Emil Jannings
Emil Jannings (born July 23, 1884, Rorschach, Switzerland—died January 2, 1950, Strobl, near Salzburg, Austria) was a German actor who was internationally known for his tragic roles in motion pictures. He was the recipient of the first Academy Award for best actor.
Jannings was reared in Görlitz, Germany, where he began his stage career. He joined a traveling stock company and in 1906 began acting for Max Reinhardt, the leading German theatrical director, in Berlin. He made his film debut in 1914 and had his first major success in the role of Louis XV in Madame Dubarry (1919; also released as Passion), directed by Ernst Lubitsch.
The 1924 film Der letzte Mann (The Last Laugh), directed by F.W. Murnau, featured Jannings’s best-remembered role—an aging hotel doorman demoted to the position of washroom attendant. In Varieté (1925; Variety) he was a married sideshow operator deceived by a female trapeze artist. And in Der blaue Engel (1930; The Blue Angel), which introduced the sultry leading lady Marlene Dietrich, he was an aging professor hopelessly in love with a young but worldly-wise nightclub singer. Critics acclaimed Jannings as one of the finest actors in the world on the basis of these three motion pictures.
Jannings was a versatile actor whose enormous emotional range was well suited to an array of character roles. Although he occasionally lapsed into the unbridled hamminess that was characteristic of acting styles of the era, he was also capable of great subtlety and nuance, even in such grandiose roles as Mephistopheles in Faust (1926), wherein he projected inner rage and turmoil beneath a cool cynical exterior. He excelled at portraying once-proud men forced to endure suffering or humiliation, and such roles (The Last Laugh, Variety, The Blue Angel, The Last Command) are the ones for which he is best remembered.
In 1929, the first year of the Academy Awards, Jannings won a best actor award for his performances in the American-made films The Way of All Flesh (1927, now lost), in which he played an embittered family man, and The Last Command (1928), in which he was an exiled Russian general reduced to playing bit parts in war films. (During the early years of the awards, actors could be nominated for multiple performances.) With the advent of sound in American cinema, Jannings was forced because of his thick accent to abandon his career in the United States. He continued to work in German films, but his support of the Nazi regime made him a pariah elsewhere in the world. He remains a subject of great controversy, though many of his detractors begrudgingly admit that he was one of the finest actors of his generation.