Romy Schneider

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Romy Schneider (1965)

Romy Schneider (born September 23, 1938 in Vienna , † May 29, 1982 in Paris ; real name Rosemarie Magdalena Albach ) was a German-French actress and voice actress .

Schneider began her acting career at the age of 15. At the side of her mother Magda Schneider , she starred in homeland films such as When the white lilac again blooms  (1953) and Die Deutschmeister  (1955). In the years 1955 to 1957 she succeeded in the role of Empress Elisabeth with Sissi - trilogy international breakthrough.

In search of challenging roles, she went to Paris in 1958, where she made her theatrical debut in John Ford's tragedy, Shame That She's a Whore . In 1963 she made the feature film The Cardinal in the United States , for which she received a Golden Globe nomination. In 1969 she had a box office success with The Swimming Pool at the side of Alain Delon .

In the 1970s Schneider was at the artistic height of her career. Under the direction of well-known directors such as Claude Sautet , Andrzej Żuławski and Luchino Visconti , she played numerous character roles and became the most successful actress in French film of the time. For her acting achievements in the films Nachtblende  (1975) and A Simple Story  (1978) she was awarded the César for best leading actress.

Her last film, The Walker from Sans-Souci , came out in 1982 a few weeks before her death. When she was awarded the César in 2008, she was awarded the honorary award posthumously.

life and work

The early years

The girls' boarding school at Schloss Goldenstein , which Schneider attended from 1949 to 1953

Romy Schneider was born as the daughter of the Austrian-German actor couple Wolf Albach-Retty and Magda Schneider in the Billroth Hospital (today Rudolfinerhaus ) in Vienna. Her paternal ancestors belong to the famous Austrian actor dynasty Albach-Retty. Romy Schneider's great-great-grandfather Adolf Retty was an actor in Austria, her great-grandparents were the director and actor Rudolf Retty and the singer Maria Katharina "Käthe" Retty, née Schäfer. Their daughter - Schneider's grandmother - was the Austro-Hungarian court actress Rosa Albach-Retty .

Four weeks after Schneider's birth, her parents brought her to Schönau am Königssee , where she and later her brother Wolf-Dieter (* 1941) grew up with grandparents Franz Xaver and Maria Schneider on the Mariengrund estate. In the first year of her life, Romy Schneider was given into the hands of a governess. The parents were very rarely present due to their acting engagements. They separated in 1943 and were divorced in 1945.

Schneider started school in Schönau in September 1944 and from July 1949 attended the girls' boarding school at Schloss Goldenstein , a private secondary school run by the Augustinian women choirs in Elsbethen near Salzburg . During her school days she discovered her passion for acting, which is why she was often on stage at boarding school theater performances. In her diary entry of June 10, 1952, she wrote: “If it were up to me, I would become an actress right away. […] Every time I've seen a nice film, my first thoughts after the performance are: I definitely have to become an actress one day. Yes! I must!"

On July 12, 1953, she left the Goldenstein boarding school with the completion of secondary school. After the summer vacation she was supposed to start studying at the Cologne Werkschulen , as she had shown a talent for painting and drawing during art lessons at school. In addition, Magda Schneider was meanwhile in Cologne with the restaurateur and entrepreneur Hans Herbert Blatzheim . However, she did not start training in favor of her first film role.

Start of career in the 1950s

In the planned Heimatfilm When the white lilacs bloom again , Magda Schneider should play the female lead. For the role of their film daughter Evchen Forster, the producer Kurt Ulrich and the director Hans Deppe were looking for a suitable cast. Magda Schneider suggested her own daughter, although, according to her own statements, she had no idea of ​​her career aspirations or talent. The first conversation with Ulrich and Deppe on July 15, 1953 in Munich was very promising. After the fourteen-year-old Schneider had won test shots in the Ufa studio in Berlin in early September 1953, she was hired for the role. The shooting at the side of the famous Willy Fritsch and the same age Götz George , who also made his screen debut in the film, took place in Wiesbaden and ended on November 9, 1953. The premiere of the film followed two weeks later in Stuttgart. From then on she used the stage name Romy Schneider. In December 1953 Magda Schneider and Hans Herbert Blatzheim married.

In May 1954 Schneider began shooting her second film, Fireworks , alongside Lilli Palmer , in which she plays a young girl named Anna Oberholzer who runs away from home to join a traveling circus as an artist. While working on the film, she wrote in her diary: “I know that I can get absorbed in this acting. It's like a poison that you swallow and that you get used to and that you cursed. ”In Feuerwerk , the then fifteen-year-old Schneider had her first kissing scene with her actor colleague Claus Biederstaedt and she later said that it was thanks to his sensitive manner was that she was able to overcome her embarrassment during the love scene. Fireworks was completed in July 1954 and hit German cinemas in September 1954.

While shooting fireworks , Schneider and Ernst Marischka met for the first time in June 1954 . The director already had an actress under contract for his new film Girl Years of a Queen  (1954) about the young Victoria , but after he met Romy Schneider, he spontaneously decided to change the role to her. The actress later said in an interview for the documentary Romy - Portrait of a Face  (1967) about Marischka and his trust in her at the time: “Mr. Marischka, who was a real friend, knew exactly what he wanted when he hired me. I wasn't an accomplished actress. [...] I know what I owe him. Very much. Everything. That's where it started. "

In 1955 Schneider played again under the direction of Marischkas and for the third time together with her mother in Die Deutschmeister , a remake of the film Spring Parade  (1934) in which her father had played the leading male role. The film and the actors received hymn reviews, and the song, Wenn die Vöglein Musikmusik , sung by Schneider in the film , was soon released on record. Within a short time Romy Schneider had advanced to become one of the most successful stars in German-speaking countries and had also helped her mother gain new recognition in post-war Germany. Together with Karlheinz Böhm , she received her first award as the most popular young star from the trade journal Der neue Film in 1955 . In the same year Schneider played alongside Joachim Fuchsberger and Hans Albers in the remake of The Last Man  (1924) of the same name . Albers, who played the leading role, later said: "It was not my film, it was your film." The last man  (1955) was, however, far less popular than her first films.

World success with the Sissi trilogy

Shooting of Sissi began in August 1955 . Director Ernst Marischka had hired the then sixteen-year-old Schneider to play the leading role in the historical film about the young Empress Elisabeth . At the side of her daughter, Magda Schneider took on the role of the Bavarian Duchess Ludovika , Elisabeth's mother. The main male role of the Austrian Emperor Franz Joseph I was given to Karlheinz Böhm. The collaboration between the two main actors was harmonious, but their relationship remained purely professional. The shooting lasted until the end of the year and was associated with enormous production costs.

Sissi had its world premiere on December 21, 1955 in the Apollo cinema in Vienna and was shown in West German cinemas a day later. The film made Schneider world famous, and her popularity rose again significantly in her home country. In a survey about Germany's most popular actress, she came in second behind Maria Schell in November 1955 , and Der Spiegel dedicated a cover story to her in March 1956. Due to their rapid rise, Schneider soon received the nickname "Shirley Tempelhof" in reference to the former US child star Shirley Temple . In Germany alone, around six million cinema-goers saw each of the three Sissi parts in the next two years .

Meanwhile, Schneider's stepfather, Hans Herbert Blatzheim, had taken over its management. He managed her income and explored incoming role offers. An offer for a film by the Spanish-Mexican director Luis Buñuel was rejected, as was possible engagements in remakes of Der Kongress tanzt  (1955) and Die Drei von der Gasstelle  (1955). A Hollywood version of a queen's girlhood failed because of the conditions set by Schneider's management, according to which, among other things, the shooting time should not have been longer than three months. Instead, she took on the title role in the love story Kitty and the Big World  (1956), the implementation of which again relied on the pulling power of Romy Schneider and Karlheinz Böhm.

Despite the great success of the first film, Schneider initially categorically rejected a sequel by Sissi , but was finally  persuaded by Blatzheim and the makers of Sissi - The Young Empress (1956) to slip into her star role again. In return, she managed to  negotiate one of her favorite substances with Robinson shall not die (1957). At the side of Horst Buchholz , Schneider plays the daughter of a cotton spinner from the lower class in the film and thus clearly distinguished himself from the roles she had previously played. In advance, it was feared that the audience would not accept Schneider in this role, which ultimately turned out to be unfounded. Both Kitty and the Big World and Robinson Shall Not Die recorded high numbers of visitors in the cinemas, but did not match the success of the second Sissi film. For her renewed portrayal of the Austrian Empress, Schneider was nominated for the Bambi in 1957 , but it went to Gina Lollobrigida .

In 1957 Schneider took on the role of the narrator in the musical fairy tale Peter and the Wolf , which was recorded as an LP under Herbert von Karajan , and made three films: Monpti  (1957), for which she flew to Paris for the first time, Scampolo  (1958) directed by Alfred Weidenmann and finally - reluctantly - the third and last part of the Sissi trilogy: Sissi - Fateful Years of an Empress  (1957).

Schneider no longer wanted to be tied to just one role and refused to make a fourth Sissi film. This not only meant her own financial disadvantage, since she refused a fee of one million marks, but was also at the expense of Magda Schneider, about whom things became noticeably quiet from 1959, and led to a noticeable deterioration in her relationship with her stepfather. "Daddy" Blatzheim, for whom the lucrative role offers and promotional appearances were in the foreground, had little ear for the artistic demands of his stepdaughter. There were also scenes of jealousy that he made her when she flirted with her film partners. Schneider soon felt patronized and began to rebel, initially only in silence in her diaries, later through the self-determined choice of her films and partners.

The outbreak

From February 11, 1957 to March 5, 1957, Romy Schneider toured India and Ceylon with mother, stepfather and nine other people. From January 13 to February 5, 1958, Schneider and her mother went on a three-week trip to New York City and Hollywood. The occasion was the New York premiere of her film Girl Years of a Queen , which the Walt Disney Company brought to US cinemas under the title The Story of Vicky . Schneider gave numerous interviews on radio and television, was received by the major Hollywood studios and maintained contacts with colleagues such as Helmut Käutner , Curd Jürgens and Sophia Loren .

Back in Germany she shot Girls in Uniform  (1958) alongside Lilli Palmer, Therese Giehse and Christine Kaufmann . The film by director Géza von Radványi is set in Prussia in 1910 and tells the story of the boarding school student Manuela von Meinhardis (Schneider), who falls in love with her teacher (Palmer). For the self-critical Schneider it was the first film in which she took herself seriously as an actress and in which she approached her role with confidence. The press also praised her acting performance. For example, the New Berlin Week wrote on October 10, 1958: “The lovely bitter Romy Schneider and the confident womanly Lilli Palmer did not disappoint even a demanding parquet: the lesbian game comes through discreetly and tastefully. All in all, a neat job that cannot be denied recognition. ” The day took place on October 16, 1958:“ Romy Schneider surprises us here (after the many roles in which she had to develop childlike, sweet charm) with an impressive theatrical urgency . She seems real in her initial shyness and her emotional blockage, but also in her later emotional outbursts. "

Schneider on the poster for An Angel on Earth (1959)

In June 1958, shooting began on Christine , a remake of the first sound film adaptation of the play Liebelei by Arthur Schnitzler , in which Romy Schneider took the part played by Magda Schneider in 1933. Her fee was 500,000 DM , which made her Germany's best-paid actress in 1958. Her film partner was the then still unknown French actor Alain Delon . The two became a couple not only on screen, but also in real life, and after filming was over in the fall of 1958, the then 20-year-old went to Paris with Delon. Her family refused Delon; However, since she could not stop the relationship, she insisted that it at least be given a civil framework. Schneider and Delon celebrated their engagement on March 22nd, 1959 at Lake Lugano.

But the actress didn't go to France just for love. For her it meant the final cutting of the cord from her parents' home and the hope of a career turnaround. For a long time, the domestic press resented her turning her back on the German film industry, and many journalists doused her with malice and abuse. From Paris, Schneider still fulfilled the contracts for the films An Angel on Earth , The Beautiful Liar and Katja, the uncrowned Empress (all published in 1959) and played the leading role in Fritz Kortner's television film Die Sendung der Lysistrata  (1961). Afterwards she concentrated on her new life in France: "[It was] a world that I wanted to conquer: Paris, the theater, artistic films, great directors with fantastic plans [...]."

However, the first few months in Paris were not always easy for the actress. The successful tailor was no longer offered any roles, while Alain Delon became a world star at the same time. “In Germany I was written off, in France I was not yet 'written to'. […] Alain raced from one big film to another. I reacted irritably to every new success news, to every communication about a nice contract that Alain received. ”The professional turning point finally came when Delon introduced her to the director Luchino Visconti , who gave her the female lead in his production of John Ford's play It's a shame she's a whore offered. For the renaissance drama, in which she appeared on stage with Delon at the Théâtre de Paris , she took French language lessons with her colleague Raymond Gérôme and private lessons with a phonetics teacher. Schneider, who had never completed regular acting training, later said of the collaboration with Visconti: “I have four teachers: Visconti, Welles, Sautet and Żuławski. The largest is Visconti. He taught me what he teaches everyone who works with him, namely his way of taking things to extremes, his discipline. ”The premiere of the play, with Ingrid Bergman , Shirley MacLaine and Jean Cocteau in the audience took place on March 29, 1961 and was a great success for Schneider. Her performance earned her many positive reviews and industry recognition, so new role offers were no longer in coming.

In the same year, again under the direction of Visconti, she directed Boccaccio 70 (1962) and went on a month-long theater tour with Sacha Pitoëff's production of Chekhov's Die Möwe , her second and last theater role. She then played  the role of Leni on the side of Anthony Perkins in Orson Welles ' film The Trial (1962). Schneider herself described the Kafka film adaptation as one of her most important films, for which she was awarded the Étoile de Cristal for best foreign actress. In the episode film Die Sieger (1963), directed by Carl Foreman , she played a young violinist who was forced into prostitution by a soldier during World War II. In order to convince in the role of a musician, Schneider took violin lessons from the Scottish concertmaster David McCallum Sr. (father of the actor David McCallum ), whereupon her film partner George Hamilton said that she would probably swim across the English Channel if a role required. In Otto Preminger's Der Kardinal (1963) she was the baroness Annemarie von Hartmann. In addition, she pushed through the supporting role of Baron von Hartmann for her father Wolf - it was the only time that father and daughter stood together in front of the camera. Schneider received a Golden Globe Award nomination for best actress in a drama for her performance , but at the 1964 awards ceremony, the award went to Leslie Caron for her role in The Indiscreet Room .

In the fall of 1963, Schneider flew to Los Angeles to shoot her first Hollywood film Lend Me Your Husband alongside Jack Lemmon . But while her career was developing positively, the "most hideous year" of her private life to date began: The relationship with Delon fell apart. She found out about his affair with actress Nathalie Barthélemy from the newspaper . When Schneider returned to Paris from filming in the United States, Delon had already left their apartment and shortly afterwards married Barthélemy. Schneider then made a suicide attempt and then took a longer professional break. Lend me your husband celebrated its world premiere on July 22, 1964 and became a box-office hit. At around the same time, Schneider stepped in front of a film camera again: she shot the film L'Enfer (Hell) under the direction of Henri-Georges Clouzot . However, the project was not a lucky star from the start. Schneider's film partner Serge Reggiani fell seriously ill, which ruined all dispositions, and three weeks after filming began, the director suffered a heart attack. The film was never completed. The following year, Schneider shot the comedy What's New, Pussy, alongside Peter Sellers and Peter O'Toole in Paris ?  (1965) by Woody Allen .

Return to Germany

Schneider in June 1971

In April 1965 Schneider flew to Germany to open two of her stepfather's restaurants, where she met the director and actor Harry Meyen . The two became a couple and soon afterwards moved into a house on Winkler Strasse in Berlin-Grunewald . Schneider intended to play theater in Berlin, but although she met Boleslaw Barlog and Fritz Kortner several times to find a suitable play, this wish never came true.

Her next feature film was the Franco-German drama Chimney No. 4 (1966), which was largely filmed in Oberhausen and which Schneider first showed alongside Michel Piccoli . During the subsequent filming of Spion between 2 Fronten  (1966), Schneider and Meyen married on July 15, 1966, shortly after his divorce from actress Anneliese Römer . Their son David Christopher Haubenstock was born in Berlin on December 3rd of the same year and in the following two years Romy Schneider devoted herself almost exclusively to her existence as mother and wife.

In February 1967, Wolf Albach-Retty suffered a fatal heart attack at the age of 60 . Just a year later, Schneider's stepfather died from the same cause of death.

Her first film after the birth of her son was titled Unlucky Otley and was produced in London in the spring of 1968. In the summer of the same year, Schneider shot again with Alain Delon. From the swimming pool  (1969), the tabloids new headlines hoped by a possible resurgence of former romance, but Schneider wrote in her diary: "If all the actors who once lived together, would turn any more films together, there would soon be no films more . I don't feel anything anymore, it's like I'm hugging a wall. Absolutely! ” The swimming pool premiered in Paris on January 31, 1969, and became a huge hit, both critically and commercially. After Incest  (1970), Schneider directed The Things of Life  (1970), directed by Claude Sautet . In it she played again alongside Michel Piccoli. For the soundtrack to the film, they sang the duet La Chanson d'Hélène , which was composed by Philippe Sarde and Jean-Loup Dabadie.

La Grande Dame in the 1970s

Schneider in The Girl and the Commissioner  (1971)

In the 1970s, Romy Schneider shot mostly in France, where she became a grande dame of French film and consistently embodied a modern, independent type of woman. She was one of the most popular actresses in the country that decade, along with Catherine Deneuve and Annie Girardot . At the beginning of the new decade, several films were made with her in the leading role: After Die Geliebte des Other  (1970), the films Bloomfield , La Califfa and The Girl and the Commissioner were distributed in 1971 . She was also in front of the camera for the third time with Alain Delon for the historical film The Assassination of Trotsky , which appeared in Germany under the title The Girl and the Murderer . She also took part in the media campaign initiated by Alice Schwarzer “ We have an abortion! ", To which 374 women confessed in Stern magazine .

A year later Schneider took on the role that had become a curse and a blessing for her in the 1950s: In Ludwig II , she again embodied the Empress Elisabeth of Austria, but this time Visconti staged "Sissi" authentically and Schneider dealt with it during the preparations intensely with the true character of the historical figure. Filming began in Bad Ischl in January 1972 and was carried out in English. Helmut Berger played the " fairy tale king "; Romy Schneider had her husband Harry Meyen put through as a dubbing director. Also in 1972 the film César and Rosalie was released ; she played alongside Yves Montand and under the direction of her "favorite director", Claude Sautet.

In 1973 Schneider and Meyen decided to split up; they lived in Hamburg because of his professional obligations. Schneider then moved back to Paris with her son. Artistically she was at the height of her career. She was free to choose her roles ("I just choose the raisins.") And worked with important directors and fellow actors such as Richard Burton , Jean-Louis Trintignant , Klaus Kinski and Jane Birkin .

In 1973 and 1974 Schneider made five films within ten months. In Le Train - Just a Touch of Luck  (1973) she plays Anna Kupfer, a German Jew on the run. The extravagant-melancholy romance Sommerliebelei  (1974) was followed by Das wilde Schaf  (1974), in which she embodies a neglected wife who gets involved in an affair, and in the bizarre comedy Trio Infernal  (1974) she shines alongside Michel Piccoli and Mascha Gonska as an unscrupulous and life-hungry murder accomplice. In November 1974 Schneider filmed The Innocents with Dirty Hands  (1975) and in April 1975 began filming the feature film The Old Rifle  (1975), based on the Oradour massacre in 1944. In it, Schneider plays the French woman Clara, who is raped and murdered by German soldiers. For her performance in Nachtblende  (1975) she finally received her first César as best leading actress in April 1976 and in her speech thanked her “master and friend” Luchino Visconti, who had died a few weeks earlier.

The marriage with Harry Meyen was divorced on July 8, 1975. At this point, Schneider was already in a relationship with her private secretary Daniel Biasini . On December 18, 1975 she said yes to Biasini, who was eleven years her junior in Berlin. She shot again with Sautet ( Mado , 1976) and played the role of Leni Gruyten in the film adaptation of Heinrich Böll's novel Gruppenbild mit Dame . Their daughter Sarah Magdalena Biasini was born on July 21, 1977 in Gassin . In the same year, she was awarded the gold  German film band for Gruppebild mit Dame (1977) in the category Best Acting Achievement .

After the birth of their second child, Schneider worked with Claude Sautet for the fifth and last time. For A Simple Story  (1978) she was again honored and showered with praise as best actress at the César award ceremony on February 3, 1979. Sautet about his leading actress: “She is the synthesis of all women. Her role in A Simple Story is inspired by the true character of Romy Schneider. With this brittleness, […], this kind of pride in everyday life, this dignity that she shows in a very personal way. It is feeling and resilience, panic and cheerfulness at the same time! But above all, it has strength. She has a kind of decency that shines out of herself that makes her independent. Romy is a challenge. "

At the end of the 1970s, Rainer Werner Fassbinder wanted to win the actress for the lead role in The Marriage of Maria Braun (1979), but the collaboration failed because of Schneider's excessive fee demands and her fickle behavior. The role finally went to Hanna Schygulla . Instead, Schneider stood in front of the camera from November 1978 with Audrey Hepburn , Omar Sharif , Ben Gazzara , James Mason and Gert Fröbe for the Sidney Sheldon film version Blood Trail (1979). Despite its all-star cast, the crime film received bad reviews. An example was in Der Tagesspiegel of December 23, 1979: “Names like Romy are sold below their price. Can you copy them all down? The [...] production suggests it. "

Harry Meyen hanged himself on April 14, 1979 in Hamburg and Schneider reproached himself for not having taken care of him enough. In the late summer of 1979, A Woman's Love hit cinemas and Schneider was nominated for Best Actress for César for her performance in the French film. In the science fiction crime thriller Death Watch , which was released a year later, she played a terminally ill woman alongside Harvey Keitel , Harry Dean Stanton and Max von Sydow , who gave a television company the rights to broadcast her death sold.

The last few years

In the spring of 1980 Schneider shot the feature film Die Bankiersfrau , which is loosely based on the biography of the French investment fraudster Marthe Hanau and is set in Paris in the 1920s. The start of filming of her next film, the drama The Two Faces of a Woman  (1981), was delayed by a few days, according to Biasini, as the actress collapsed from her alcohol use and drug abuse. In an interview with Stern on April 23, 1981, Schneider saw herself at the end of her tether: “I have to take a break, I have to finally find myself. […] At the moment I'm too broken. ”The marriage with Biasini had also got into a crisis that could not be resolved, so that Schneider filed for divorce in May 1981. In the same month, the actress also underwent serious surgery: her right kidney had to be removed because of a benign tumor. However, she suffered her greatest stroke of fate in the summer of 1981. On July 5, her fourteen-year-old son died while trying to get over the fence onto Biasini's parents' property. He had lost his balance while climbing and had been impaled by a metal spike on the fence as he fell.

Her penultimate film The Interrogation was released on September 23, 1981 - Schneider's 43rd birthday - in French cinemas. Although after the death of her son everything looked as if she could not cope with this loss, Schneider appeared shortly afterwards in October 1981 in Berlin for the shooting of her last film: The Walker of Sans-Souci . In the film, in her role as Elsa Wiener, she takes the Jewish boy Max Baumstein (played by then thirteen-year-old Wendelin Werner ) into her care. When asked where she got the strength to stand in front of the camera with a boy of almost the same age so soon after her son's death, she replied: “I knew there would be painful moments, not just because of a few sequences, but because my job is very tough. [… The director] Jacques Rouffio showed understanding in a wonderful way. He guessed when it was too painful for me. He knew how to tell me the right words. ”She also said,“ You can think for a moment, but then you have to move on. Standing still is not possible for me. You throw yourself into work because you have to do it - and it also helps to forget a little. "

After the shooting, Schneider and her new partner, the French film producer Laurent Pétin, went looking for a house in the country where she wanted to settle down and relax. In March 1982 they struck gold in Boissy-sans-Avoir , Département Yvelines , 50 kilometers outside Paris. In April 1982 the premiere of The Walker of Sans-Souci took place. Schneider's acting was hailed as outstanding and she received a nomination for César for best actress. On May 9, 1982, she flew with Pétin to her asset manager in Zurich because there were difficulties in financing the country house. Although Schneider had made a fortune with her films, at the end of her life she was faced with a mountain of debt: Hans Herbert Blatzheim, who managed his stepdaughter's fees until his death in May 1968, had embezzled all of her earnings. Harry Meyen had been paid a severance payment of over a million marks after the divorce. Daniel Biasini had also led a luxury life at the actress's expense, and in the end the French tax office demanded additional payments in the millions. In Zurich she wrote on 10 May 1982 her Testament , in which they all her daughter Sarah left and Pétin.

Grave of Schneider and her son

death

On the evening of May 28, 1982 in Paris, Schneider and her partner were invited to dinner at his brother's. On the way home to their shared apartment at 11 rue Barbet de Jouy, they discussed their weekend plans. When he got home, Schneider wanted to stay up a little longer to listen to music. In the early morning of May 29, 1982, Pétin found the actress slumped lifeless at her desk.

In interviews, her personal photographer and her manager ruled out suicide and cited a film project in preparation with Alain Delon and her plan to move to the country. In the press, on the other hand, Romy Schneider's death was initially mostly interpreted as a suicide, but only heart failure is given as the cause of death in the death certificate , which was later transfigured as "death of a broken heart", but ultimately does not allow any reliable conclusion about the circumstances of death. It was known that the actress had not given up on the consumption of alcohol, evening sleeping pills and morning stimulants, even after her operation, contrary to medical instructions. According to the responsible public prosecutor Laurent Davenas, there was no autopsy . According to the coroner , third-party negligence could clearly be ruled out as a form of death , and the public prosecutor gave piety to her relatives in preference to an autopsy with the expected result.

Schneider was in the cemetery of Boissy-sans-Avoir buried. At the instigation of Alain Delon, who organized her funeral, her son was reburied in his mother's grave from the Saint-Germain-en-Laye cemetery.

Her written estate is in the archive of the Academy of the Arts in Berlin.

Effect and reception

Image, staging and choice of roles

Even decades after her death, Romy Schneider fascinates the media and the public. A “ myth ” is therefore often used in connection with her person . The reasons given for this enduring fascination are her timeless beauty, outstanding acting and her passionate pursuit of professional recognition. Her desperate search for private happiness and her early death also contribute to the creation of legends.

The actress's career lasted almost 30 years. In the course of this time, her image changed , in line with her choice of roles, from Viennese girls to chic Parisians and femme fatale to mature women of the world. In her early films of the 1950s, she always embodied the sweet, amorous backfish and played herself as "Sissi" in the hearts of an audience of millions. To escape the image of the princess's dream come true, Romy Schneider went to Paris, where she had her appearance changed in Coco Chanel's famous studio on Rue Cambon. “I want to be completely French in the way I live, love, sleep and dress,” she flirted at the time. The fashion designer styled her into a modern, sophisticated and seductive woman and the French press soon noticed: “This young Parisian has nothing more of the German, no more accent, or at least very little, no more appetite, no more bad taste ... The metamorphosis is total."

From the 1960s onwards, she increasingly showed her bare skin and embodied mysterious, wicked or provocative characters. In interviews and for magazine photos, she was seductive and, with increasing experience, began to stage herself in a targeted manner . In 1964 - a few months after separating from Alain Delon - she posed for photographer Will McBride in a Paris hotel room. The black and white photos taken during this photo shoot, which were published in the youth magazine twen , show many facets of the artist: on some she looks hurt, thoughtful and sad, on others she shows herself confident and exuding new courage.

In her 1970s films, she often played the same type of woman: vulnerable, humiliated, a victim, near a nervous breakdown. Hildegard Knef described her colleague at the time with the words: “More and more a bundle of idle nerves, uncontrollable emotions, is peeling off. Self-irony seems terrifying and far removed from your vocabulary, thinking, feeling. It is reminiscent of the Monroe . More rebellious, more ready to attack than them, but equally vulnerable and fickle. ”The theatricality of her roles was also reflected in her appearance: dark make-up, heavily made-up eyes and hairstyles that were combed tightly from the face and emphasized the prominent hairline became her trademarks.

Acting means of expression

Since Romy Schneider was the offspring of an acting dynasty and had never attended drama school, it seems as if her acting skills were inherited. This talent, coupled with her beautiful, flawless face, which seemed made for close-ups and offered a perfect projection surface, gave Romy Schneider a strong screen presence. “The camera loved her, and she loved the camera,” which is why she did not shy away from stepping in front of her without any make-up to give her roles more drama.

In addition, Schneider was able to express a considerable range of feelings. Claude Sautet once said of his muse: “Your facial expression can change abruptly, from masculine-aggressive to gentle-subtle. Romy is no ordinary actress [...] She has this complexity that only the really big stars have. I saw her behind the camera, concentrated, nervous, with a refinement and impulsiveness, an inner demeanor that men feel harassed and disturbed by. Romy cannot stand the mediocrity or the deterioration of emotions. She has a lot of feeling. She will always work as an actress, because she has a face that time cannot harm. Time can only let them blossom. "

Especially in her films from the 1970s, she often acted to her physical and psychological limits, giving the impression that she was filling her roles with her own life and experiences. “I chose Romy Schneider not only because of her talent [for the role of Nadine Chevalier in Nachtblende ], but because of the affinity between the actress and the character she is to play. Because there was always a deep correspondence between her and the person who played her, ”explained director Andrzej Żuławski. Schneider herself emphasized, however, that she never played herself: "Anyone who thinks I'm like in my films is an idiot."

Relationship with the media

Media coverage has been omnipresent in Romy Schneider's life since her early youth. While the French press adored the actress, the relationship with the German media can be characterized as a kind of "love-hate".

At the beginning of her career, the German press celebrated Schneider as the sweet "Viennese girl" and lovely Empress; and the young actress liked to read how gifted, beautiful, and delightful she was. But it soon bothered her that the media continued to cultivate her “Sissi” image and titled her as the “Jungfrau von Geiselgasteig ”, although in reality she did not correspond to this image and longed for the professional development that the press gave her made almost impossible.

The hymns of praise in the German press fell silent when Schneider finally dared to turn his back on Germany professionally and to go to Paris to live in a “ wild marriage ” with the Frenchman Alain Delon. The reporting on the "renegade Sissi" was even turned into the opposite: every professional or private failure was maliciously commented on, and the German journalists did not stop at being insulted as "stupid lies", "traitor to the fatherland" and "French slut". Later, in a conversation with Alice Schwarzer in December 1976 , Schneider said : "We are the two most insulted women in Germany."

For a long time it made itself rare for the German press and the German public. Her first attempt after many years to make peace with the German media failed: When she appeared on German television in Dietmar Schönherr's talk show The Later That Evening in October 1974, she laid her hand on fellow actor and convicted bank robber Burkhard Driest, who was also invited, according to his biography on the arm and said: "I like you, I like you very much." The next day, the newspapers reported not about your new film, but about this "scandalous" gesture.

Schneider saw himself as a victim of the German press: “Most of what has been written about me are lies - lies by incompetent, stupid journalists.” On the other hand, she served the reporters willingly, sharing the most intimate thoughts and emotional pain the press and even called for an interview with journalists who had previously ripped off her. However, these voluntary, occasionally granted insights into her private life failed to satisfy the media's greed for sensation. Schneider was followed at every turn by paparazzi who, even after the blows she had suffered, did not shy away from invading the actress' privacy. In 1967 press photographers tried to photograph the grieving Romy Schneider at her father's funeral, and a paparazzo disguised as a nurse managed to photograph the child's body in the hospital after her son's fatal accident. In an interview with Michel Drucker on the French television program Champs-Élysées in April 1982, the actress vented her anger over this incident: “… que des journalistes se déguisent en infirmiers pour photographier un enfant mort… où est la morale? Où est le tact? "(Eng .:" ... that journalists dress up as nurses in order to photograph a dead child ... where is the moral? Where is the tact? ").

Unlike the German press, Schneider was highly valued by journalists in France. After only a few appearances in the theater, the critics hailed her as a character actress and celebrated her in the 1970s as "Romy, la Grande" (Romy, the great one). French actor Jean-Claude Brialy , a long-time friend of Schneider, explained this admiration by saying that the actress had touched the French with her talent and beauty and it was therefore easy to forgive her for everything, and he added: “She He preferred to be pampered by the French press than ruined by the German press. "

Audience and following

In the 1950s, German television was still in its infancy, radio followed a purely educational mandate and the theater was reserved for affluent society alone. The cinema, on the other hand, was a pleasure that the general public could afford, and the German post-war audience longed for light-hearted entertainment, which explains the heyday of German Heimatfilme after the Second World War . The German film of that time had stars like Sonja Ziemann , Lilli Palmer, Maria Schell or Ruth Leuwerik , but hardly any actress touched the hearts of Germans like the young Romy Schneider. She embodied innocence, carefree and brought hope for a happy new beginning. In her first films, Romy Schneider abducted the audience into an ideal world and made them forget all everyday worries. With Sissi , Romy Schneider finally provided the stuff girls' dreams are made of, and the enthusiasm of the Germans for “their” fairytale empress knew no bounds. Magda Schneider explained it this way: “Why do people jump at Romy? Because they feel that there is finally a creature here that has not come into contact with the dirt of the world. "

During this time Schneider was awarded numerous public prizes such as the Bravo Otto . In 1957, 1958 and 1959 the readers of Bravo magazine always voted them among the most popular German actresses. After Schneider left Germany and the reporting in the German press turned negative, the audience's enthusiasm broke off. While Schneider was previously considered one of the biggest box office magnets in German film, this reputation was completely ruined in the 1960s. The Germans could not do much with Schneider's new, more demanding roles, and occasionally even asked for their money back at the box office.

The French audience, on the other hand, was open to Schneider's “new” films. It did not cling to the success of the Sissi trilogy and gave the actress any freedom to develop. The Germans only showed themselves to be open to Schneider's work again in the 1970s, but the actress was no longer able to trigger a wave of enthusiasm like in the 1950s among German audiences during her lifetime.

Filmography

Feature films

TV appearances (selection)

Theatrical appearances

  • 1961: It's a shame that she's a whore ( Dommage qu'elle soit une putain ; Théâtre de Paris ; role: Annabella)
  • 1962: The Seagull ( La mouette ; theater tour; stops in Paris, Orléans , Nice and Baden-Baden; role: Nina)

synchronization

Romy Schneider almost exclusively dubbed her films in French into German and English. She could no longer take over the synchronization of The Walker of Sans-Souci due to her sudden death. Eva Manhardt, who had already dubbed Romy Schneider in Das alten Gewehr , therefore lent her her voice for the German version of the film.

Discography (original publications)

  • 1955: When the Birds Make Music (from the film Die Deutschmeister , Label: Columbia)
  • 1957: Peter and the Wolf (Narrator, Label: Columbia / Deutscher Schallplattenclub, Cat.No.D 001)
  • 1958: Merci Monpti (from the film Monpti , label: Ariola, cat.-no. 35 484)
  • 1959: Yes, you fall in love (from the film The Beautiful Liar , Label: Ariola, Cat.-No. 35 484)
  • 1970: La Chanson d'Hélène with Michel Piccoli (from the film The Things of Life , Label: Philips, Cat.-No. 6311 021)

Awards and honors

Stern Schneider on Berlin's Boulevard der Stars

Awards in competition

César

  • 1976: Award for Nachtblende as best leading actress
  • 1977: Nomination for Die Frau am Fenster as best actress
  • 1979: Award for A Simple Story for Best Actress
  • 1980: Nomination for A Woman's Love for Best Actress
  • 1983: Nomination for The Walker of Sans-Souci as best leading actress

Golden Globe Award

  • 1964: Nomination for The Cardinal for Best Actress in a Drama

Bambi

  • 1955: 2nd place as best actress - nationally for a queen's girlhood
  • 1956: Nomination for Sissi as best actress - national
  • 1957: Nomination for Sissi - the young empress as best actress - national
  • 1958: Nomination for Sissi - Fateful Years of an Empress as best actress - national

Film tape in gold

  • 1959: Nomination for girls in uniform as best leading actress
  • 1977: Award for group picture with lady as best leading actress

Rose d'Or

  • 1982: Award for The Walker from Sans-Souci as best leading actress

Étoile de Cristal

  • 1963: Award for Best Foreign Actress The Trial

Bravo Otto

  • 1957: Bravo Otto in bronze
  • 1958: Bravo Otto in gold
  • 1959: Bravo Otto in silver
  • 1971: Bravo Otto in silver
  • 1972: Bravo Otto in bronze
  • 1977: Bravo Otto in bronze

Prizes outside the competition and other honors

In 1979 Romy Schneider was honored with the David di Donatello for her life's work and was posthumously awarded the honorary award at the 2008 César award; Alain Delon gave the laudatory speech.

In 1984 the Romy Schneider Prize was created, which honors young actresses in the French film industry. In addition, the Austrian film and television prize Romy has been awarded in Vienna since 1990 . The trophy is a gilded statuette of the actress from a scene in The Swimming Pool .

In 2000, Deutsche Post issued a charity stamp in honor of Romy Schneider , and in 2006 Schneider was voted third place among German favorite actors in the ZDF series Our Best .

In March 2009, the town council of Schönau am Königssee, where the actress had lived as a child, decided to erect a Romy Schneider memorial following a suggestion from the Berchtesgaden cinema operator Hans Klegraefe. The sculpture designed by Walter Andreas Angerer consists of a negative silhouette cut from steel . In addition, the town of Elsbethen , where Romy Schneider went to boarding school, named a street after her in honor of the actress. In the 23rd district of Vienna Liesing was Romy Schneider street named after her. Streets in the Berlin district of Haselhorst and Ingolstadt were also named after her. A star on the Boulevard der Stars in Berlin has been bearing her name since 2010 .

In May 2012, many media outlets commemorated the 30th anniversary of her death. To mark the occasion, a DVD box with twelve films from all of Schneider's creative phases was released. Three of them were not previously published.

Literature and audio documents

Film and stage material

Documentation

The documentary film Romy - Portrait of a Face (alternative title: Romy - Anatomy of a Face ; 1967) was made for the Bavarian Broadcasting Corporation during the actress's lifetime . The shooting took place in February 1966 under the direction of Hans-Jürgen Syberberg in Kitzbühel . For three days, the camera followed the then 27-year-old Romy Schneider as she pondered about herself and her career. After the resulting recordings had been examined in advance by the actress and her then partner Harry Meyen , the couple insisted on cutting certain recordings from the film, which shortened the original film length from 90 minutes to one hour.

After Schneider's death, numerous other documentaries were made, often focusing on the contrast between her successful film career and her sometimes tragic private life.

  • Rosemarie Magdalena Albach, known as Romy Schneider. Germany, 1996, 120 min .; Direction: Christiane Höllger and Claudia Holldack.
  • Legends: Romy Schneider. Germany, 1998, 45 min., Script and direction: Michael Strauven , production: MDR, SWR.
  • Romy Schneider - A film love in France (Romy Schneider, étrange étrangère). France, 2002, 55 min .; a film by Anne Andreu and Francesco Brunacci, production: Arte France, Cinétévé.
  • Idols - Romy Schneider. Life beyond the headlines. Germany, 2004, 45 min., Script and direction: Jeremy JP Fekete , production: cine + Berlin, on behalf of ZDF .
  • Me, Myself, and Myself: Romy Schneider. Austria, 2006, 47 min., Director: Petrus van der Let, script: Martin Luksan, production: ORF .
  • The Romy Schneider case - “I will die again from my fear.” Germany, 2007, 61 min., Authors: Tamara Duve and Michael Jürgs, production: Spiegel TV .
  • The lone fighter - Christiane Höllger on her friend Romy Schneider. Germany, 2007, 42 min., A film by Robert Fischer.
  • The last days of a legend. Romy Schneider. France, 2007, 52 min., Script and direction: Bertrand Tessier, production: France 5 .
  • Romy Schneider - A woman in three grades. Austria, 2008, 90 min., Director: Frederick Baker, production: Media Europa Wien, London.
  • Romy Schneider - A close-up. Germany, 2009, 30 min., Script and direction: Julia Benkert, production: SWR .
  • The Hell by Henri-Georges Clouzot (L'Enfer d'Henri-Georges Clouzot). France, 2009, 94 min., Written and directed by Serge Bromberg and Ruxandra Medrea. New version and addition of the material by Henri-Georges Clouzot (1964).

Film adaptations

In 2008 it became known that two feature films about Romy Schneider's life were being planned. The planned 2009 film biography A Woman Like Romy, which was to be produced under the direction of Josef Rusnak with Yvonne Catterfeld in the role of Schneider, has been canceled. The television film Romy  (2009) with Jessica Schwarz in the leading role first ran on November 11, 2009 in Das Erste and tells Romy Schneider's life from childhood on Mariengrund to her status as an international film star and her early death. He focuses on the artist's struggle for professional recognition and personal happiness.

2018, the movie was three days in Quiberon by Emily Atef published in the Marie Bäumer is seen as Romy Schneider.

musical

The premiere of the musical Romy - Die Welt aus Gold with Daniela Schober in the title role took place at the Heilbronn Theater in 2009 .

Exhibitions

  • In the Berlin Film Museum an exhibition on the checkered career of Romy Schneider took place from December 2009 to May 2010. On the basis of 275 exhibits (pictures, film excerpts, posters, costumes, letters and fan articles) an attempt was made to show the actress's role and image changes. The documentation was divided into the five sections daughter, departure, world star, destruction and myth .
  • On the occasion of the 30th anniversary of Romy Schneider's death , an exhibition took place in the Bundeskunsthalle in Bonn from April 5 to June 24, 2012.
  • The Theater Museum Hannover hosted from 21 September to 8 December 2013 the special exhibition Romy Schneider. 60 photos .
  • The duration of the private special exhibition Romy Schneider - A World Star Returns Home in Berchtesgaden was extended until the end of 2014. The new opening took place on May 7, 2015 in Schönau am Königssee.

Web links

Commons : Romy Schneider  - Collection of Images

Footnotes

  1. ↑ Since her mother Magda Schneider was a native German and her father Wolf Albach-Retty had already taken on German citizenship in 1937 (cf. Michael Töteberg: Romy Schneider, p. 21), Romy Schneider was given according to the principle of descent - and regardless of her place of birth, Vienna of the Anschluss of Austria in March 1938 - also the German citizenship. Later she also took on French nationality. Due to her place of birth and her paternal ancestors, Romy Schneider is often (also) viewed as an Austrian and, according to the director Constantin Costa-Gavras , Schneider is also said to have regarded herself as an Austrian. In an interview for the documentary The Last Days of a Legend , Costa-Gavras said: “Romy didn't like being called 'German'. Some even called her ' Boche '. People should know that she was Austrian. ”However, Schneider never applied for Austrian citizenship and one of her diary entries from the summer of 1965 stated:“ I have a German passport, my mother has a German passport, […] I am German , my father was Austrian. ”(cf. Renate Seydel: Ich, Romy - Diary of a Life. p. 236).
  2. ^ Michael Töteberg: Romy Schneider. P. 21: "[The Austrian] Wolf Albach-Retty had become a supporting member of the SS in 1933 , had applied for German citizenship in 1937, before the annexation of Austria, and joined the party in 1941, probably for career reasons."
  3. ↑ According to other sources, Xaverius or Franz Xavier .
  4. ↑ Magda Schneider about her daughter in Renate Seydels Ich, Romy - Diary of a Life. Pp. 13-16.
  5. ^ Günter Krenn: Romy Schneider - The biography. P. 24.
  6. ↑ Magda Schneider about her daughter in Renate Seydels Ich, Romy - Diary of a Life. P. 27.
  7. ^ Wolfgang Jacobsen: Schneider, Romy in New German Biography. Pp. 306-308.
  8. ↑ Renate Seydel: I, Romy - diary of a life. P. 11.
  9. ↑ Magda Schneider about her daughter in Renate Seydels Ich, Romy - Diary of a Life. P. 18.
  10. ↑ Renate Seydel: I, Romy - diary of a life. Pp. 40 and 47.
  11. ↑ a b c d e f g h Matthias Matussek , Lars-Olav Beier: The queen of pain . In: Der Spiegel . No. 21 , 2007, p. 152-167 ( online ).
  12. ↑ Renate Seydel: I, Romy - diary of a life. P. 33.
  13. ↑ Renate Seydel, Ich, Romy - Diary of a Life , 2007, p. 24
  14. ^ Günter Krenn: Romy Schneider - Die Biographie , 2009, p. 48
  15. ↑ Alice Schwarzer: Romy Schneider - Mythos and Life , p. 47.
  16. ↑ Renate Seydel: Ich, Romy - Diary of a Life , 2007, p. 73
  17. ↑ Renate Seydel: Ich, Romy - Diary of a Life , 2007, p. 74
  18. ↑ Supposedly it was about Sonja Ziemann ; Günter Krenn: Romy Schneider - The biography. P. 53.
  19. ↑ Renate Seydel: Ich, Romy - Diary of a Life , 2007, p. 77
  20. ^ Günter Krenn: Romy Schneider - The biography. P. 63.
  21. ^ Günter Krenn: Romy Schneider - Die Biographie , 2007, pp. 61–63 and p. 6.
  22. ↑ Alice Schwarzer: Romy Schneider - Myth and Life. P.56.
  23. ^ Günter Krenn: Romy Schneider - The biography. P. 65.
  24. ^ Günter Krenn: Romy Schneider - The biography. P. 68.
  25. ↑ Renate Seydel: I, Romy - diary of a life. S. 108. Günter Krenn: Romy Schneider - The biography. P. 71.
  26. ↑ Start dates for Sissi  (1955). Internet Movie Database , accessed May 22, 2015 .
  27. ↑ The Sissi films were released in over 30 countries, including the United States, Japan, Mexico and Brazil, and recorded high numbers of visitors worldwide, cf. Günter Krenn: Romy Schneider - The biography. P. 95.
  28. ^ Günter Krenn: Romy Schneider - The biography. P. 74 and 76.
  29. ^ Günter Krenn: Romy Schneider - The biography. P. 77.
  30. ↑ Alice Schwarzer: Romy Schneider - Myth and Life. P. 71.
  31. ^ Günter Krenn: Romy Schneider - The biography. Pp. 74–75 and 77.
  32. ↑ Renate Seydel: I, Romy - diary of a life. Pp. 124-125.
  33. ↑ Michael Kamp : Glanz und Gloria. The life of the grande dame of the German film Ilse Kubaschewski . 1907 - 2001 , August Dreesbach Verlag , Munich 2017, ISBN 978-3-94433-458-5 , pp. 178, 181, 183. Here also on Horst Buchholz and Romy Schneider at the Gloria Ball 1958.
  34. ^ Günter Krenn: Romy Schneider - The biography. Pp. 87-91.
  35. ↑ 1957 Bambi Prize Winner , Bambi official website , accessed August 20, 2011.
  36. ^ Romy Schneider , Otto zu Stolberg-Wernigerode: New German biography. Volume 23, Berlin, 2007; Online catalog of the Munich State Library, accessed on August 20, 2011.
  37. ↑ The Mythos Maestro - Herbert von Karajan turns 100 - EMI Classics documents his legacy (PDF; 121.44 kB), EMI press release on Karajan's 100th birthday, p. 3. The work was reissued in 2008: EMI Classics CD 5 18024 2.
  38. ^ Werner Sudendorf: How Germany drove Romy Schneider. In: Die Welt , September 22, 2008.
  39. ↑ Alice Schwarzer: Romy Schneider - Myth and Life. P. 91.
  40. ↑ See the article on Magda Schneider .
  41. ^ Günter Krenn: Romy Schneider - The biography. P. 53.
  42. ^ A b c Werner Sudendorf: How Germany Romy Schneider drove , Die Welt , accessed on August 18, 2011.
  43. ↑ Alice Schwarzer: Romy Schneider - Mythos and Life , p. 80. Renate Seydel: Ich, Romy - Diary of a life. P. 179.
  44. ↑ Renate Seydel: I, Romy - diary of a life. P. 180.
  45. ^ Günther Berger, Cuore d'Austria: Important Austrians of the 16th to 20th Century , 2004, p. 246
  46. ↑ Alice Schwarzer: Romy Schneider - Myth and Life. S. 89.
    Günter Krenn: Romy Schneider - The biography. P. 117.
  47. ↑ a b c Sachte, Mausi . In: Der Spiegel . No. 11 , 1963, pp. 79-84 ( online ).
  48. ↑ Michael Kamp: Glanz und Gloria. The life of the grande dame of the German film Ilse Kubaschewski 1907 - 2001 , August Dreesbach Verlag, Munich 2017, ISBN 978-3-94433-458-5 , p. 184.
  49. ↑ Alice Schwarzer: Romy Schneider - Myth and Life. P. 106.
  50. ↑ a b Alice Schwarzer: Romy Schneider - Myth and Life. P. 99.
  51. ↑ a b Michael Jürgs: A published woman . In: Süddeutsche Zeitung , accessed on August 18, 2011.
  52. ↑ Some television stations rejected the film as immoral and a Catholic clergyman filed a criminal complaint against Schneider for “immoral displays” (Lit. Jürgs 2008, p. 65).
  53. ↑ Michael Kamp: Glanz und Gloria. The life of the grande dame of the German film Ilse Kubaschewski 1907 - 2001 , August Dreesbach Verlag, Munich 2017, ISBN 978-3-94433-458-5 , p. 196.
  54. ↑ Renate Seydel: I, Romy - diary of a life. P. 182.
  55. ↑ Renate Seydel: I, Romy - diary of a life. Pp. 185/186.
  56. ^ Günter Krenn: Romy Schneider - Die Biographie, p. 145.
  57. ↑ Renate Seydel: I, Romy - diary of a life. P. 285.
  58. ↑ Alice Schwarzer: Romy Schneider - Myth and Life. Pp. 115-116.
  59. ↑ Renate Seydel: I, Romy - diary of a life. Pp. 201-202.
  60. ^ Günter Krenn: Romy Schneider - The biography. Pp. 149-150.
  61. ^ Statement by Romy Schneider during the documentation Romy - Portrait of a Face (1967).
  62. ^ Günter Krenn: Romy Schneider - The biography. P. 164.
  63. ^ Günter Krenn: Romy Schneider - The biography. P. 172.
  64. ↑ Awards & Nominations. Internet Movie Database , accessed June 12, 2015 .
  65. ↑ Alice Schwarzer: Romy Schneider - Myth and Life. P. 119.
  66. ↑ Alice Schwarzer: Romy Schneider - Myth and Life. P. 120.
  67. ↑ Michael Jürgs: Forever and ever . In: Süddeutsche Zeitung , accessed on August 19, 2011.
  68. ↑ a b Renate Seydel: I, Romy - diary of a life. Pp. 238/239.
  69. ↑ Chimney No. 4 - filming locations. Internet Movie Database , accessed May 22, 2015 .
  70. ↑ Schneider and Piccoli played together in six films: Chimney No. 4 (1966), The Things of Life  (1969), The Girl and the Commissioner  (1970), Trio Infernal (1974), Mado  (1976) and The Walker by Sans -Souci (1982).
  71. ↑ Printed in Renate Seydels Ich, Romy - Diary of a Life. P. 256.
  72. ↑ Desperate femme fatale . In: Süddeutsche Zeitung , May 29, 2012; Retrieved February 3, 2014.
  73. ↑ We have an abortion - protest against paragraph 218 . German History in Documents and Images (DGDB), accessed on May 29, 2008.
  74. ↑ Renate Seydel: I, Romy - diary of a life. Pp. 273/274.
  75. ↑ Michael Kamp: Glanz und Gloria. The life of the grande dame of the German film Ilse Kubaschewski 1907 - 2001 , August Dreesbach Verlag, Munich 2017, ISBN 978-3-94433-458-5 , pp. 257 ff. Here you can find detailed information on the film from the perspective of Ilse Kubaschewski, who at was involved in production and responsible for distribution.
  76. ↑ a b Renate Seydel: I, Romy - diary of a life. P. 279.
  77. ^ Short biography of Romy Schneider ( Memento from April 6, 2014 in the Internet Archive ), on the memorial website Romy Schneider by Anja Lehmann
  78. ↑ Alice Schwarzer: Romy Schneider - Myth and Life. P. 193.
  79. ↑ Thomas Elsaesser: Rainer Werner Fassbinder. Bertz Verlag, Berlin 2001, p. 154.
  80. ↑ Renate Seydel: I, Romy - diary of a life. P. 311.
  81. ^ Günter Krenn: Romy Schneider - The biography. P. 326.
  82. ↑ Printed in Renate Seydels Ich, Romy - Diary of a Life. Pp. 348-352.
  83. ↑ Renate Seydel: I, Romy - diary of a life. P. 326.
  84. ↑ Renate Seydel: I, Romy - diary of a life. P. 317.
  85. ↑ a b c d e Michael Jürgs: Romy Schneider - What a woman . In: Hamburger Abendblatt , September 6, 2008.
  86. ^ The unchaste Empress Der Westen, accessed on February 2, 2014.
  87. ^ Die Flucht der Sissi WDR.de (archive), accessed on February 2, 2014.
  88. ↑ Interview excerpt in Renate Seydels Ich, Romy - Diary of a Life. Pp. 335-337.
  89. ↑ Alice Schwarzer: Romy Schneider - Myth and Life. P. 205.
  90. ↑ Alice Schwarzer : Romy Schneider - Myth and Life. P. 137.
  91. ↑ Alice Schwarzer : Romy Schneider - Myth and Life. P. 179.
  92. ↑ Sissi? Not with me! In: Berliner Morgenpost , January 2, 2005, accessed on August 23, 2011.
  93. ↑ On thick wool socks . In: Berliner Zeitung , April 30, 1998.
  94. ↑ Excerpt from the will in Schwarzer's Romy Schneider - Myth and Life. P. 208.
  95. ↑ Robert Amos: Myth Romy. P. 208.
  96. ↑ Alice Schwarzer : Romy Schneider - Myth and Life. P. 209.
  97. ↑ Renate Seydel: I, Romy - diary of a life. P. 328.
  98. ↑ Laurent Davenas in an interview for the documentary The Last Days of a Legend .
  99. ↑ Romy Schneider Archive Inventory overview on the website of the Akademie der Künste in Berlin.
  100. ↑ Peter Zander: The Filmmuseum explains the myth Romy Schneider , Berliner Morgenpost , December 5, 2009, accessed on August 25, 2011.
  101. ↑ Why it still touches us so much - Mythos Romy Schneider (series of images), n-tv , accessed on August 25, 2011.
  102. ↑ Jessica Schwarz as Mythos Romy Schneider , Focus , November 3, 2009, accessed August 25, 2011.
  103. ↑ Femme fatale and Kaiserin ( Memento of April 7, 2014 in the Internet Archive ) , Europe Online Magazine , May 23, 2012, in the Internet Archive , accessed on March 11, 2015.
  104. ^ Romy Schneider - more than just Sissi ( Memento from April 13, 2014 in the Internet Archive ), mdr.de
  105. ↑ Ulrike Cordes (dpa): Die Tragödien einer Ikone , Stern , June 17, 2008, accessed on August 25, 2011.
  106. ↑ Fashion Flashback: Romy Schneider ( Memento of the original from October 10, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , RDuJour , July 16, 2010, accessed August 25, 2011.  @1@ 2Template: Webachiv / IABot / rdujour.com
  107. ↑ In its next special exhibition, the Museum für Film und Fernsehen is showing two costumes by Jessica Schwarz from the television film Romy ( Memento from April 7, 2014 in the Internet Archive ), PDF, press release from the Deutsche Kinemathek, November 2009
  108. ↑ Romy Schneider - The Eternal Beauty ( Memento of the original from February 28, 2017 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , max.de, accessed on February 27, 2017  @1@ 2Template: Webachiv / IABot / www.max.de
  109. ^ Will McBride 'Romy Schneider' , artnet.com, accessed February 27, 2017
  110. ↑ Will McBride: A Sensitive Realist, Recordings in Paris 1964 ( Memento of the original from February 27, 2017 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , kuk-monschau.de, accessed on February 27, 2017 @1@ 2Template: Webachiv / IABot / www.kuk-monschau.de
  111. ^ Photographic portraits by Romy Schneider , kultur-online.net, accessed on February 27, 2017
  112. ↑ a b She was beautiful, famous and heartbroken . In: Die Welt , September 20, 2008, accessed August 25, 2011.
  113. ↑ Frederick Baker: Romy Schneider - A woman in three notes. Documentation. 2008.
  114. ^ Romy Schneider - Claude Sautet ( Memento from February 11, 2016 in the Internet Archive ), arte.tv
  115. ↑ a b The Touchable. In: Spiegel Online , May 23, 2007, accessed on August 27, 2011.
  116. ^ Günter Krenn: Romy Schneider - The biography. P. 14.
  117. ↑ From Sissi to Femme Fatale . In: Mittelbayerische Zeitung , May 29, 2012, accessed on February 3, 2014.
  118. ↑ Claudia Lenssen: How a woman becomes a goddess. In: Die Tageszeitung , September 22, 2008.
  119. ↑ The Virgin of Geiselgasteig . In: Der Spiegel . No. 10 , 1956 ( online - cover picture).
  120. ^ Gerhard Meir: Celebrity of the Week: Alain Delon . In: Die Welt , October 6, 2002.
  121. ^ Will Tremper in an open letter to Romy Schneider in the Bunten .
  122. ↑ a b Michael Töteberg: Romy Schneider. P. 12.
  123. ↑ Jessica Schwarz as Romy Schneider: Dared, won? In: Brigitte . November 3, 2009, archived from the original on December 3, 2013 .;
  124. ↑ a b Daniele Muscionico: The huntress as prey. In: Die Weltwoche 29/2008, accessed on August 27, 2011.
  125. ↑ Alice Schwarzer : Romy Schneider - Myth and Life. P. 21.
  126. ↑ Romy, the Mythos - Stations - 1974–1980: Second wedding, second attempt in Germany SWR .
  127. ↑ Burkhardt Driest and Romy Schneider "I like you very much ..." in the talk show "... the later the evening" In: WDR via YouTube .
  128. ↑ Fritz Rumler: I like you very much . In: Der Spiegel . No. 45 , 1974, p. 190 ( online ).
  129. ^ Michael Töteberg: Romy Schneider. P. 11.
  130. ^ Marianne Schmidt: The sixties well-tempered. In: Focus , February 16, 1998.
  131. ^ Günter Krenn: Romy Schneider - Die Biographie, p. 222.
  132. ^ Johanna Adorján : Unreached and unreachable. In: Frankfurter Allgemeine Zeitung , November 11, 2009.
  133. ^ Jean-Marc Parisis: Il était une fois Romy In: Le Figaro , November 6, 2009 (French).
  134. ↑ a b Lars-Olav Beier, Stefan Simons: "She poisoned herself until her heart stopped" . In: Spiegel Online , May 29, 2007 (interview with Jean-Claude Brialy ).
  135. ↑ Visiting Margot Hielscher - celebrities - almost private! In: Michael Reufsteck , Stefan Niggemeier : Das Fernsehlexikon . Goldmann, ISBN 978-3-442-30124-9 .
  136. ↑ The Ed Sullivan Show in the Internet Movie Database ( January 19, 1958)
  137. ^ "The story of the long-running TV" , NDR
  138. ↑ The Merv Griffin Show on the Internet Movie Database ( February 14, 1963)
  139. ↑ Stars in the ring in the Internet Movie Database ( January 18, 1969)
  140. ↑ The Tonight Show in the Internet Movie Database ( August 22, 1969)
  141. ↑ The Dean Martin Comedy Hour in the Internet Movie Database ( December 4, 1969)
  142. ↑ Laugh-In in the Internet Movie Database ( December 8, 1969)
  143. ↑ The Bob Hope Christmas Special. Internet Movie Database , accessed June 8, 2015 .
  144. ↑ The Dick Cavett Show in the Internet Movie Database ( May 12, 1971)
  145. ↑ The star guest: Romy Schneider in the Internet Movie Database ( June 5, 1971)
  146. ↑ VIP swing in the Internet Movie Database ( November 26, 1971)
  147. ↑ The later the evening in the Internet Movie Database (English) (October 30, 1974)
  148. ↑ The Grand Prize in the Internet Movie Database ( February 8, 1979)
  149. ↑ Champs-Élysées in the Internet Movie Database (English) (April 10, 1982)
  150. ↑ Renate Seydel: I, Romy - diary of a life. P. 269.
  151. ^ Romy Schneider's speaking roles , German synchronous card index , accessed on August 19, 2011.
  152. ↑ ZDF audience vote: Our Best Kulturpreise.de, accessed on February 2, 2014.
  153. ↑ Andrea Stinglwagner: Königssee: Monument for Romy. In: tz , March 26, 2009.
  154. ^ Romy-Schneider-Gasse - Vienna History Wiki. Retrieved May 16, 2020 .
  155. ↑ On the 30th anniversary of the death of a film legend. In: Studiocanal . April 18, 2012, Retrieved June 5, 2012 .
  156. ↑ In 2008, the third and last husband of Magda Schneider, Horst Fehlhaber, obtained an injunction against Kraemer's book. This could only be delivered with the sticker Collector's Edition: 152 words less and with seven blackened text passages. The contested parts of the text were statements by the character Romy about her mother's personal closeness to Adolf Hitler and his regime. The OLG Frankfurt came by judgment of 15 October 2009, Az. 16 U 39/09, to the conclusion that with one exception all offending passages applies the artistic freedom of the author.
  157. ↑ Confession on the mountain . In: Der Spiegel . No. 7 , 1967 ( online ).
  158. ↑ Aljoscha Wescott: "It should be like a vacation" In: Die Tageszeitung , January 31, 2006 (interview with Rolf Peter Kahl ).
  159. ^ Idols - Romy Schneider. In: ZDF via YouTube , February 21, 2012.
  160. ↑ Me, about myself: Romy Schneider. ( Memento of October 13, 2007 in the Internet Archive ), jfw.at
  161. ^ Henri-Georges Clouzot's Inferno , table of contents of the Special Broadcasting Service, accessed on May 1, 2012.
  162. ↑ Christian Sieben: Who is the more beautiful Romy Schneider?  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. In: Rheinische Post March 28, 2008.@1@ 2Template: Dead Link / www.rp-online.de  
  163. ↑ Catterfeld cancels project. In: Focus , July 27, 2009.
  164. ^ Romy. In: Das Erste , accessed on August 23, 2011.
  165. ^ Romy Schneider Musical in Heilbronn. In: Münchner Merkur , April 20, 2009.
  166. ^ Exhibitions - Romy Schneider. Vienna - Berlin - Paris ( Memento from January 2, 2014 in the Internet Archive ), Deutsche Kinemathek
  167. ^ Romy Schneider. 60 photos. Special exhibition September 21 to December 8, 2013 . Staatsschauspiel Hannover, accessed on July 18, 2019.
  168. ↑ Romy Schneider: Much more than just "Sissi" . ( Memento from January 5, 2014 in the Internet Archive ) NDR.de, accessed on January 1, 2014.
  169. ^ Special exhibition Romy Schneider ( Memento from October 23, 2014 in the Internet Archive ), Reichenhaller Tagblatt
  170. ↑ Romy Schneider - A world star returns home . Official homepage of the exhibition, accessed on April 25, 2015.
This article was added to the list of excellent articles on October 10, 2014 in this version .
personal data
SURNAME Schneider, Romy
ALTERNATIVE NAMES Albach, Rosemarie Magdalena (maiden name)
BRIEF DESCRIPTION Franco-German actress
DATE OF BIRTH September 23, 1938
PLACE OF BIRTH Vienna , Austria
DATE OF DEATH May 29, 1982
Place of death Paris , France