Hans Albers

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Hans Albers (1922)
Birthplace of Hans Albers in Hamburg-St. Georg , Long Row 71
Hans Albers with lady (photography by Alexander Binder , 1924)
Memorial plaque on the Schöneberger Ufer 61 building in Berlin-Tiergarten (with an incorrect year of birth)
Hans Albers (right) in his star role as Liliom in the Hebbeltheater in Berlin , 1946
Statue on the Hans-Albers-Platz in Hamburg
Hans Albers' grave in the Ohlsdorf cemetery

Hans Philipp August Albers (born September 22, 1891 in Hamburg ; † July 24, 1960 in Berg , Bavaria ) was a German actor and singer who became a popular idol as "blond Hans".


Hans Albers was born as the son of the butcher Philipp Albers (called "Schöner Wilhelm") and his wife Johanna Dorothea, née Rathjen, in the long row 71 in Hamburg-St. Georg was born as the youngest of six children. He attended the Uhlenhorster Oberrealschule , but was expelled from the school as a quarterback after a physical conflict with a beating teacher . He experienced something similar in the St. Georgs Realschule . Albers found more recognition as an enthusiastic young athlete in the Alster swimming club. As a result, he began an apprenticeship as a businessman and worked in a silk company in Frankfurt am Main.

He began his theater career at the New Theater there , initially with moderate success. Without his father's knowledge, he had taken private acting lessons with secret financial support from his mother. In the 1912/13 season he made his debut at the Stadttheater Güstrow , mostly in the role of the adolescent lover . His salary was between 60 and 120 marks a month, and he had to help out with stage work.

After being drafted into the army in 1915, Hans Albers was seriously wounded as a soldier in the 31st Reserve Infantry Regiment on the Western Front during World War I. He was taken to a Wiesbaden hospital, where it was possible to restore his shot leg. According to his own words, he had vehemently resisted an impending amputation. After his release he appeared in antics , comedies and operettas at the Residenztheater there .

After the First World War

Albers lived in Berlin from 1917. After the First World War he played mainly comic roles in operettas and comedies at various Berlin theaters and at the Komische Oper . From the mid-1920s he established himself with singing and acrobatics as a leading actor in revues by Rudolf Nelson, among others . His first big success was spoken theater-1928, the role of the waiter Gustav ne'er-do in the play The criminals of Ferdinand Bruckner . His teacher and sponsor was the Jewish actor Eugen Burg .

After over a hundred silent film roles, he starred in one of the first German sound films in 1929 , The Night Belongs to Us and shortly afterwards alongside Marlene Dietrich in The Blue Angel . The role of the artist Mazeppa in this film was his only supporting role after the introduction of the sound film. His fellow actor and then chairman of the supervisory board of the Tobis Tonbild Syndicate, Emil Jannings , ensured that crucial scenes with Albers were cut out of the finished version.

In 1930 he shot the comedy Hans in allen Gassen under the direction of the later President of the Reichsfilmkammer Carl Froelich . In the last years of the Weimar Republic , Hans Albers was again to be seen in major theater roles in addition to very successful films such as Bombs on Monte Carlo (1931) or FP1 does not answer (1932). B. together with Fritz Kortner in Rivalen or in Ferenc Molnár's Liliom . The latter became his star role since its first performance on January 7, 1931 at the Volksbühne Berlin, which he played until the play was canceled by the NSDAP (since Molnár was Jewish) and then again after the Second World War ; here he sings the fairground exclamation song Come on the swing, Luise .

time of the nationalsocialism

After the seizure of power by the NSDAP he was urged to separate from his partner, the actress Hansi Burg , the daughter of his Jewish mentor Eugen Burg. After a while, Albers gave in and officially separated from her, but continued to live with her on Lake Starnberg . There he owned a villa with a 27,000 m² property in Garatshausen near Tutzing since 1933 .

Albers continued to make films successfully, although he no longer went to the theater until 1945 in order to evade the influence of the National Socialists. For Hansi Burg, however, Germany became too dangerous. Albers wanted to know that his partner was safe and made sure that she emigrated to England via Switzerland in 1939. She returned to Garatshausen in 1946. Albers separated from his girlfriend and lived with Hansi Burg in Garatshausen until his death in 1960. Albers remained unmarried throughout his life.

The UFA crime comedy Der Mann Who Sherlock Holmes was from 1937 , in which Albers played the leading role together with Heinz Rühmann . The duet of the two with the title Yeah, my gentlemen ... became a box office hit. In the year the war broke out in 1939, the water project for Canitoga was completed, an immensely expensive adventure film, from which a real hit with the song Goodbye Johnny emerged. In 1943, the Münchhausen color film, which was produced at great expense for the 25th anniversary of the UFA, had an extraordinary public success.

On the one hand, Hans Albers had a very distant relationship with the National Socialists: he never appeared on the side of high-ranking NSDAP functionaries and refrained from accepting an acting award from Joseph Goebbels . Nevertheless, he was highly valued by Goebbels as a crowd puller, so he was able to demand and receive very high fees and was put on his list of those who were gifted by God .

Propaganda films with the participation of Hans Albers were refugees (1933) and executioners, women and soldiers (1935) as well as the propaganda film Carl Peters produced by him about the African colonialists of the same name from 1941. In 1943 he made the color film together with Ilse Werner under the direction of Helmut Käutner Great freedom No. 7 . Filming had to be continued in Prague because of the bombing raids on Potsdam ( Babelsberg ) and Berlin , where filming had started . However, due to its gloomy mood, the film was only shown publicly after the end of the war, apart from its premieres and other screenings in Prague. The German premiere in September 1945 in Berlin was the first film premiere after the Second World War.

Shortly before the end of the war, filming began on Shiva and the Gallows Flower , a color crime film that could no longer be completed. The film was shot in Prague under the direction of Hans Steinhoff . Revolts and the approach of the Red Army led to the abandonment of the shooting and the flight of the staff and actors to the west.

After the Second World War

Albers' first production after the end of the war was the film, shot in 1947 and set in Berlin ... and above us the sky , which shows him as a returnee from the war. After the Second World War, Albers was able to continue his film career, including in the very successful film Auf der Reeperbahn at half past twelve with Heinz Rühmann. A high point of his filmmaking in the 1950s was the literary film adaptation Before Sunset by Gerhart Hauptmann with Annemarie Düringer and Claus Biederstaedt at his side. Films like The Great Bomberg or The Heart of St. Pauli followed .

He was also very successful with his songs. In them he already stood since 1932 as a warhorse ( Fly With me the sun ), as a sailor (The wind and the sea) and as a minor (Come on the swing, Luise) . A major problem in the 1950s was his Alcohol sickness, which he always knew how to cover up.

In 1957 he played old Karl Knie in the musical version of the tightrope walker piece Katharina Knie by Carl Zuckmayer in the State Theater on Gärtnerplatz in Munich . With this role he left the stage in 1960. In 1958, two years before his death, Hans Albers could still be seen in three films: Der Greifer (a crime film), Der Mann im Strom (a literary film based on Siegfried Lenz ) and 13 Little Donkeys and the Sonnenhof . His last film, No Angel Is So Pure , was released in 1960. He closes with the sentence spoken by Hans Albers: “This is the end”.


At the age of 68, Hans Albers collapsed with severe internal bleeding during a theater performance and died three months later on July 24, 1960 in a sanatorium in the Kempfenhausen district of Berg am Starnberger See. He was cremated and the urn was buried in the Ohlsdorf cemetery in his native Hamburg.



Silent films

Sound films

Record recordings

The Gripper (1958), movie poster by Helmuth Ellgaard
Chart positions
Explanation of the data
Our Hans Albers
  DE 2 07/15/1962 (64 weeks)

Almost all hits recorded by Albers come from the soundtracks of his films; in particular the music to Große Freiheit No. 7 (1943/1944), Wasser für Canitoga (1939) and FP1 does not answer (1932) helped him to gain popularity as a singer. Albers' greatest musical success was his version of the old South American song La Paloma, recorded for Große Freiheit Nr. 7 , with a German text by Helmut Käutner .


  • Madam, come and play with me (from the movie Quick ), August 11th
  • Flieger, greet me the sun (from the film FP1 does not answer ), July 7th
  • Right there where the lighthouse is (from the movie FP1 doesn't answer ), July 7th
  • I came from Alabama ( Oh, Susanna from the movie Rivals ) February 13th
  • Oops, now I'm coming (hit song from the film Der Sieger ), February 9th
  • Come on the swing, Luise (from the play Liliom ), February 9th
  • This is the sailors' love (from the movie Bombs on Monte Carlo )
  • In Hamburg on the Elbe (seamen's chorale)
  • Child, Don't Cry (from The Daredevil movie ) November 23rd
  • I will kiss you if you ask
  • Hamburger Kedelklopper (based on the melody of Der Stiefelputzer )


  • Hans im Glück (Potpourri of the most popular Albers film and stage hits), March 4th
  • My gorilla has a villa in the zoo (from the film Today it depends ), February 13th
  • Whenever I'm happy (from the movie Today It Depends ), February 13th
  • I'm Lucky Hans (from the movie Today it depends ), February 9th
  • In 24 hours (from the film Today it depends ), February 9th


  • Now I have to go, goodbye, my child (from the film Peer Gynt ), December 13th
  • Ase's death (from the film Peer Gynt ), December 13th


  • Under hot skies (from the film of the same name), December 15th
  • On the Reeperbahn at half past twelve, April 1st
  • In my heart, honey, there is room for many (from the movie Savoy Hotel 217 ) April 1st
  • And above us the sky (from the film of the same name), April 1st (The film of the same name was not produced until 1947)



  • Good Bye, Jonny (from the movie Water for Canitoga )
Hans Albers mural in St. Pauli , Hein-Hoyer-Str. 36/38, 2015


  • La Paloma (from the movie Great Freedom No. 7 ), December 19
  • The first time, it still hurts (from the movie Great Freedom No. 7 ), December 19th
  • On the Reeperbahn at half past twelve (from the film Große Freiheit No. 7 )


  • Sehnsuchtsmusik (Lied der Ferne), December 4th
  • Song of the Refugees, May 28th
  • Goodbye Johnny (from the movie Water for Canitoga ), May 28th
  • Hein Mück (from Bremerhaven), April 23
  • Between Hamburg and Haiti (from the film of the same name), April 23
  • And above us the sky (from the film of the same name)


  • Bohemian (slow waltz), December
  • Föhn (song from the film of the same name), December
  • Fairground (waltz song), October
  • On the Reeperbahn at half past twelve (waltz song, rare version), June
  • La Paloma (rare version), June
  • Only available in Texas ( Deep in the Heart of Texas with Evelyn Künneke)
  • In Arizona and Arkansas (Foxtrot and duet with Evelyn Künneke)
  • Say what's your name (shanty and slow fox)
  • I came from Alabama ( Oh, Susanna from the movie Rivals )
  • The wind and the sea
  • Hafenlied (Beguine)
  • If you were my darling (from the operetta 3 × Georges )
  • I don't ask if you have any money (from the operetta Hopsa )
  • The song of nigger Jim (from the operetta Hopsa )
  • The song of Columbus (from the operetta Hopsa )
  • Nic is brown like a coffee bean (Marschfox with the Burgstaller siblings)
  • Five little monkeys (with the Fitzett Trio )
  • My uncle has plantations


  • Little North Tern (with the Burgstaller siblings)
  • Coconuts and Bananas (Foxlied)
  • The captain's name was Jack (Marschfox)


  • Blue Peter (Tango) is available in every port on June 11th
  • In Hamburg on the Elbe (seaman's chorale, song and march), June 11th
  • On the Reeperbahn at half past twelve (from the film of the same name)
  • O Signorina-rina-rina (from the movie Käpt'n Bay-Bay )
  • Little white seagull (from the movie Käpt'n Bay-Bay )
  • Come on the swing, Luise (from the movie Auf der Reeperbahn at half past twelve )
  • Kleine Möve, fly to Helgoland (from the film Auf der Reeperbahn at half past twelve )
  • Take me with you, captain, on the journey (Text: Fritz Graßhoff , from the film Käpt'n Bay-Bay )


  • La Paloma
  • Käpt'n Bay-Bay from Shanghai (from the movie Käpt'n Bay-Bay )


  • On a starry night at the harbor (from the film Auf der Reeperbahn at half past twelve )
  • One more time to Bombay (from the film Auf der Reeperbahn at half past twelve )


  • Between Hamburg and Haiti


  • Man must have a home (from the musical stage play Katharina Knie )
  • The heart of St. Pauli (from the film of the same name)
  • The last shirt (from the movie The Heart of St. Pauli )
  • Don't cry (from the film The Heart of St. Pauli )


  • Yes, life (from the film The Heart of St. Pauli )


  • It does not matter
  • Trippel, trippel, trapp (from the musical stage play Katharina Knie )
  • My boy, keep your feet still (from the movie 13 Little Donkeys and the Sonnenhof )


  • Aros (d. I. Alfred Rosenthal ): Hans Albers. How he is and how he became (= Illustrated Film Books. No. 4) Scherl, Berlin 1931.
  • Hans Kafka : Hans Albers. The fairy tale of a career (= artists and films. Volume 1, ZDB -ID 574369-2 ). RA Höger-Verlag, Leipzig 1931.
  • Harry E. Weinschenk: Actors tell. Wilhelm Limpert-Verlag, Berlin 1938, p. 7 ff.
  • Hans-Joachim Schlamp: Hans Albers (= artist biographies. Volume 6). R. Mölich, Berlin 1939.
  • Christoph Funke: Hans Albers. Henschelverlag, Berlin 1965 (2nd, modified and expanded edition. Ibid. 1969; 3rd, improved edition. Ibid. 1972).
  • Joachim Cadenbach : Hans Albers. Universitas-Verlag, Berlin 1975, ISBN 3-8004-0818-X .
  • Eberhard Spiess : Hans Albers. A filmography. Edited by Hilmar Hoffmann and Walter Schobert in collaboration with the German Institute for Film Studies, Wiesbaden. Municipal cinema, Frankfurt am Main 1977.
  • Uwe-Jens Schumann: Hans Albers - his films, his life (= . Volume 32, Heyne film library. Volume 18). Heyne, Munich 1980, ISBN 3-453-86018-7 .
  • Hans-Christoph Blumenberg : In my heart, darling… The life journey of the actor and singer Hans Albers (= Fischer-Taschenbücher 10662 Fischer-Cinema ). Fischer-Taschenbuch-Verlag, Frankfurt am Main 1981, ISBN 3-596-10662-1 .
  • Michaela Krützen : Hans Albers. A German career Beltz Quadriga, Weinheim u. a. 1995, ISBN 3-88679-252-8 (also: Cologne, University, dissertation, 1994).
  • Wolfgang Schaffner: First seawater-proof Hans Albers song book. 2nd, improved edition. Schaffner Musikverlag, Munich 1996, ISBN 3-00-000945-0 .
  • Elke Schieber (Ed.): Hans Albers - a life in pictures. Published by the Filmmuseum Potsdam. With an essay by Bärbel Dalichow . Henschel, Berlin 1997, ISBN 3-89487-282-9 .
  • Michaela Krützen: "Group 1: Positive" Carl Zuckmayer's assessments of Hans Albers and Heinz Rühmann. In: Ulrike Weiß (Red.): For discussion, Zuckmayer's “Secret Report”. And other contributions to Zuckmayer research (= Zuckmayer yearbook. Volume 5). Wallstein, Göttingen 2002, ISBN 3-89244-608-3 , pp. 179-227.
  • Rüdiger Bloemeke: La Paloma. The song of the century. Voodoo-Verlag, Hamburg 2005, ISBN 3-00-015586-4 .
  • Matthias Wegner : Hans Albers (= Hamburg heads. ). Ellert & Richter, Hamburg 2005, ISBN 3-8319-0224-0 .
  • Michael Busch: Albers, Hans . In: Franklin Kopitzsch, Dirk Brietzke (Hrsg.): Hamburgische Biographie . tape 3 . Wallstein, Göttingen 2006, ISBN 3-8353-0081-4 , p. 13-15 .
  • Michael Grisko : Hans Albers in Berlin. Morio Verlag, Heidelberg 2015, ISBN 978-3-945424-05-6 .

Web links

Commons : Hans Albers  - collection of pictures, videos and audio files

Individual evidence

  1. ^ Hans Albers (1891–1960), accessed on March 10, 2016.
  2. Photo Long Row 71 in "The VIPs once lived in these houses" ( Hamburger Abendblatt ) with reference to Christiane Kruse: Who lived where in Hamburg. Stürtz-Verlag, Würzburg 2011, ISBN 978-3-8003-1996-1 .
  3. Historisches - Ernst-Barlach-Theater , accessed on October 30, 2016
  4. About Hans Albers, as a young lover at the Güstrower Theater at www.stadtgeschichte-guestrow.de, accessed on February 9, 2017
  5. ^ Excerpt from the German lists of losses (Preuss. 395) of December 3, 1915, p. 10528.
  6. ^ Matthias Wegner: Hans Albers. P. 20.
  7. ^ Michael Schaudig (Ed.): Positions in German Film History. 100 years of cinematography. Structures, discourses, contexts (= discourse film. Munich contributions to film philology. Volume 8). Diskurs-Film-Verlag Schaudig & Ledig, Munich 1996, ISBN 3-926372-07-9 , pp. 119–154.
  8. Ernst Klee : Cultural Lexicon for the Third Reich . Fischer Verlag, S. 16 .
  9. Deutschlandfunk, broadcast of the historical calendar sheet from July 24, 2010, accessed on July 24, 2010.
  10. ^ Knerger.de: The grave of Hans Albers
  11. Uwe Bahnsen, Kerstin von Stürmer: Trümmer Träume Gateway to the World The history of Hamburg from 1945 until today. Sutton Verlag, Erfurt 2012, ISBN 978-3-95400-050-0 , p. 101
  12. Chart sources: DE