück (1929), Mazurka (1935), Der Weg zu Isabel (1940), and Wir bitten zum Tanz (1941), among others, and he was sometimes credited as Carl Haacker. Haacker died on 15 December 1945 in Berlin.

Early life

Birth and background

Karl Haacker was born Carl Paul Haacker on 26 July 1890 in Berlin, Germany. He was a German national from the capital city of the German Empire. He is sometimes credited as Carl Haacker or C. P. Haacker.

Career

Weimar Republic period (1920s–1933)

Karl Haacker began his career as an art director and production designer in the German film industry during the closing years of the Weimar Republic, with his earliest documented credits appearing in 1929. That year, he worked on the proletarian drama Mutter Krausens Fahrt ins Glück, directed by Piel Jutzi, and the film Harbor Drift (Jenseits der Straße), contributing to the set designs in both productions. In 1932, he contributed to set design on Kuhle Wampe oder: Wem gehört die Welt?, a notable proletarian film of the era. These early assignments placed him within the late Weimar cinema landscape, characterized by social realism and the ongoing shift from silent to sound filmmaking. In 1930, Haacker served as art director on Wellen der Leidenschaft, credited under the alternate spelling Carl Haacker. His work during this brief period focused on creating visual environments for a range of narrative films as the industry adapted to new technical and political pressures. He concluded his pre-Nazi era contributions with art direction on the 1933 short film Eine wie du.

Nazi era (1933–1945)

Karl Haacker continued his career as an art director in German cinema throughout the Nazi era, designing sets for films produced between 1933 and 1945. He remained active in the industry during a period when major studios operated under the centralized control of the Nazi regime's film authorities. His work during these years included contributions to numerous productions at prominent German studios, including UFA. Among his notable credits are Mazurka (1935), Der Student von Prag (1935), Gefährliches Spiel (1937), Unser Fräulein Doktor (1940), Der Weg zu Isabel (1940), Casanova heiratet (1940), Der liebe Augustin (1940), Wir bitten zum Tanz (1941), and Nanette (1940). Haacker often collaborated with director Erich Engel, including on the production of Unser Fräulein Doktor (1940). These projects reflected his ongoing role in set design within the German film landscape of the time.

Selected filmography

Notable credits

Karl Haacker worked primarily as an art director and production designer (often credited under the German term "Bauten") on German films from the late Weimar Republic through the Nazi era. His notable early credits include Harbor Drift (1929), Kuhle Wampe oder: Wem gehört die Welt? (1932), and Wellen der Leidenschaft (1930), where he handled set design during the final years of Weimar cinema. In the mid-1930s, Haacker contributed as art director to Mazurka (1935), Der Student von Prag (1935), and Gefährliches Spiel (1937). His later credits from the early 1940s encompass a series of productions, such as Unser Fräulein Doktor (1940), Nanette (1940), Der Weg zu Isabel (1940), Casanova heiratet (1940), Der liebe Augustin (1940), and Wir bitten zum Tanz (1941). These selected works represent some of his most frequently referenced contributions to German film set design across the periods.

Death

Final years and death

Karl Haacker spent his final years in Berlin amid the collapse of Nazi Germany and the end of World War II in Europe. His last documented film credits date from the early 1940s, after which no further professional activities are recorded. He died on 15 December 1945 in Berlin, Germany, at the age of 55. The precise cause of death is not documented in available sources.
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