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Paul Westermeier
Paul Westermeier
Paul Westermeier
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Paul Westermeier (9 July 1892 – 17 October 1972) was a German film actor.[1]

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Selected filmography

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Paul Westermeier

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Paul Westermeier is a German film actor known for his prolific career as a supporting and character actor in German cinema, spanning from the silent film era to the early 1960s. Born on July 9, 1892, in Berlin, Westermeier began his performing career in the circus as a clown and fire-eater before making his stage debut in 1909 and transitioning to film in 1915. He quickly became one of the most continuously employed supporting actors in German cinema, appearing in hundreds of feature films across multiple eras, including the sound film boom of the 1930s, the Nazi period, and the post-war Adenauer era in West Germany. His roles often featured comic or character parts in popular genres such as comedies, Heimatfilme, music films, and military farces. Westermeier remained active until around 1962 and is remembered for his contributions to numerous notable films, including Berlin – Alexanderplatz (1931), Morgenrot (1933), Im weißen Rößl (1952), and Des Teufels General (1955). He died on October 17, 1972, in Berlin.

Early life

Birth and family background

Paul Ernst Westemeier, who later became known professionally as Paul Westermeier (with occasional variations such as Westermeyer or Westemeier), was born on 9 July 1892 in Berlin-Moabit at Rathenower Straße 45. His father, Engelbert Westemeier, was a worker, while his mother was Luise (née Nagora). This working-class family background in the industrial Moabit district of Berlin provided the early environment from which his interest in performance emerged.

Early performance experiences and acting training

Paul Westermeier showed an early interest in the performing arts during his youth in Berlin. As a twelve-year-old, he applied for a position as a clown and fire-eater at the Circus Schumann, reflecting his initial attempts to engage in performance as an amateur hobby. He also participated in school theater activities as a member of a school theater association. He left school before completing his Abitur to pursue acting. Westermeier received formal acting training from Moritz Zeisler at the Königliches Schauspielhaus in Berlin. He additionally took lessons with Marie Seebach at her acting school. He made his professional stage debut in 1909 at the Königliches Schauspielhaus. These early experiences and training prepared him for his professional stage career.

Theater career

Debut and provincial stage work

Paul Westermeier made his stage debut at the age of 17 at the Königliches Schauspielhaus in Berlin, marking his entry into professional theater. In 1909, he received his first full engagement at the theater in Stralsund, where he performed as a youthful hero and lover, or jeune premier. This role aligned with the common casting for young actors beginning their careers in classical and romantic parts. He subsequently held positions at various provincial theaters, including in Plauen, Magdeburg, Hamburg, and Bremen. In Bremen, he took on leading romantic parts drawn from the classical repertoire. These engagements provided him with broad experience across different regional stages and genres, building a foundation in legitimate theater before his later focus on Berlin operettas.

Berlin operettas and revues

Paul Westermeier based himself primarily in Berlin starting in 1913, performing at leading venues such as the Metropol-Theater, the Theater im Admiralspalast, and the Thalia-Theater. He distinguished himself as a specialist in comic and light-hearted roles, particularly within operettas and revues. During the Golden Twenties of the 1920s, Westermeier emerged as a prominent star in Berlin's vibrant operetta and revue scene. He appeared in numerous popular operettas and revues. He excelled as Graf Lothar in Oscar Straus's Ein Walzertraum and as the Berlin manufacturer Wilhelm Giesecke in Ralph Benatzky's Im weißen Rößl. Westermeier frequently appeared alongside Lotte Werkmeister, serving as her stage partner on multiple occasions. In the mid-1920s, he began shifting toward supporting roles in films while continuing his theatrical work.

Film career

Silent era and early sound films

Paul Westermeier made his film debut during the silent era in 1915 with the short comedy Sondi hat Pech. He quickly appeared in additional silent films, including notable roles in Die Hochzeit im Excentric-Club (1917) and Hoheit Radieschen (1917), which marked his early presence in light-hearted productions typical of the German film industry at the time. These early credits reflected his background in comic stage work, as he balanced emerging screen opportunities with ongoing theater engagements in operettas and revues. By the mid-1920s, Westermeier had shifted toward supporting and comedic roles in silent cinema, gradually establishing himself as a reliable character actor in bit parts and ensemble pieces. This transition aligned with his stage-honed skills in humor and dialect, setting the foundation for his later specialization. With the arrival of sound films, Westermeier featured in several early talkies that showcased his distinctive voice and Berlin accent, including Alraune (1930), Berlin-Alexanderplatz (1931), and Der Bettelstudent (1931). In these productions, he began to solidify his typecasting as the jovial, hearty Berliner or the archetypal petty bourgeois figure, a persona that emphasized good-natured, everyday characters with a regional flair.

1930s to 1940s roles

Paul Westermeier emerged as one of the most prolific supporting actors in German cinema during the 1930s and 1940s, appearing in a substantial portion of the over 200 films that marked his entire career. He was consistently typecast as the bärbeißiger Berliner everyman, embodying grumpy, down-to-earth characters with a distinctive Berliner manner and dialect that became his signature. His work in this period included supporting roles in several notable productions, such as Morgenrot (1933), where he played the radio operator Jaul, Fridericus (1937), Die Reise nach Tilsit (1939), Die Rothschilds (1940), and Der große König (1942). In 1944, Westermeier was included on the Gottbegnadeten-Liste compiled by the Reich Ministry for Popular Enlightenment and Propaganda. Following the end of World War II, he continued his screen career without interruption.

Post-war films and television

After World War II, Paul Westermeier swiftly resumed his screen career in the emerging film industry of West Germany. Throughout the 1950s, as West Germany experienced the Wirtschaftswunder economic miracle, he became a prolific supporting player in popular cinema, frequently typecast as a quintessential Berliner—gruff, hearty, and equipped with the characteristic Berliner Schnauze dialect and petit-bourgeois mannerisms. He appeared in numerous light comedies, Heimatfilme, and revue-style pictures during this decade. Among his notable roles were Giesecke in the operetta adaptation Im weißen Rößl (1952), a driver in the biographical drama Sauerbruch – Das war mein Leben (1954), and a supporting part in Helmut Käutner's Des Teufels General (1955), where he played a quieter role as Harras's driver Otto Korrianke. In 1959, he portrayed the captain in the comedy Drillinge an Bord. These parts often reinforced his established Berliner persona, though some offered modestly larger scope within ensemble casts. Westermeier extended his work into television during the early 1960s, most prominently as Valentin Lehmann in the series Jedermannstraße 11 (1962–1965), where he appeared in eight episodes. He remained active in supporting roles until the mid-1960s, contributing to a career total of 221 acting credits across film and television. His extensive body of work in German cinema was later recognized with the Filmband in Gold in 1967 for many years of outstanding contributions.

Personal life

Marriage and household

Paul Westermeier married the former actress and singer Lotte Dobischinsky in 1936. The couple remained married for the rest of his life, with their union lasting until his death on October 17, 1972. Their long marriage spanned more than three decades, though no children are documented from the relationship. Dobischinsky, born in 1895 and deceased in 1975, occasionally appeared in references connected to her husband's career but maintained a private personal life alongside him. No detailed accounts of their household arrangements or domestic life are available in major sources.

Awards and recognition

In 1967, Westermeier received the Filmband in Gold (honorary award of the Deutscher Filmpreis) for long-standing and outstanding work in German film.

Death

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