Emilia Unda

Emilia Unda , also Emilie Unda (born January 29, 1879 in Riga , Russian Empire , today Latvia , † December 7, 1939 in Berlin ), was a German-Baltic actress in stage and film.

At the theater

The artist, who comes from what is now Latvia, started her first German permanent engagement in 1904 at the city theater of Metz ( Lorraine ). In 1906 Emilie Unda went to the Bernarts Theater in Aachen , the following year she followed an engagement for five seasons at the Düsseldorfer Schauspielhaus (1907–1912). Her first appearance in Berlin brought her to the Komödienhaus in 1912, but the burly actress left the capital the following year and joined the Münchner Kammerspiele for four seasons (1913–1917) . After another flying visit to Berlin in 1917/1918 - during this time she also made her film debut - Emilia Unda went to the Hamburger Kammerspiele for one season before finally settling in Berlin in 1919, following an obligation to the stands . Unda was married to Hugo Häring . Emilie Unda celebrated her greatest successes under Victor Barnowsky , mostly taking over weighty character parts.

With the film

When Emilia Unda came to film in Berlin after the First World War , she was already playing in the matron trade. Friedrich Wilhelm Murnau's peasant drama Der brennende Acker (1921/22, with Werner Krauss , Eugen Klöpfer and Lya de Putti ) is one of the most important silent films in film history . Emilia Unda played her first major role as a shoemaker's wife in Wilhelm Dieterle's Tolstoy film Der Mensch am Weg (1923). She reached the climax of her film career in the early sound film era with roles in Robert Siodmak's love film Abschied (1930, with Brigitte Horney and Aribert Mog ) and in Eugen Schüfftan's comedy Das Ekel (1931, with Max Adalbert ). Emilia Unda, however, impressed the audience most effectively as the actress in Leontine Sagan's boarding school film Girls in Uniform (1931, with Hertha Thiele and Dorothea Wieck ). Emilia Unda was convincing here as a domineering cold, order and drill praising the highest educational principles, without denouncing this Prussian disciplinarian who did not allow feelings. In the mid-30s, Emilie Unda withdrew into private life.

Filmography

• Sinful mothers (Criminal Law § 218). Let there be light! 4th part ( Richard Oswald , 1918) - Therese Kallenbach
• Free love ( Max Mack , 1919)
• Death and Love ( Paul Otto , 1919) - the old Tekki - Vera-Filmwerke
• The burning field ( Friedrich Wilhelm Murnau , 1921/22) - the old maid
• On the outskirts of the big city ( Hanns Kobe , 1922)
• The Stone Rider ( Fritz Wendhausen , 1922/23) - Conductor
• Man on the road ( Wilhelm Dieterle , 1923) - the shoemaker's wife
• Farewell ( Robert Siodmak , 1930), Mrs. Weber, pensioner
• Preliminary investigation ( Robert Siodmak , 1931)
• Girls in Uniform ( Leontine Sagan , 1931) - Fraulein von Nordeck zur Nidden, superior
• The disgust ( Eugen Schüfftan , Franz Wenzler , 1931) - Hermine Bulcke
• Haunted people ( Friedrich Fehér , 1932) - wife of the mayor
• The white demon ( Kurt Gerron , 1932)
• Shards bring luck (short feature film; Curt Bois , 1932)
• The child's first right ( Fritz Wendhausen , 1932)
• Baby ( Karel Lamač , 1932) - Miss Fitz
• Manolescu, the prince of thieves ( Willi Wolff , 1932/33)
• The old and the young king ( Hans Steinhoff , 1934/35) - wife of Ramen
• Barcarole ( Gerhard Lamprecht , 1934/35) - landlady

Radio plays

• 1932: Hermann Kasack : Der Ruf (mother) - director: Edlef Köppen (radio play - RRG )

Web links

• Emilia Unda in the Internet Movie Database (English)
• Emilia Unda at filmportal.de