Max Heilbronner

''Max Heilbronner'' is a German art director and production designer known for his work in German cinema during the 1920s and 1930s. ^[1] Born on 14 February 1900 in Munich, Germany, he began his career contributing to silent films and continued into the early sound era, with credits including art direction and production design on such projects as ''Die malayische Dschonke'' (1924), ''A Daughter of Destiny'' (1928), ''Hyppolit, the Butler'' (1931), and others. ^{[1] [2]} His professional roles also encompassed set decoration and related design work in the Weimar Republic's film industry. ^[3] Later in life, he relocated to the United States and died on 23 July 1964 in Los Angeles, California. ^[4]

Early life

Birth and origins

Max Heilbronner was born on February 14, 1900, in Munich, Germany, which was part of the German Empire at the time.^[1] This date is recorded in major film databases including IMDb, though some secondary sources list the year as 1902.^[1][5] Munich, the capital of Bavaria, served as his place of origin, with no further details available on his early family background or residence prior to his professional career.^[1]

Career

Entry into German film industry and silent era work

Max Heilbronner began his career in the German film industry during the Weimar Republic's silent era, working primarily as an art director and production designer. ^[1] His earliest documented credit came in 1924 as art director for Die malayische Dschonke. ^[1] He continued contributing to German silent films throughout the mid-to-late 1920s, serving as art director on Die Perlen des Dr. Talmadge (1925) and Das Geheimnis von Schloß Elmshöh (1925). ^[1] In 1927 he took on the role of production designer for Arme kleine Colombine, followed by another production design credit on Frauen am Abgrund in 1929. ^[1] These early works represent Heilbronner's foundational involvement in Weimar cinema's silent period, where he established his presence in the industry prior to the shift toward sound production. ^[1]

Sound era projects and international credits

Max Heilbronner successfully transitioned into the sound era, contributing as an art director and production designer to a range of German films beginning in 1930.^[1] Among his early sound credits were Pension Schöller (1930), where he served as art director, and Hyppolit, the Butler (1931), on which he worked as production designer.^[1] He remained active in German cinema through the early 1930s, handling art direction or production design on titles such as Gruß und Kuß - Veronika (1933), a comedy.^[1] In the mid-1930s, Heilbronner extended his work to international and French-language productions.^[1] He provided art direction for the French films Dactylo se marie (1934) and Fanfare d'amour (1935), a comedy, as well as set design for Une nuit de noces (1935).^[1] His credited film work concluded around 1935, with no verified contributions documented after that year.^[1]

Art direction style and professional roles

Max Heilbronner was primarily recognized as an art director in German cinema, with 46 credits in that role, alongside 11 credits as production designer and one as set decorator.^[1] His work as set decorator is exemplified by A Man Has Been Stolen (1934), a French-German co-production.^[1] His professional contributions spanned the late silent era through the early sound period, predominantly in Germany but also extending to French-language films during the 1930s.^[6][1] Heilbronner's credits often aligned with light entertainment genres, including operettas, romantic comedies, and musical farces, as reflected in titles such as Pension Schöller (1930), Glück über Nacht (1932), and Csardas: Her Wildest Night (1935).^[1] These projects typically featured escapist and festive settings consistent with popular Weimar and early sound-era tastes. There is little detailed critical analysis available in sources concerning a specific art direction style or recurring visual motifs in his designs.^[1][6] His body of work is documented mainly through filmographies rather than interpretive studies of his aesthetic approach.

Later years

Relocation to the United States

Max Heilbronner's career in the European film industry concluded in 1935, with his final credited roles as art director on the films Csardas: Her Wildest Night and Fanfare d'amour, as well as production designer on Une nuit de noces.^[1] He subsequently relocated to the United States and resided in Los Angeles, California, where he lived until his death on July 23, 1964.^[1] No further details about the timing or circumstances of his relocation appear in available sources.^[1]

Death

Max Heilbronner died on July 23, 1964, in Los Angeles, California, at the age of 64. ^[1]