Karl Puth

Karl Puth is a German cinematographer known for his long and prolific career in German cinema, spanning from the silent film era of the 1920s through the National Socialist period and into the post-war years until the mid-1950s. ^[1] Born on 9 March 1891 in Berlin, Puth began his career in film as a camera assistant on major productions such as Das indische Grabmal (1921), directed by Joe May, before advancing to principal cinematographer roles on numerous features. ^{[1] [2]} He worked steadily across decades, contributing to films including Die grüne Manuela (1923), Der alte und der junge König (1935), the prominent Nazi-era production Ohm Krüger (1941), and later works such as Sommerliebe (1955). ^[1] His credits reflect involvement in both commercial entertainment and politically charged projects during turbulent periods of German history. ^[1] Puth died on 21 October 1955 in Potsdam. ^{[3] [1]}

Early life

Birth and early professions

Karl Puth was born on March 9, 1891 in Berlin, Germany. ^[1] He trained as a cook and completed a commercial apprenticeship before becoming a professional photographer. His experience in photography formed the foundation for his later transition to cinematography.

Military service in World War I

Karl Puth served in the German military during World War I (1914–1918). No specific details about his rank, unit assignment, or combat experiences are documented in available sources. Following the end of the war, he returned to civilian life and entered the film industry as a camera assistant in 1919.

Film career

Beginnings as camera assistant (1921–1922)

Karl Puth began his film career as a camera assistant at Joe May’s May-Film production company. He gained notable experience in this role on Joe May’s ambitious two-part epic Das indische Grabmal (released internationally as Mysteries of India, Parts I and II: Die Sendung des Yoghi and Der Tiger von Eschnapur), where he served as assistant camera under chief cinematographer Werner Brandes.^[4][5] By 1922, Puth transitioned to chief cinematographer, sharing cinematography duties with Sophus Wangøe on the May-Film production Die Gräfin von Paris, marking the start of his work in that capacity for Joe May and signaling the end of his assistant phase.^[6]

Chief cinematographer in the Weimar era (1922–1932)

Karl Puth emerged as a chief cinematographer in the Weimar Republic by 1922, following his prior role as a camera assistant. ^[1] His initial major credits in this capacity included the multi-part epic Tragödie der Liebe (1922/1923) and Die grüne Manuela (1923), both of which demonstrated his readiness to handle ambitious silent film productions. ^[1] During the mid-1920s, Puth developed a reputation as a specialist in the Schüfftan process, a special effects technique that enabled the effective blending of full-scale sets with miniatures and other elements. ^[7] His later Weimar-era work included the dramatic silent film Angst (1928), where his cinematography contributed to the film's tense atmosphere through careful composition and lighting. ^[8] In 1929, Puth worked on the British productions Kitty and White Cargo, with White Cargo marking his first engagement with sound film technology and being shot in Great Britain. ^[9] In 1930, he served as cinematographer on Jedem seine Chance, continuing his involvement in the evolving sound cinema landscape of the early 1930s. ^[1]

Cinematography during the Third Reich (1933–1945)

Karl Puth continued his prolific career as a cinematographer during the Third Reich from 1933 to 1945, building on his established reputation from the Weimar era and maintaining steady employment in the German film industry throughout the period.^[9] He was assigned to cinematography duties on several notable productions, including Der alte und der junge König (1935), where he was responsible for the camera work.^[10] In 1936, he served as director of photography for Stadt Anatol.^[11] The following year, he handled cinematography for Ein Volksfeind (1937).^[12] In 1938, Puth contributed as cinematographer to both Frau Sylvelin and Die Nacht der Entscheidung.^[9] Later, in 1941, he collaborated on Ohm Krüger, specifically handling the exterior and mass scenes photography.^[13][14] These assignments highlight Puth's active role and involvement in representative films of the era up to the end of the war in 1945.^[9]

Return to film in the GDR (1953–1955)

Karl Puth resumed his career as a cinematographer in the German Democratic Republic in 1953 after an eight-year hiatus following World War II, owing to the difficult post-war conditions. ^{[1] [9]} He began working for DEFA, the state-owned film studio in East Germany, contributing primarily to short instructional, cultural, and documentary films during this late phase of his professional life. ^[1] His output in this period included cinematography for several DEFA productions, among them the short films Zeltbau and Anlegen von Kochstellen in 1953. ^[9] In 1954, he served as cinematographer on the feature film Gefährliche Fracht, directed by Gustav von Wangenheim. ^{[9] [1]} In 1955, Puth worked as cinematographer on the feature Sommerliebe. ^{[9] [1]} That same year, he handled the exterior shots for the DEFA comedy Star mit fremden Federn. ^{[9] [15]} He also contributed to additional DEFA short films, such as entries in the Das Stacheltier series. ^[9]

Technical contributions

Expertise in special effects techniques

Karl Puth employed the Schüfftan process as a special cameraman during the Weimar era, notably on the film Dagfin (1926). ^[16] This mirror-based method, also known as the Schüfftan-Verfahren, enabled the seamless combination of live-action elements with miniature models through a camera insertion technique using mirrors. ^[17] By placing a partially reflective mirror at an angle, cinematographers could reflect scaled-down sets into the frame while capturing full-scale actors directly through cleared sections of the glass, producing convincing illusions of expansive environments without full-scale construction. ^[17] In Dagfin, the process was used to create optical effects and superimpositions that contributed to a dreamlike, nightmarish atmosphere and highlighted psychological themes such as mental confusion and vulnerability. ^[18] His involvement with this technique occurred amid the innovative cinematographic experimentation of 1920s German cinema. ^[18]

Death

Final years and passing

Karl Puth died on October 21, 1955, in Potsdam, German Democratic Republic, at the age of 64. ^{[9] [19]} His passing occurred shortly after he completed his final cinematographic work in 1955, including contributions to DEFA productions such as Sommerliebe and Star mit fremden Federn. ^[9] No details regarding the cause of his death or further circumstances are documented in available sources.