Curt Bois
Curt Bois [ bwa ] (born April 5, 1901 in Berlin ; † December 25, 1991 there ) was a German actor and, as a child actor, one of the first stars in film history .
Life
overview
Curt Bois' life was shaped by three phases. The first phase encompasses the pre-war years of childhood, his time as a child star up to his work as a salon humorist between the wars and the flight in 1933. In the 1920s he became an interpreter of chansons such as I do everything with my legs or that of Friedrich Hollaender written song Don't always look to the tango violinist an even greater degree of popularity. Until 1933 he played in numerous films and played as a comedian through various variety shows . Heinz Hilpert brought him back to the theater in 1925, where he was also mainly seen in comic roles. In 1932 he tried his hand at filming for the first time.
The second phase includes his life in exile, his predominant work in film in America and then his work again in Germany up to his engagements at the Theater des Westens and at the Schillertheater in Berlin. In October 1978 Bois celebrated his 70th stage anniversary. Film and television in Germany also offered him another field of activity. A later high point of his work in 1987 was the film Der Himmel über Berlin by Wim Wenders .
The beginnings
Curt Bois was born as Kurt Boas on April 5, 1901 in his parents' apartment at Fontanepromenade 4 in Berlin. His parents were Philipp Boas and Martha geb. Saul. The family was of Jewish origin. After a last meeting in the stairwell with the father, a player and a traveling salesman for leather goods, the mother Martha stayed with her four children at Ansbacher Straße 28 in Berlin. Curt's older sister Ilse played small children's roles in theater and film and thus helped to support the family. In 1907 the playwright Albert Bernstein-Sawersky became his stepfather.
For his sixth birthday, Curt was given a puppet theater with which he performed his play Robinson Krause, a shipwrecked man from Berlin . Despite a bored audience, he did not give up and founded his own theater, in which he was director and ensemble at the same time, and also played his own audience.
After these acting performances in the nursery, Curt Bois accompanied his sister to the Theater des Westens to audition with director Monti at the age of seven . Here, not Ilse, but he was engaged as Heinerle in Leo Fall's operetta Der fidele Bauer . The premiere took place on October 23, 1908 in the Theater des Westens and the Heinerle duet with Grete Dierkes could be acquired as a photo series and on film just five days after the premiere.
In the same year, the first silent films followed, such as Mutterliebe , Der kleine Detektiv und Stälhölzer, Buys Matches . His colleagues included Henny Porten in Des Pfarrers Töchterlein and Georg Kaiser in BZ-Maxe & Co.
Since 1914 there have been many revues with light entertainment in Berlin, in which Curt Bois was also represented from 1914 to 1919 with his appearances as a "salon humorist", as well as in cabarets, variety shows and spas in Germany, Switzerland, Austria and Hungary. The longer the war lasted, the more people looked for diversions, and Bois worked in the “Cabaret Kurfürst” in the “Brunnenpalast”, where he was very popular with his parodies of other great cabarets such as Jean Moreau and Paul Steinitz.
Curt Bois met his future wife Hedi Ury at the Nelson Theater. Hedi then gave up her job out of consideration for her husband's career and supported him until her death in 1962. Curt Bois then worked alternately for the “ Wilde Bühne ” and the “Nelson Theater”. Curt Bois presented parodies and songs at Trude Hesterberg's cabaret “Wilde Bühne” in the Theater des Westens, and here, too, hit the nerve of the times. The program of the "Wild Stage" was rather time-critical and satirical.
In the program of the comedians' cabaret (KadeKo), the art forms cabaret and vaudeville combined. The "KadeKo" was launched on December 1, 1924 with the operetta parody Quo Vadis? opened. Margo Lion and Kurt Gerron also played in this piece . Curt Bois played the Roman Gojus, with a large swastika dangling from his chest . Quo Vadis was an early satire on Nazism that later served the Nazis as an opportunity to persecute and murder those involved.
Ilse Bois also became a star in “KadeKo” until she emigrated to Austria in 1933 and later to Great Britain.
Curt has been involved in silent films since childhood, including You and the Three , Woe When You Let Go , The Young Man from Ready-to-Wear and The Prince of Pappenheim . In the latter film he had a comical appearance in women's clothes, which in 1937 was used to defame the actor in the anti-Semitic pamphlet Film-Kunst Film-Kohn Film-Korruption by Neumann-Belling-Betz under the heading "'German' World Stars". This same scene in women's clothes was also included in the anti-Semitic propaganda film Der Ewige Jude in 1940 , which premiered in Berlin's Ufa-Palast and was supposed to serve as evidence of the decadence of the Weimar Republic.
Curt Bois was rarely seen in German talkies . His first sound film Der Schlemihl , directed by Max Nosseck , was a surprise success in 1931 . After that he only appeared in the films A rich man and broken pieces bring luck , a short film that he also directs. The film Der Schlemihl is considered lost.
The cabaret was followed by the operetta stage, and Curt Bois played under Victor Barnowsky at the Deutsches Künstlertheater Berlin . Curt Bois was discovered by Max Reinhardt in the operetta Olly-Polly and was allowed to play the role of dance teacher invented by Max Reinhardt especially for him in Maugham's Victoria , a comedy from 1926.
On December 31, 1928, one of his greatest stage successes premiered. Curt Bois was seen at the Wiener Theater in der Josefstadt under the direction of Hugo Thimig as Lord Babberley in his own adaptation of Brandon Thomas ' play Charley's Aunt . In 1929 he repeated the production at the Komödienhaus Berlin under his own direction together with Felix Weissberger, but the planned filming did not take place in 1933. Brandon Thomas' heirs prevented the continuation of the success of this piece in America.
The auditor of Gogol was the last piece had with Curt Bois 1932 in Berlin Premiere, before he went into exile. The piece with which he last appeared on stage in Berlin was Frankenstein's eerie stories . From this revue, in which Curt Boissang Schlager composedby Mischa Spoliansky and Friedrich Hollaender , come such well-known songs as I do everything with my legs , don't always look at the tango violinist and come, let's dance a little rumba . These songs, like the Heinerle song, were known not only for the stage but also for records.
The exile
On February 7, 1933, a week after Hitler's " seizure of power ", Curt Bois left Germany. He saw three possibilities for his future: kill himself, be killed, or make a living in another country.
When he arrived in Vienna, Bois found work in the operetta The Lady with the Rainbow , which was also shown as a guest performance in Prague. In 1933 he stayed in Prague for two more productions. He stayed in Austria until 1934, but he could not stay there for a long time either, as theaters in Vienna were also closed due to economic problems. As an emigrant, it was difficult for him to get a work permit. Bois and his wife could no longer stand it in Austria and went to London. Here there was hope of gaining a foothold in the film industry through a friend from Germany, but the contacts established were unsuccessful.
In the autumn of 1934, however, he still appeared in the Zurich cabaret Corso with a cabaret program by and with Trude Hesterberg and with performances of his success Charley's aunt . The next stop was Paris, where he visited his sister Ilse. Here the decision matured to go to America. During his time in New York Bois met Max Nosseck again, who had directed Der Schlemihl . He had the idea to go to Hollywood , as one hoped for better job opportunities there. In a used car, Nosseck and Bois drove to California together .
Curt Bois made his way through numerous small and small roles, sometimes also in larger supporting roles, such as in Richard Oswald's The Lovable Cheat with Buster Keaton or in Max Ophüls Caught . In Michael Curtiz's emigrant melodrama Casablanca he was the dexterous pickpocket, also a smaller role.
The friendship with the cabaret artist and writer Erika Mann began in New York in 1937 . There she wanted to win him over for her political cabaret Die Pfeffermühle .
The return
Curt Bois and his wife then returned to Germany on July 25, 1950. He was supported by the writer Thomas Mann . On September 27, 1950, he was back on stage for the first time in Germany and played Chlestakow in Gogol's Der Revisor , directed by Wolfgang Langhoff . The press accused Langhoff and especially Bois of having Americanized the Russian classic.
In August 1951 he met Brecht again , and it was decided to work together on the play Mr. Puntila and his servant Matti . Since then there were no interesting roles and the uprising of 1953 made him pensive, Curt Bois went to West Berlin in 1954, where he was initially boycotted because he was not forgiven for his "excursion" to the GDR.
Curt Bois received roles again from Fritz Kortner , who returned from exile in 1947 and who used Curt Bois in several classic productions. Kortner led Bois in classic roles such as Malvolio in Shakespeare's What You Want in 1957 .
From 1958 he also took on film offers. He played, among other things, in the films Das Spukschloß im Spessart , Ganovenehre and Der Zauberberg . From 1959 Bois was a member of the ensemble at the Schiller Theater and played several times at the Schlosspark Theater . Curt Bois was dismissed in 1972 under the direction of Boleslaw Barlog at the Schiller Theater.
After his resignation, he came to the Berliner Ensemble in East Berlin in 1973 , where he played the role of the Emperor of China in Brecht's play Turandot or The White Washer Congress . The model for the “Congress of White Washers” was a meeting of the Berlin party activists of the SED in the Friedrichstadt-Palast on the evening of June 16, 1953. From 1972 to 1978, Boleslav Barlog's successor, Hans Lietzau , brought him to the Schillertheater because directors came after Bois demanded. Bois was used in small supporting roles and in 1978, unspectacularly, retired after 70 years on stage. He played his last role as Gonzalo in Shakespeare's The Tempest , Without Farewell, Without Thanks.
The East Berlin theater “Theater im Palast” remembered this very rare stage anniversary and organized a celebration at which Bois read from his memories Too true to be beautiful . Then he withdrew from the stage and only occasionally made guest appearances with readings from his memoirs, which he published in book form and on record in anecdotal form in 1967 with Wolfgang Deichsel and in 1980 with Gerold Ducke.
He also concentrated increasingly on television films, where he embodied the leading role in the series The Fine English Art , but was also seen in smaller appearances, for example in Das Pensionenspiel from 1977 and in The Old Coming from 1979.
In 1980 the Swiss director Markus Imhoof hired him for the feature film Das Boot ist voll as old Jews fleeing the Nazis. The film was made as part of a trilogy on the subject of emigrants. The film takes a critical look at Switzerland's admission policy during the Second World War and was premiered in 1981 at the Berlinale .
In 1981, GDR television showed the first film portrait about the actor, Curt Bois or Mit Heinerle, everything began . Two years later, the actors Bruno Ganz and Otto Sander shot the documentary Memory , a double portrait of their colleagues Curt Bois and Bernhard Minetti . In his Berlin homage Der Himmel über Berlin , Wim Wenders used Curt Bois alongside Bruno Ganz and Otto Sander. Bois was honored for this role (Homer) in the category “Best Supporting Actor” with the European Film Award and thanked the audience in the Theater des Westens with an appearance in which he remembered his first steps on this stage 80 years ago fell on his knees and shouted: "It's me, the Heinerle!"
In the summer of 1991 filming began on In Far Far Away, So Close! , the follow-up project to Der Himmel über Berlin . When Curt Bois died on December 25, 1991 in Berlin, the role was replaced by Heinz Rühmann . Bois had already helped Rühmann achieve success after he had turned down the role for Die Drei von der Gasstelle due to personal reservations about Ufa.
Curt Bois could look back on an acting career of more than 80 years and acted in more than a hundred films. His grave is in the Wilmersdorf cemetery in Berlin. The grave has since been abandoned .
Quotes
“He's the 1901 Harold Lloyd who was twenty when inflation hit. It has its cheekiness inherited from time and an elasticity that is ready for any stock market crash and revolution at any minute in order to offer resistance. He has their fearfulness, their haste, their unsentimentality, their business acumen. "( Erich Kästner, around 1920 )
“Bois is the lively boy who knows everything better and better. That goes over everyone's mouth. Who starts ten sentences at the same time and ends none His keen eye examines and sees through the world of today. ”( Paul Marcus (di Pem ): Die vom Brettl . In: Der Junggeselle , no. 23, June 2nd, 1926, p. 7. )
“What would comedy be without Curt Bois? A clock without a pointer, a light bulb without electricity, a car without a motor. ”( Felix Salten ; Neue Freie Presse, Vienna, October 11, 1930 from the Bois' estate In: Gerold Ducke;“ Humor comes from grief ”Curt Bois. A biography, Bostelmann and Siebenhaar Verlag, Berlin 2001, p. 80. )
“So spoiled by life, Hedi and I sat in the waiting room of the Anhalter Bahnhof on February 7, 1933. My train went to Vienna. In twenty days the Reichstag will burn and the republic will be in flames. I had barely escaped annihilation. How many of my colleagues don't. What remained was my merriment, my thoughtlessness. ”( Bois Curt;“ Too true to be beautiful ”, Henschelverlag Art and Society, Berlin 1980, p. 64 )
Awards
- 1960: German Critics' Prize for the role of Sganarelle in Fritz Kortner's production of Don Juan (Molière)
- 1961: Federal Cross of Merit 1st class (refused by Bois)
- 1963: Appointment as state actor
- 1971: Filmband in gold for many years of outstanding work in German film
- 1988: European Film Award "Felix" (Best Supporting Actor) for Der Himmel über Berlin
- 1991: Large Federal Cross of Merit ; it was awarded to him before his death, but he did not live to see it again.
Filmography (selection)
Unless otherwise mentioned: as an actor.
Silent films in Germany
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Sound films in Germany
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Movies in the USA
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Post-war films in Germany
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theatre
- 1908: Leo Fall : Der fidele Bauer (Heinerle) - Director: Franz Groß ( Theater des Westens , Berlin)
- 1909: Jean Kren / Georg Okonkowski: Where does she live? (Ernesto, a child prodigy) - Director: Jean Kren / Alfred Schönfeld (Thalia-Theater, Berlin)
- 1909: A. Bernstein-Sawersky and AS Pordes Milo: König Zipapek (König Zipapek) (Neues Schauspielhaus am Nollendorfplatz, Berlin)
- 1911: William Shakespeare : Richard III. (Richard, Duke of York) - Director: Ferdinand Bonn ( Circus Busch , Berlin)
- 1916: Robert Stolz : Das Glücksmädel - Operetta (apprentice) - (Theater des Westens, Berlin)
- 1924: George Bernard Shaw : A musical cure (Lord) - Director: Julius E. Herrmann ( German Art Theater , Berlin)
- 1924: Avery Hopwood : Our Little Woman (Bobby Brown) - Director: Erich Papst [sic!] (Comedy, Berlin)
- 1924: Otto Schwartz and Georg Lengbach: The Blue Heinrich (German Art Theater , Berlin)
- 1924: Harry Archer: Wildwestmädel (Tommy Tucker) - Director: Gustav Charlé (Neues Theater am Zoo, Berlin)
- 1924: Heinrich Mann : Varieté (Kapellmeister) - Director: Julius E. Herrmann (German Art Theater, Berlin)
- 1925: Richard Keller : Monsieur Trulala (King of Patalonia) - Director: Reinhold Bruck (Deutsches Künstlerhaus, Berlin)
- 1925: Arnolt Bronnen : Die Exzesse (Max / Puffke) - Director: Heinz Hilpert (Lessing-Theater, Berlin)
- 1925: Franz Arnold and Ernst Bach : Olly-Polly (Charly) - Director: Franz Arnold ( Neues Theater am Zoo , Berlin)
- 1925: Marie Madeleine / Wilhelm Bendow (arr.): The three let loose (Count Maximilian) - Director: Curt Bois (Comedy, Berlin)
- 1926: Maurice Donnay : Lysistrata (Agathos) - Director: Erich Engel (Kammerspiele, Berlin)
- 1926: Somerset Maugham : Victoria (dance teacher) - directed by Max Reinhardt (comedy, Berlin)
- 1927: Nancy and Armont: Theo does everything (Theo) - Director: Julius E. Herrmann (Komödienhaus, Berlin)
- 1927: Arnold Ridley : Der Geisterzug (Teddie Ridley) - Director: Erich Pabst (Berliner Theater)
- 1927: Ossip Dymow : Bronx Express (Jankel Fliamkes) - Director: Heinz Hilpert (Kammerspiele, Berlin)
- 1927: Henry Bataille : Poliche (Didier Mereuil) - Director: Hans Leibelt ( Renaissance Theater , Berlin)
- 1928: John Galsworthy : Escape (convict, philistine, tourist) - directed by Victor Barnowsky (Theater an der Königgrätzer Straße, Berlin)
- 1928: Stefan von Kamare : Linen from Ireland (Schlesinger-Effendi) - Director: Leopold Kramer (Theater an der Königgrätzer Straße, Berlin)
- 1928: Carl Sternheim : Mask (Mandelstam) - Director: Carl Sternheim ( Theater in Behrenstrasse , Berlin)
- 1928: Heinrich Mann: Bibi (Bibi) - (Theater im Palmenhaus, Berlin)
- 1928: Leo Lania : Konjektiven (Trebitsch-Lincoln) - Director: Erwin Piscator (Lessing-Theater, Berlin)
- 1928: Stefan von Kamare: Linen from Ireland (Schlesinger-Effendi) - Director: Paul Kalbeck ( Theater in der Josefstadt , Vienna)
- 1928: Brandon Thomas : Charley's Tante (Lord Babberley) - Director: Hugo Thimig (Theater in der Josefstadt, Vienna)
- 1929: Brandon Thomas: Charley's Tante (Lord Babberley) - Director: Felix Weissberger / Curt Bois (Komödienhaus, Berlin)
- 1929: Julius Berstl : Scribbeys Soups (Percy Bubbles) - Director: Fritz Wendhausen (Komödienhaus, Berlin)
- 1930: Fritz von Unruh : Phaea (Freddy Krah) - Director: Max Reinhardt ( Deutsches Theater , Berlin)
- 1930: Alfred Savoir : Just one extra (Albert, one extra) - Director: Bernd Hofmann (Neues Wiener Schauspielhaus)
- 1931: Edouard Bourdet : The weak sex (Carlos Pintos) - Director: Max Reinhardt (Kurfürstendamm-Theater, Berlin)
- 1931: Curt Bois / Max Hansen : Customer Service (Alexander Peloponos) - Director: Hans Deppe , Curt Bois (Comedy, Berlin)
- 1932: Nikolai Gogol : The Auditor (Chlestakow) - Director: Heinz Hilpert (Volksbühne, Berlin)
- 1932: Ronald Ditheray: Trautes Heim - Glück alone - Director: Kurt Robitschek ( Kabarett der Komiker , Berlin)
- 1935: Leo Perutz , Hans Adler : Tomorrow's a Holiday (Toni Heffner) - George Kaufman (Golden Theater, New York)
- 1936: Paul Vulpius : Help Yourself - Directed by Lucius Cook (Manhattan Theater, New York)
- 1950: Nikolai Gogol: The Auditor (Chlestakow) - Director: Wolfgang Langhoff ( Deutsches Theater Berlin )
- 1952: Bertolt Brecht : Mr. Puntila and his servant Matti (Puntila) - Director: Bertolt Brecht (Berliner Ensemble in the Deutsches Theater, Berlin)
- 1952: Werner Bernhardy : A hen party - Director: Curt Bois (Deutsches Theater, Berlin)
- 1957: William Shakespeare: What you want (Malvolio) - Director: Fritz Kortner ( Münchner Kammerspiele )
- 1958: George Bernard Shaw: Androclus and the Lion (Androclus) - Director: Fritz Kortner ( Residenztheater Munich )
- 1959: Friedrich Schiller : The Robbers (Spiegelberg) - Director: Fritz Kortner (Schiller Theater, Berlin)
- 1960: Molière : Don Juan (Sganarelle) - Director: Fritz Kortner (Schiller Theater, Berlin)
- 1961: Molière: Scapin (Scapin) - Director: Otto Schenk (Theater in der Josefstadt, Vienna)
- 1962: William Shakespeare: What you want (Malvolio) - Director: Fritz Kortner ( Schiller Theater , Berlin)
- 1962: Martin Walser : The detour (Box Hubert) - Director: Harry Meyen (Schloßpark-Theater, Berlin)
- 1962: Jean Anouilh : Das Orchester (Leon pianist) - Director: Harry Meyen (Schloßpark-Theater, Berlin)
- 1964: Moliere: The Imaginary Sick (Argan) - Director: Fritz Kortner (Deutsches Schauspielhaus, Hamburg)
- 1965: Bertolt Brecht: Mr. Puntila and his servant Matti (Puntila) - Director: Boleslav Barlog (Schiller Theater, Berlin)
- 1966: Arkady Leokum : enemies (Gittelmann) - Director: Max P. Ammann ( Castle Park Theater , Berlin)
- 1966: William Shakespeare: Troilus and Cressida (Thersites) - Director: Ernst Schröder (Schiller Theater, Berlin)
- 1967: William Shakespeare: A Midsummer Night's Dream (note) - Director: Boleslaw Barlog (Schloßpark-Theater, Berlin)
- 1967: Ödön von Horvath : Tales from the Vienna Woods (Magic King) - Director: Max P. Ammann (Schiller Theater, Berlin)
- 1968: Molière: The Citizen as Nobleman (Jourdain) - Director: Max P. Ammann (Schiller Theater, Berlin)
- 1968: Anton Chekhov : The Seagull (Sorin) - Director: Liviu Ciulei (Schiller Theater, Berlin)
- 1971: Franz Buchrieser : Hansel (Hans Rametshofer) - Director: Fritz Zeche (Schiller Theater, Berlin)
- 1973: Bertolt Brecht: Turandot or the Congress of the White Washer (Kaiser) - Director: Wolfgang Pintzka / Peter Kupke ( Berliner Ensemble )
- 1973: F. Scott Fitzgerald : The President or the Sausage (Oppa Horatio) - Director: Hans Hollmann (Schloßpark-Theater, Berlin)
- 1974: Nikolai Gogol: The Marriage (Anutschkin) - Director: Hans Hollmann (Schloßpark-Theater, Berlin)
- 1974: Seán O'Casey : Juno and the Peacock (Schneider Nadel Nurgent) - Director: Hans Lietzau (Schiller Theater, Berlin)
- 1975: Georg Büchner : Leonce and Lena (The Schoolmaster) - Director: Roberto Ciulli (Schloßpark-Theater, Berlin)
- 1975: Arthur Schnitzler: The Green Cockatoo (Prospere) - Director: Karl Paryla (Schlosspark-Theater, Berlin)
- 1975: Arthur Schnitzler : Literature (widow of a general) - Director: Karl Paryla (Schloßpark-Theater, Berlin)
- 1976: Roger Vitrac : The Coup of Trafalgar (Monsieur Peigne) - Director: Roberto Ciulli (Schiller Theater, Berlin)
- 1976: Bertolt Brecht: Consider the conditions of this planet - Director: Peter Fischer (Schiller-Theater, Berlin)
- 1976: Elias Canetti : Wedding (Doktor Bock) - Director: Günter Krämer (Schiller Theater, Berlin)
- 1977: Bertolt Brecht: Mann ist Mann (bronze of a Tibetan pagoda) - Director: Roberto Ciulli (Schloßpark-Theater, Berlin)
- 1978: William Shakespeare: Der Sturm (Gonzalo) - Director: Alfred Kirchner (Schiller Theater, Berlin)
Radio plays
- 1958: Karl Wittlinger : A five-mark piece called Müller (Egon Müller) - Director: Kurt Reiss ( NDR )
- 1974: John Arden and Margaretta D'Arcy: The Legacy of Ballygombeen (Hollidey-Cheype) - Director: Walter Adler ( WDR / SR )
- 1977: Kedar Nath: Der Laden (Bhimu Shah) - Director: Götz Naleppa ( RIAS Berlin)
- 1982: Paul Mommertz : Hamsun ( title role ) - Director: Ernst Wendt ( BR )
- 1982: Sei Kurashima: The Ringing of the Wind Bell (Inouye) - Director: Albrecht Surkau ( Broadcasting of the GDR - dummy head )
- 1984: LaVerne Kehr: With us in the west (Al) - director: Albrecht Surkau (radio of the GDR - artificial head)
- 1990: Jean-Claude Kuner : Curt Bois: Ver (g) travels indefinitely - Director: Jean-Claude Kuner ( SFB / SRF - Studio Basel)
Fonts
- Curt Bois: I've never felt so bad. From my diary. Collaboration: Wolfgang Deichsel . Friedrich, Velber 1967 (also: Athenäum Verlag, Königstein (Taunus) 1984, ISBN 3-7610-8361-0 ); About a sample (for Moliére, The Imagined Sick) with Fritz Kortner, in: Claus Landsittel, Kortner anekdotisch , 1970 (dtv), pp. 118–123.
- Curt Bois: Too true to be beautiful. Collaboration: Gerald Ducke. Henschelverlag Kunst u. Gesellschaft, Berlin 1980 (2nd, modified edition, ibid 1982).
literature
- Sabine Zolchow, Johanna Muschelknautz (Ed.): I do everything with my legs ... The actor Curt Bois. Verlag Vorwerk 8, Berlin 2001, ISBN 3-930916-40-1 .
- Gerold Ducke: "Humor comes from grief". Curt Bois, a biography. Bostelmann and Siebenhaar, Berlin 2001, ISBN 3-934189-61-X .
- Kay Less : 'In life, more is taken from you than given ...'. Lexicon of filmmakers who emigrated from Germany and Austria between 1933 and 1945. A general overview. P. 105 f., ACABUS-Verlag, Hamburg 2011, ISBN 978-3-86282-049-8
Film about Curt Bois
- Curt Bois - character comedian. Documentation 2001, 45 min., Director: Christoph Rüter. * Table of contents from Christoph Rüter Filmproduktion
Web links
- Literature by and about Curt Bois in the catalog of the German National Library
- Curt Bois in the Internet Movie Database (English)
- Curt Bois at filmportal.de
- Pictures by Curt Bois In: Virtual History
- Short biography of Curt Bois. In exile archiv., Undated
- Curt Bois Collection in the Archive of the Academy of Arts, Berlin
- Horst Schäfer: Bois, Curt. Detailed portrait on KinderundJugendmedien.de (2014)
Individual evidence
- ^ Birth certificate StA Berlin IVb No. 929/1901 .
- ↑ Curt Bois in the Munzinger archive ( beginning of article freely accessible)
- ↑ knerger.de: Curt Bois's grave
- ↑ a b c Sabine Zolchow, Johanna Muschelknautz (ed.): I do everything with my legs ... The actor Curt Bois. 2001, p. 167.
| personal data | |
|---|---|
| SURNAME | Bois, Curt |
| BRIEF DESCRIPTION | German actor |
| DATE OF BIRTH | April 5, 1901 |
| PLACE OF BIRTH | Berlin |
| DATE OF DEATH | December 25, 1991 |
| Place of death | Berlin |