Rudolf Forster

Rudolf Forster was an Austrian actor known for his long and prolific career in German-language film and theater, spanning the silent era through the post-war years and encompassing roles in over one hundred productions. ^{[1] [2]} Born on October 30, 1884, in Gröbming, Austria-Hungary, Forster established himself as a leading figure in Weimar cinema during the 1920s and 1930s, earning recognition for his charismatic screen presence and versatility in dramatic and character roles. ^[1] He starred in notable films including The Threepenny Opera (1931), where he portrayed Mackie Messer, and continued working in German productions through the Nazi era and into the 1960s, with later appearances in films such as Das Glas Wasser (1960) and Im Stahlnetz des Dr. Mabuse (1961). ^{[1] [2]} Forster also maintained an active stage career and remained a respected figure in German-speaking entertainment until his death on October 25, 1968. ^[1] His work contributed to the development of sound film in Germany and reflected the transitions in European cinema across several historical periods. ^[1]

Early life and education

Birth and family background

Rudolf Forster was born Rudolf Heribert Anton Forster on October 30, 1884, in Gröbming, Styria, then part of Austria-Hungary (now Gröbming, Austria). ^[3] He was the son of Dr. Anton Forster, a financial official (Finanzbeamter), and Josefine Forster (née Bartscht). ^[3] Forster grew up in the rural region of Styria and attended the local village school followed by grammar school (Gymnasium) in the area. ^[3] His family background in a modest administrative household in a small Austrian town shaped his early years before he pursued further education. ^[3]

Education and stage debut

Forster received his acting training at the Vienna Conservatory. ^[4] In 1903, he made his stage debut in Graz. ^{[4] [5]} He subsequently appeared in theaters in Linz, Berlin, and Vienna. ^[4]

Theater career

Early theater engagements

Rudolf Forster's early theater career involved a series of engagements across provincial and urban stages in Austria and Germany, beginning with his entry into professional acting in 1903. He joined the travelling company Vereinigte Theater Graz, performing with them through 1904. ^{[4] [6]} Subsequent roles took him to theaters in Linz and Ohligs, providing experience in diverse regional productions. ^{[3] [6]} From 1907 to 1909, Forster was engaged at the Theater in der Josefstadt in Vienna, marking his first significant period in the Austrian capital. ^{[4] [3]} He then moved to the Berlin Theatre for the 1909–1910 season, gaining exposure to the German theatrical scene. ^[6] After further developments in his career, he returned to Vienna and joined the Volksbühne from 1913 to 1915. ^[4] In 1915, Forster was conscripted for military service in World War I, interrupting his stage work until 1918. ^[4] During this period, he also performed at the Deutsches Theater in Bucharest from 1917 to 1918 while stationed there. ^[5] His theater activities resumed after the war, leading to a more stable engagement in Berlin starting in 1920. ^[7]

Berlin State Theatre period

From 1920 to 1932, Rudolf Forster was a member of the Staatstheater Berlin (also known as the Berlin State Theatre or Preußisches Staatstheater), where he achieved particular success under the artistic direction of Leopold Jessner. ^[8] This extended engagement during the Weimar Republic represented the peak of his stage career, as he established himself as a leading actor in the innovative theatrical environment shaped by Jessner's expressionist-influenced productions. ^[8] Forster performed in several notable Jessner-directed works at the theatre on Gendarmenmarkt, demonstrating his range across classical and modern drama. ^[9] In 1920, he portrayed Buckingham in Jessner's production of Shakespeare's Richard III. ^[10] Eight years later, he played Herzog von Alba in Goethe's Egmont, a production directed by Jessner. ^[9] Also in 1928, Forster took the title role of Prinz Louis Ferdinand in Fritz von Unruh's play Prinz Louis Ferdinand at the Staatstheater, again under Jessner's direction. ^[11] His sustained collaboration with Jessner over more than a decade highlighted Forster's prominence in Berlin's interwar theater scene, contributing to the theatre's reputation for bold, politically resonant interpretations of dramatic works. ^[8]

Film career

Silent era and early roles

Rudolf Forster began his film career during the silent era, making his on-screen debut in 1913. ^[1] He initially took on heroic or elegant romantic roles that capitalized on his tall, slim stature and distinguished presence. These early screen engagements ran concurrently with his established theater work in Vienna and Berlin. ^[4] In the 1920s, Forster frequently collaborated with director Friedrich Zelnik, who effectively incorporated the actor's physical attributes into his productions, as seen in films such as Die Marionetten der Fürstin (1924). Among his notable silent roles was the ambitious Junker Detlev in Arthur von Gerlach's Zur Chronik von Grieshuus (1925), an adaptation of Theodor Storm's novella produced by Ufa. In Hans Behrendt's Die Hose (1927), a comedy adapted from Carl Sternheim's play, he portrayed the quirky poet Scarron opposite Werner Krauss and Jenny Jugo. That same year, he played the leader of a right-wing extremist secret society in Richard Oswald's thriller Feme (1927). Over the course of the silent period, Forster's casting gradually shifted toward more negative or complex characters, moving beyond his initial romantic leads. ^[5]

1930s breakthrough and key films

Rudolf Forster achieved significant recognition in the early sound era with his starring role as Mackie Messer (Mack the Knife) in G. W. Pabst's Die 3 Groschen-Oper (1931), the film adaptation of Bertolt Brecht and Kurt Weill's revolutionary musical play, which he had previously performed on stage in 1928. ^[12] This portrayal of the charismatic gangster in the satirical depiction of Victorian London's underworld marked his breakthrough in sound cinema and earned praise for his dashing performance. ^[12] That same year, he appeared in Yorck (1931) as King Friedrich Wilhelm III of Prussia and in Ariane (1931). In 1932, Forster starred in Paul Czinner's Der träumende Mund as Michael Marsden, a drama exploring complex romantic entanglements. ^[13] In 1933, he took the lead as Kapitänleutnant Helmut Liers in Gustav Ucicky's Morgenrot, a realistic World War I submarine drama that premiered in Berlin on February 2, 1933—just three days after Adolf Hitler's appointment as Chancellor—and was attended by Hitler at the gala premiere. ^[14] The production received favorable contemporary reviews for its authentic depiction of naval warfare, brisk pacing, and strong ensemble acting. ^[14] Forster continued his prolific output with Hohe Schule (1934) and … nur ein Komödiant (1935), the latter featuring him in dual roles as Herzog Friedrich Theodor and Florian Reiter. These films showcased his versatility across historical, dramatic, and comedic genres during a pivotal decade for German cinema. His prominent roles in these productions contributed to growing international notice.

Emigration, Hollywood, and return

In 1937, Rudolf Forster moved to the United States to perform as Prince Mikhail opposite Marta Abba in the road tour of the play Tovarich, produced by Gilbert Miller. ^[7] Forster's Hollywood involvement remained limited during this period, with one credited appearance in the American film Island of Lost Men (1939). ^[5] On August 6, 1938, he married actress Eleonora von Mendelssohn in California. The couple lived together in Manhattan for a time while Forster continued his stage work, including a Broadway role as Dr. Schiller in Sidney Kingsley's The World We Make in 1939. Overcome by homesickness, Forster returned to Germany in 1940 to resume his acting career there. Eleonora von Mendelssohn remained in the United States until her death in 1951. ^[5]

Post-war and late career

After World War II, Rudolf Forster resumed his acting career in West German cinema, where he specialized in aristocratic and gentlemanly character roles that capitalized on his distinguished presence and sophisticated demeanor. This phase marked a prolific period in his later years, with appearances in numerous productions across film and television through the 1960s. Among his notable post-war films were Das Glas Wasser (1960), a comedy-musical directed by Helmut Käutner, and Er kanns nicht lassen (1962), a Father Brown adaptation. Forster also featured in several entries of the popular Edgar Wallace Krimi series between 1961 and 1964, including Curse of the Hidden Vault (1964), as well as Wälsungenblut (1965). In his final years, he took part in television productions such as Der Eismann kommt (1968), an adaptation of Eugene O'Neill's play The Iceman Cometh. Forster continued occasional stage work alongside his screen commitments, including an appearance at the Salzburg Festival in 1963. Across his entire career, he accumulated more than 100 film credits from 1913 to 1968, with the post-war era forming a substantial portion of his output in character roles. ^[4]

Personal life

Marriages

Rudolf Forster was married twice. His first marriage was to the actress Eleonora von Mendelssohn in 1938 in California during his emigration to the United States. ^{[4] [3]} The couple lived together in Manhattan for a time while Forster was in America, but the marriage ended around 1940 after he returned to Germany due to homesickness. ^{[4] [5]} Eleonora von Mendelssohn remained in Manhattan until her death in 1951. ^{[4] [5]} Forster's second marriage began in 1944 to Wilhelmine Karoline Klara Schachschneider. ^{[4] [3]} She administered his estate after his death. ^{[4] [3]}

Autobiography

Rudolf Forster published his autobiography Das Spiel, mein Leben in 1967 through Propyläen Verlag in Berlin. ^{[15] [16]} The memoir, released near the end of his life, offers personal reflections on his experiences in theater and film, characterized by elegant, witty, and mature prose that evokes the atmosphere of the eras he navigated. ^[16] The book provides insights into his career choices, portraying his path as a progression shaped by perseverance and artistic passion despite early hardships. ^[16] It includes his perspectives on the decision to emigrate to the United States in 1937 and his eventual return to Europe in 1940 via an adventurous route, marking the conclusion of the narrative. ^[16] Contemporary reviews praised the work for its vivid and pointed storytelling, noting that Forster proved himself a capable independent author with far less vanity than typical in actors' memoirs. ^[15]

Death

Final years and death

In his final years, Rudolf Forster continued acting until 1968, with roles in several films that year as well as a stage appearance in Munich. ^[3] He died in his sleep on October 25, 1968, at his home in Bad Aussee, Styria, Austria, five days before his 84th birthday. ^[7] Forster was buried in the cemetery in Bad Aussee. ^{[3] [17]}