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Max Landa
Max Landa
Max Landa
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Max Landa (Belarusian: Макс Ландаў; 24 April 1873 – 8 November 1933;[1] born Max Landau) was a Russian-born Austrian silent film and stage actor.

Key Information

Career

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Landa attended the Handelsakademie (commercial academy) in Vienna and took classes with acting teacher Karl Arnau [de] in the same city. After working as a bank clerk for a short period, he decided to focus on his acting career in 1893.[2] After working at various theatres in Austria and Germany for about twenty years he was discovered in Berlin as leading man by movie star Asta Nielsen with whom he played in several movies directed by Urban Gad.[3]

When Joe May founded his own film production company in 1915 he formed a contract with Max Landa[4] who became the first of a number of actors to play the role of the fictional British detective Joe Deebs, created as a rival to Sherlock Holmes during the silent era.[5] The Jewish Landa and his wife Margot Walter fled Germany following the Nazi seizure of power in 1933, and he committed suicide in exile in Yugoslavia.[1]

Selected filmography

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References

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Bibliography

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Max Landa

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Max Landa is a Russian-born Austrian silent film and stage actor known for his leading roles in German cinema during the 1910s and 1920s, particularly as the fictional detective Joe Deebs and in prominent collaborations with Asta Nielsen. Born Max Landau on April 24, 1873, in Minsk in the Russian Empire (present-day Belarus), he attended the Handelsakademie in Vienna and took acting lessons before briefly working as a bank clerk. He committed to acting full-time in 1893 and spent approximately twenty years performing in theaters throughout the Austro-Hungarian Empire and Germany. His transition to film began around 1913, when he was discovered in Berlin as a leading man by Danish star Asta Nielsen, appearing in several films directed by Urban Gad. In 1915, Landa was contracted by producer Joe May to originate the role of the British detective Joe Deebs, a character created as a rival to Sherlock Holmes in the silent era, starring in a series of films that marked a key phase of his screen career. His work extended through the silent period until 1928, often featuring his distinctive monocle as part of his on-screen persona. As a Jewish artist, Landa left Germany shortly after the Nazi rise to power in 1933 and committed suicide by gunshot on November 8, 1933, while in exile in Bled, Yugoslavia (now Slovenia), leaving behind twenty-one farewell letters.

Early life

Birth and education

Max Landa was born as Max Landau on April 24, 1873, in Minsk, Russian Empire (now Belarus). He attended the Handelsakademie, a commercial academy, in Vienna. During this time, he also took acting lessons with the teacher Karl Arnau in the same city. After a brief period employed as a bank clerk, he committed himself fully to acting in 1893.

Stage career

Theatre work in Austria and Germany

Max Landa began his professional stage career in 1893 following acting training with Karl Arnau. He spent approximately twenty years performing at various theatres across Austria and Germany until 1913. His engagements included work with touring companies (Wanderbühnen) early on, followed by positions in cities such as Hannover and later Berlin, where he appeared at several stages including the Kleines Theater. Detailed records of specific roles or productions from this period remain scarce in surviving sources, with accounts emphasizing the breadth of his regional experience rather than individual credits. This extended theatre work established him as a seasoned performer in the German-speaking world before his transition to film. Around 1913, while performing on stage in Berlin, Landa was discovered by actress Asta Nielsen, which led to his entry into cinema.

Film career

Breakthrough and Asta Nielsen collaborations

Max Landa made his film debut in 1913 with Die Suffragette, directed by Urban Gad and starring Asta Nielsen, who discovered him in Berlin as a suitable leading man for her productions. This appearance marked his breakthrough into silent cinema, initiating a series of collaborations with Nielsen under Gad's direction that established him as a reliable screen partner in early German films. In these roles, Landa developed an elegant gentleman persona, often accentuated by his trademark monocle, which became a signature element of his on-screen presence. Key collaborations included Engelein (1914), where he supported Nielsen in a comedic lead, and other films directed by Gad. Further work with the pair encompassed Vordertreppe und Hintertreppe (1915), directed by Gad. In 1915, Landa transitioned to contract work with producer Joe May, though he continued some collaborations with Nielsen and Gad into 1916-1917, including Aschenbrödel (1917), where he played von Harten opposite Nielsen's titular character in this fairytale adaptation.

Joe Deebs detective roles

In 1915, Max Landa signed a contract with director Joe May's production company to star as the fictional British detective Joe Deebs in a series of crime films. He debuted in the role with Joe Deebs' schwierigster Fall (1915), portraying the elegant and cosmopolitan gentleman-detective. Landa reprised the character in several subsequent entries, including Europa postlagernd (1918), Mitternacht (1918), Der Teufel (1918), Die Japanerin (1919), Das Geheimnis des Amerika-Docks (1919), Die Apachen (1919), and Die Maske (1919), among others. The Joe Deebs series featured Landa as the original actor in the role, with the character conceived as a deliberate silent-era rival to Sherlock Holmes. These films capitalized on the popularity of detective stories, presenting Joe Deebs in sophisticated mystery plots typical of German cinema in the late 1910s. Landa's portrayal emphasized the character's worldly demeanor and deductive skills, contributing to the character's popularity in the period.

Later films and production ventures

In the early 1920s, Max Landa founded his own production company, Max-Landa-Film, which operated between 1921 and 1922. The company produced Die schwarze Schachdame (1922), in which Landa also starred in a dual role as Harald Parrik and Robert Winston while serving as producer. It also produced Die Perlen der Lady Harrison (1922), for which Landa received producer credit. Landa continued acting in films throughout the decade, beginning with his portrayal of Kronprinz Rudolf in Kaiserin Elisabeth von Österreich (1921). He later appeared in Der Flug um den Erdball (Flight Around the World, 1925) as Pakrenos across its two parts. His credits included Trude, die Sechzehnjährige (Trude, 1926). In his final years of filmmaking, Landa shifted toward supporting and antagonistic roles. He played Graf Glybin in Anastasia, die falsche Zarentochter (1928), Rechtsanwalt in Der Henker (1928), and appeared in Gefährdete Mädchen (Endangered Girls, 1928). Landa ceased acting in films after 1928.

Personal life

Jewish heritage and emigration

Max Landa was of Jewish heritage, a fact that significantly impacted his life in the early 1930s amid rising antisemitism in Germany. In 1933, shortly after the Nazi rise to power, Landa left Germany and went into exile in Yugoslavia. His Jewish background was a primary factor in his emigration. No further details on family are documented in available sources. Following the Nazi seizure of power in Germany in 1933, Max Landa fled the country with his wife Margot Walter due to his Jewish heritage. He went to Bled in the Kingdom of Yugoslavia (now Slovenia), where he committed suicide on November 8, 1933, at the age of 60, by shooting himself in the Hotel Park. Prior to his death, Landa left behind 21 farewell letters.
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