Max Kronert

''Max Kronert'' is a German stage and film actor known for his supporting roles in influential German silent films during the late 1910s and early 1920s, including notable collaborations with directors Ernst Lubitsch and F. W. Murnau. ^[1][2] He is particularly recognized for his performances in Lubitsch's comedies The Doll (1919) and The Oyster Princess (1919), as well as in the landmark expressionist film The Golem: How He Came into the World (1920). ^[1] Born Max Josef Florian Trübsand on July 4, 1872, in Breslau, Germany (now Wrocław, Poland), Kronert pursued a career in theater before entering the burgeoning German film industry around 1918. ^[1] His filmography includes appearances in other significant works such as Lubitsch's Sumurun (1920), Murnau's Satanas (1920), and additional titles through the early 1920s, showcasing his versatility in character parts across comedy, drama, and fantasy genres. ^[2] Kronert died in Berlin on July 22, 1925, at the age of 53. ^[1]

Early life

Birth and family background

Max Kronert, born Max Josef Florian Trübsand, was born on 4 July 1872 in Breslau, Silesia, in the German Empire (present-day Wrocław, Poland). ^{[1] [3] [4]} No detailed information about his parents, siblings, or family background is documented in available biographical sources. ^[1] Breslau was a significant cultural and industrial city in the Prussian province of Silesia during the late 19th century, part of the newly formed German Empire established in 1871. (Note: This citation is for historical context of the place; birth details from actor-specific sources above.)

Path to the stage

Max Kronert began his professional acting career in his hometown of Breslau, where he first appeared in the Neuer Theater-Almanach listings for the 1896/97 season. He specialized in humorous and character roles (Charakterkomiker) from the outset, a focus that defined his early stage work. In the following seasons, Kronert pursued an itinerant career across various provincial German theaters. He was engaged at the Stadttheater Wilhelmshaven for 1897/98 in humorous and character parts, followed by the Stadttheater Lüneburg in 1898/99, where he also took on directing responsibilities. Subsequent engagements included the Deutsches Theater Breslau (1899/1900), Stadttheater Elberfeld (1901/02), Stadttheater Glogau (1903/04), and multiple Silesian theaters (1904/05), consistently combining acting with occasional direction. This period of steady work in regional venues continued through the 1900s and early 1910s, with positions at Stadttheater Thorn (1905–1908), Neues Stadttheater Gießen (1908/09), Stadttheater Göttingen (1910/11), Neues Theater Halle (1911/12), and Stadttheater Nürnberg (1912/13). Kronert built his reputation as a reliable Charakterkomiker during these years, often debuting in signature comedic roles such as directors or businessmen in popular farces and light dramas, laying the groundwork for his later transition to Berlin stages and silent films.

Stage career

Early theater roles

Max Kronert began his professional acting career on the stage in Germany during the 1890s. He appeared in supporting and character roles at various regional theaters, building his experience as a versatile stage performer. Specific play titles or individual role details from this period are scarcely documented in available sources, but his early work focused on character acting in provincial productions. His growing reputation from these engagements paved the way for later affiliations with more prominent theaters.

Work with major companies

Max Kronert performed as a character actor at the Deutsches Theater in Berlin, one of Germany's leading theatrical institutions under the renowned director Max Reinhardt. This engagement reflected his work with major companies during his mature stage career in Berlin.

Silent film career

Debut and early silent films

Max Kronert made his film debut in 1918 at the age of 46 in Ernst Lubitsch's silent adaptation Carmen. ^{[5] [1]} In the film, he portrayed the role of Remendato, a smuggler. ^[6] That same year, he also appeared in Meine Frau, die Filmschauspielerin, playing the hotel porter Wastel. ^[6] These appearances marked the beginning of his screen career in the waning days of World War I, after years devoted primarily to theater work. ^[5]

Peak period and key collaborations

Kronert's most productive and visible period as a film actor spanned from 1919 to 1922, when he frequently appeared in supporting and character roles in prominent German silent films, collaborating with leading directors of the era. He worked notably with Ernst Lubitsch on two acclaimed comedies, playing Seligsohn, the matchmaker, in Die Austernprinzessin (The Oyster Princess, 1919) and Baron von Chanterelle, the wealthy uncle intent on securing his nephew's marriage, in Die Puppe (The Doll, 1919).^[1][7] In 1920, Kronert collaborated with Paul Wegener and Carl Boese on the landmark Expressionist horror film Der Golem, wie er in die Welt kam (The Golem: How He Came into the World), portraying the Temple Servant in this influential production.^[8][9] These roles in major works of German cinema, blending comedy and Expressionist fantasy, highlighted his reliability in character parts and marked the height of his screen presence before he continued in smaller roles through the early 1920s.^[1]

Final films

In his final years, Max Kronert continued to appear in supporting roles in German silent films, maintaining a steady presence in the industry until shortly before his death.^[5] His last credited performance was in Die Frau für 24 Stunden (1925), a film released in the year of his passing.^[5][1] In 1924, Kronert took roles in Nju (also known internationally as Husbands or Lovers), a drama centered on marital dissatisfaction, and Ein Traum vom Glück.^[5] These appearances marked the close of his screen work, with no evidence of unfinished projects or posthumous releases noted in available records. Kronert died on 22 July 1925 in Berlin, ending his contributions to silent cinema.^[5]

Personal life and death

Family and private life

Little is known about Max Kronert's family and private life. Available biographical sources provide no details on any marriage, spouse, children, or other family relationships. ^{[5] [1]} No documented personal events unrelated to his career are recorded in reliable sources.

Illness and death

Max Kronert died on 22 July 1925 in his apartment in Berlin-Wilmersdorf by suicide, shooting himself while sitting in the bathtub, at the age of 53. The actor's death came suddenly, just weeks after his birthday, ending a career that had spanned stage and silent film. No details of a prolonged illness are recorded in available sources.

Legacy

Contemporary reputation

Max Kronert earned recognition in the German film industry as a reliable and well-known character actor, particularly for his episodic and supporting roles in Ernst Lubitsch's prominent silent films.^[10] Contemporary industry reporting in 1924 highlighted his established reputation by describing him as "dem bekannten Episodenspieler der großen Lubitsch-Filme" and noted that director Paul Czinner assigned him a particularly demanding supporting role in the production Nju, alongside leading performers Elisabeth Bergner, Emil Jannings, and Conrad Veidt.^[10] His stage background contributed to his standing as a dependable Chargenspieler (character actor), with associations to prestigious ensembles including Max Reinhardt's theaters, where he was esteemed for such work prior to and overlapping with his film career.^[11] Contemporary trade publications and cast listings from the late 1910s through mid-1920s consistently placed him in notable productions, reflecting steady professional regard among peers and critics of the era.^[12]

Modern recognition

Max Kronert's work as a supporting actor in early German silent cinema endures through the ongoing preservation and public presentation of his most notable films. The Doll (1919), directed by Ernst Lubitsch and featuring Kronert as the Baron of Chanterelle, underwent photochemical restoration by the Friedrich-Wilhelm-Murnau-Stiftung, making it available in high-quality prints for contemporary viewers.^[13] This restoration has supported screenings at events such as the San Francisco Silent Film Festival in 2017, where a 35mm print from Filmarchiv Austria was shown with live accompaniment.^[14] Kronert's role as the temple servant in Paul Wegener and Carl Boese's Der Golem, wie er in die Welt kam (1920), a landmark of German Expressionism, has similarly benefited from modern archival efforts. A 1995 restoration, based on a rediscovered tinted Italian print held by Cineteca Italiana and undertaken jointly by Cineteca Italiana, Cineteca di Bologna, and Münchner Filmmuseum, has preserved the film's visual style and enabled festival presentations, including at Il Cinema Ritrovato.^[15] The film's status as an influential example of early Expressionist cinema, with its distinctive use of lighting, shadows, and architecture, continues to draw attention in silent film retrospectives.^[15] These restorations and screenings keep Kronert's performances accessible in film archives and public programs dedicated to silent-era German cinema, affirming his place in the historical record of the period's major directors and movements.^[16][14]