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Conrad Veidt
Conrad Veidt by Binder.jpg
Conrad Veidt, 1920
Hans Walter Conrad Veidt

(1893-01-22)22 January 1893
Died3 April 1943(1943-04-03) (aged 50)
Resting placeGolders Green Crematorium, North London
NationalityGerman (1893-1933),
British-American (1933-1943)
Years active1913–1943
(m. 1918; div. 1922)

Felizitas Radke
(m. 1923; div. 1932)

Ilona Greger
(m. 1933)
Conrad Veidt signature.png

Hans Walter Conrad Veidt[1][2] (/ft/; 22 January 1893 – 3 April 1943) was a German-British-American actor best remembered for his roles in the films Different from the Others (1919), The Cabinet of Dr. Caligari (1920), and The Man Who Laughs (1928). After a successful career in German silent films, where he was one of the best-paid stars of UFA, he and his new Jewish wife Ilona Prager were forced to leave Germany in 1933 after the Nazis came to power. The couple settled in Britain, where he took British citizenship in 1939. He appeared in many British films, including The Thief of Bagdad (1940), before emigrating to the United States around 1941, which led to his being cast as Major Strasser in Casablanca (1942).

Early life

Conrad Veidt with his mother Amalie, 1893
Conrad Veidt with his mother Amalie, 1893

Hans Walter Conrad Veidt was born on 22 January 1893 in his parents' home at Tieckstraße 39 in Berlin[3] to Amalie Marie (née Gohtz) and Philipp Heinrich Veidt, a former military man turned civil servant.[4] Veidt would later recall, “Like many fathers, he was affectionately autocratic in his home life, strict, idealistic. He was almost fanatically conservative.” By contrast, Amalie was sensitive and nurturing.[5] Veidt was nicknamed 'Connie' by his family and friends. His family was Lutheran,[5] and Veidt was baptized on 26 March 1893.[6] He was later confirmed in a ceremony at the Protestant Evangelical Church in Alt-Schöneberg, Berlin on 5 March 1908.[7] Veidt's only sibling, an older brother named Karl, died in 1900 of scarlet fever at the age of 9.[8] The family spent their summers in Potsdam.[3]

Two years after Karl's death, Veidt's father fell ill and required heart surgery. Knowing that the family could not afford to pay the lofty fee that accompanied the surgery, the doctor charged only what the family could comfortably pay. Impressed by the surgeon's skill and kindness, Veidt vowed to "model my life on the man that saved my father's life" and he wished to become a surgeon. His hopes for a medical career were thwarted, though, when in 1912 he graduated without a diploma and ranked 13th out of 13 pupils and became discouraged over the amount of study necessary for him to qualify for medical school.[8]

A new career path for Veidt opened up in 1911 during a school Christmas play in which he delivered a long prologue before the curtain rose. The play was badly received, and the audience was heard to mutter, "Too bad the others didn't do as well as Veidt."[8] Veidt began to study all of the actors he could and wanted to pursue a career in acting, much to the disappointment of his father, who called actors 'gypsys' and 'outcasts'.

With the money he raised from odd jobs and the allowance his mother gave him, Veidt began attending Berlin's many theatres. He loitered outside of the Deutsches Theater after every performance, waiting for the actors and hoping to be mistaken for one. In the late summer of 1912 he met a theatre porter who introduced him to actor Albert Blumenreich, who agreed to give Veidt acting lessons for six marks.[9] He took ten lessons from him before auditioning for Max Reinhardt, reciting Goethe's Faust. During Veidt's audition, Reinhardt looked out of the window the entire time. He offered Veidt a contract as an extra for one season's work, from September 1913 to August 1914 with a pay of 50 marks a month. During this time, he played bit parts as spear carriers and soldiers. His mother attended almost every performance.[10] His contract with the Deutsches Theater was renewed for a second season, but by this time World War I had begun, and on 28 December 1914, Veidt enlisted in the army.

In 1915, he was sent to the Eastern Front as a non-commissioned officer and took part in the Battle of Warsaw. He contracted jaundice and pneumonia, and had to be evacuated to a hospital on the Baltic Sea. While recuperating, he received a letter from his girlfriend Lucie Mannheim, telling him that she had found work at the Front Theatre in Libau.[11] Intrigued, Veidt applied for the theatre as well. As his condition had not improved, the army allowed him to join the theatre so that he could entertain the troops. While performing at the theatre, his relationship with Mannheim ended. In late 1916, he was re-examined by the Army and deemed unfit for service; he was given a full discharge on 10 January 1917. Veidt returned to Berlin where he was readmitted to the Deutsches Theater.[12][13][14][15] There, he played a small part as a priest that got him his first rave review, the reviewer hoping that "God would keep Veidt from the films." or "God save him from the cinema!"[3]


Veidt c. 1922
Veidt c. 1922

From 1917 until his death, Veidt appeared in more than 100 films. One of his earliest performances was as the murderous somnambulist Cesare in director Robert Wiene's The Cabinet of Dr. Caligari (1920), a classic of German Expressionist cinema, with Werner Krauss and Lil Dagover. His starring role in The Man Who Laughs (1928), as a disfigured circus performer whose face is cut into a permanent grin, provided the (visual) inspiration for the Batman villain the Joker. Veidt starred in other silent horror films such as The Hands of Orlac (1924), also directed by Robert Wiene, The Student of Prague (1926) and Waxworks (1924), in which he played Ivan the Terrible. Veidt also appeared in Magnus Hirschfeld's film Anders als die Andern (Different from the Others, 1919), one of the earliest films to sympathetically portray homosexuality, although the characters in it do not end up happily.[16] He had a leading role in Germany's first talking picture, Das Land ohne Frauen (Land Without Women, 1929).

Conrad Veidt (left) and Lawson Butt in The Beloved Rogue (1927)
Conrad Veidt (left) and Lawson Butt in The Beloved Rogue (1927)

He moved to Hollywood in the late 1920s and made a few films there, but the advent of talking pictures and his difficulty with speaking English led him to return to Germany.[17] During this period, he lent his expertise to tutoring aspiring performers, one of whom was the later American character actress Lisa Golm.


Veidt fervently opposed the Nazi regime and later donated a major portion of his personal fortune to Britain to assist in the war effort.[18][19] Soon after the Nazi Party took power in Germany, by March 1933, Joseph Goebbels was purging the film industry of anti-Nazi sympathizers and Jews, and so in April 1933, a week after Veidt's marriage to Ilona Prager, a Jewish woman, the couple emigrated to Britain before any action could be taken against either of them.

Goebbels had imposed a "racial questionnaire" in which everyone employed in the German film industry had to declare their "race" to continue to work. When Veidt was filling in the questionnaire, he answered the question about what his Rasse (race) was by writing that he was a Jude (Jew).[20] Veidt was not Jewish, but his wife was Jewish, and Veidt would not renounce the woman he loved.[20] Additionally, Veidt, who was opposed to antisemitism, wanted to show solidarity with the German Jewish community, who were in the process of being stripped of their rights as German citizens in the spring of 1933. As one of Germany's most prominent actors, Veidt had been informed that if he were prepared to divorce his wife and declare his support for the new regime, he could continue to act in Germany. Several other leading actors who had been opposed to the Nazis before 1933 switched allegiances. In answering the questionnaire by stating he was a Jew, Veidt rendered himself unemployable in Germany, but stated this sacrifice was worth it as there was nothing in the world that would compel him to break with his wife.[20] Upon hearing about what Veidt had done, Goebbels remarked that he would never act in Germany again.

Conrad Veidt in The Spy in Black (1939)
Conrad Veidt in The Spy in Black (1939)

After arriving in Britain, Veidt perfected his English and starred in the title roles of the original anti-Nazi versions of The Wandering Jew (1933) and Jew Süss (1934), the latter film was directed by the exiled German-born director Lothar Mendes and produced by Michael Balcon for Gaumont-British. He naturalised as a British subject on 25 February 1939.[21] By this point multi-lingual, Veidt made films both in French with expatriate French directors and in English, including three of his best-known roles for British director Michael Powell in The Spy in Black (1939), Contraband (1940) and The Thief of Bagdad (1940).

Later career in the US

Veidt in 1941
Veidt in 1941

By 1941, he and Ilona had settled in Hollywood to assist in the British effort in making American films that might persuade the then-neutral and still isolationist US to join the war against the Nazis, who at that time controlled all of continental Europe and were bombing the United Kingdom. Before leaving the United Kingdom, Veidt gave his life savings to the British government to help finance the war effort.[16] Realizing that Hollywood would most likely typecast him in Nazi roles, he had his contract mandate that they must always be villains.[16]

He starred in a few films, such as George Cukor's A Woman's Face (1941) where he received billing under Joan Crawford's and Nazi Agent (1942), in which he had a dual role as both an aristocratic German Nazi spy and the man's twin brother, an anti-Nazi American. His best-known Hollywood role was as the sinister Major Heinrich Strasser in Casablanca (1942), a film which began pre-production before the United States entered World War II. Commenting about this well-received role, Veidt noted that it was an ironical twist of fate that he was praised "for portraying the kind of character who had forced him to leave his homeland".[22]

Personal life

Veidt enjoyed sports, gardening, swimming, golfing, classical music, and reading fiction and nonfiction (including occultism; Veidt once considered himself a powerful medium). He was afraid of heights and flying, and disliked interviews and wearing ties.

In a September 1941 interview with Silver Screen, Veidt said,

I see a man who was once for years studying occult things. The science of occult things. I had the feeling there must be – something else. There are things in our world we cannot trace. I wanted to trace them. The power we have to think, to move, to speak, to feel – is it electricity, I wanted to know? Is it magnetism? Is it the heart? Is it the blood? When the body dies, where is all that? Where is the power that made the body live? No one can tell me it is not somewhere. If you believe in waves, which you must believe after you have the radio, why couldn't human beings contact the wave lengths of someone who is dead? ... this is the kind of thing with which I was, for many years, preoccupied. This is what I tried to find, the answer. I did not find it. But in looking for it there was etched, perhaps, on my face, some hint of the strange cabals I kept with unseen and unknown powers. I did not find it, I say. But I found something else. Something better. I found –faith. I found the ability, very peaceful, to accept that which I could neither see, nor hear nor touch. I am a religious man. My belief is that if we could help to make all people a little more religious, we would do a great lot. If we would pray more ... we forget to pray except when we are in a mess. That is too bad. I believe in prayer. Because when we pray, we always pray for something good.

He went on:

I must tell you something that will disappoint you ... far from being one engaged in strange rituals of thought or action, what I like best to do is sit in this small garden, on this terrace, and – just sit. Sometimes, I confess, I think a lot; about my past. About my parents who are dead. I like to dream, to go away ... At other times, I sit and read. I read, often, a whole day through. I play golf. I used to be a golf fiend. Now I am not a fiend even on the links. Now I play because it is relaxation. I like the beach very much, the sea. I go to the films often, to the neighborhood theater, my wife and I. Sometimes we go to the Palladium, where there is dancing. It is an amazing sight to me to see young people, how they are like they were thirty years ago, how they hold hands, how they enjoy their lives. To me, the most beautiful thing in California is the Hollywood Bowl, the Concerts Under the Stars. For me, it is a terrific experience. I have never seen an audience in my life like that. 30,000 people, simple people, most of them, listening to music under the stars. I have never seen 30,000 people, simple people, so quiet. I like to think of them as a symbol that one day there may be that oneness for all mankind....[23]

On 10 June 1918, Veidt married Gussy Holl, a cabaret entertainer.[24][25] They had first met at a party in March 1918, and Conrad described her to friends as "very lovely, tall, dignified and somewhat aloof". They separated in 1919 but attempted to reconcile multiple times.[26] Holl and Veidt divorced in 1922.

Veidt said of Holl, "She was as perfect as any wife could be. But I had not learnt how to be a proper husband," and "I was elated by my success in my work, but shattered over my mother's death, and miserable about the way my marriage seemed to be foundering. And one day when my wife was away, I walked out of the house, and out of her life, trying to escape from something I could put no name to."

After his separation and eventual divorce from Holl, Veidt allegedly dated his co-star Anita Berber.

Veidt's second wife Anna Maria "Felizitas" Radke[27] was from an aristocratic Austrian family.[28] They met at a party in December 1922 or at a Charleston dance competition in 1923.[29] Radke divorced her husband for him, and they married on 18 April 1923. Their daughter, Vera Viola Maria, nicknamed "Kiki", was born on 10 August 1925. He was not present at her birth due to being in Italy working on The Fiddler of Florence, but upon hearing of her birth, he took the first train to Berlin and flailed and wept as he first met mother and child at the hospital; he was so hysterical from joy they had to sedate him and keep him in the hospital overnight.

Emil Jannings was Viola's godfather and Elisabeth Bergner was her godmother. She was named after one of Bergner's signature characters, Shakespeare's Viola. The birth of his daughter helped Veidt move on from the death of his dearly loved mother, who had died of a heart condition in January 1922.[30]

From September 1926 to 1929 Veidt lived with his wife and daughter in a Spanish-style house in Beverly Hills.[3]

Veidt enjoyed relaxing and playing with his daughter in their home, and enjoyed the company of the immigrant community, including F. W. Murnau, Carl Laemmle, and Greta Garbo, as well as the American Gary Cooper. The family returned to Germany in 1929, and moved several times afterwards, including a temporary relocation to Vienna, Austria, while Veidt participated in a theatrical tour of the continent.

Radke and Veidt divorced in 1932, with Radke citing that the frequent relocations and the separations necessitated by Veidt's acting schedule frayed their marriage. Radke at first granted custody of their daughter to Veidt, but after further consideration he decided that their daughter needed the full-time parent that his work would not allow him to be. Conrad received generous visitation rights, and Viola called her summer vacations with her father "The Happy Times". She stayed with him three or four months of the year until the outbreak of World War II.[31][28]

He last married Flora Ilona "Lilli" Barta Greger,[32][33] a Hungarian Jew, in Berlin on 24 March 1933; they remained together until his death. The two had met at a club in Berlin.[34] Veidt said of Lilli in an October 1934 interview with The Sunday Dispatch,

Lilli was the woman I had been seeking all my life. For her I was the man. In Lilli I found the miracle of a woman who had all to give that I sought, the perfect crystallisation in one lovely human being, of all my years of searching. Lilli had the mother complex too. But in the reverse ratio to mine. In her, the mother instinct was so powerful that she poured it out, indiscriminately almost, on everyone she knew. She mothers her own mother. Meeting Lilli was like coming home to an enchanted place one had always dreamed of, but never thought to reach. For her it was the same. Our marriage is not only flawless, it is a complete and logical union, as inevitable as daybreak after night, as harmonious and right as the words that exactly fit the music. My search is finished. The picture in my mind of my mother is of a woman great and holy. But it is a picture clear and distinct, a deep and humble memory of a woman no one could replace; but now it is not blurred by the complex which before had harassed my mind.

Veidt and Lilli movved from London to Los Angeles, arriving on 13 June 1940. They resided at 617 North Camden Drive in Beverly Hills.[35]

Even after leaving England, Veidt was concerned over the plight of children cooped up in London air raid shelters, and he decided to try to cheer up their holiday. Through his attorneys in London, Veidt donated enough money to purchase 2,000 one-pound tins of candy, 2,000 large packets of chocolate, and 1,000 wrapped envelopes containing presents of British currency. The gifts went to children of needy families in various air raid shelters in the London area during Christmas 1940. The air raid shelter marshal wrote back to Veidt thanking him for the gifts. Noting Veidt's unusual kindness, he stated in his letter to him, "It is significant to note that, as far as is known to me, you are the only member of the Theatrical Profession who had the thought to send Christmas presents to the London children."[36]

Veidt smuggled his parents-in-law from Austria to neutral Switzerland, and in 1935 he managed to get the Nazi government to let his ex-wife Radke and their daughter move to Switzerland.[37] He also offered to help Felizita's mother, Frau Radke, of whom he was fond, leave Germany. However, she declined. A proud, strong-willed woman who was attached to her home country, she declared that "no damned little Austrian Nazi corporal" was going to make her leave her home. She reportedly survived the war, but none of the Veidts ever saw her again.[36]

Veidt was bisexual[38][39] and a feminist. In a 1941 interview he said,

There are two different kinds of men. There are the men men, what do you call them, the man's man, who likes men around, who prefers to talk with men, who says the female can never be impersonal, who takes the female lightly, as playthings. I do not see a man like that in my mirror. Perhaps, it is because I think the female and the male attract better than two men, that I prefer to talk with females. I do. I find it quite as stimulating and distinctly more comfortable. I have a theory about this – it all goes back to the mother complex. In every woman, the man who looks may find – his mother. The primary source of all his comfort. I think also that females have become too important just to play with. When men say the female cannot discuss impersonally, that is no longer so. When it is said that females cannot be geniuses, that is no longer so, either. The female is different from the male. Because she was born to be a mother. There is no doubt about that. But that does not mean that, in some cases, she is not also born a genius. Not all males are geniuses either. And among females today there are some very fine actresses, very fine; fine doctors, lawyers, even scientists and industrialists. I see no fault in any female when she wears slacks, smokes (unless it is on the street, one thing, the only thing, which I don't like), when she drives a car ... when men say things like "I bet it is a woman driving" if something is wrong with the car ahead – no, no. These are old, worn out prejudices, they do not belong in today.[23]


In the 1930s, Veidt discovered that he had the same heart condition that his mother had died from. The condition was further aggravated by chain smoking, and Veidt took nitroglycerin tablets.

Veidt died of a massive heart attack on 3 April 1943 while playing golf at the Riviera Country Club in Los Angeles with singer Arthur Fields and his personal physician, Dr. Bergman, who pronounced him dead at the scene.[16][40] He had suddenly gasped and fallen over after getting to the eighth hole.[37] He was 50 years old. His ex-wife Felizitas and his daughter Viola found out about his death via a radio broadcast in Switzerland.

In 1998, his ashes, along with his wife Lilli's, were placed in a niche of the columbarium at the Golders Green Crematorium in north London.[41][42]

Complete filmography

Year Title Role Notes
1917 The Path of Death Rolf Filmed in late 1916, Veidt's screen debut. Lost film
1917 Let There Be Light Herr Kramer The film had four parts which premiered throughout 1917 to 1918. Lost film[43]
1917 When the Dead Speak Richard von Worth Lost film
1917 Fear Indian Priest Print exists at the Swedish Film Institute
1917 The Sea Battle Lost film
1917 The Spy Steinau Lost film
1918 The Mystery of Bangalore Dinja Lost film[44]
1918 The Serenyi Lost film
1918 The Mexican Lost film[45]
1918 The House of Three Girls Baron Schober Lost film
1918 Diary of a Lost Woman Dr. Julius Lost film
1918 Jettchen Gebert's Story Doctor Friedrich Köstling Lost film
1918 Colomba Henrik van Rhyn Lost film
1918 The Story of Dida Ibsen Erik Norrensen Print exists at the George Eastman House
1918 Henriette Jacoby Doctor Friedrich Köstling Lost film[46]
1918 Victim of Society Prosecutor Chrysander Lost film
1918 Not of the Woman Born Satan Lost film
1919 Opium Dr. Richard Armstrong Jr. Print survives at the Century Guild archive[47]
1919 Nocturne of Love Frederic Chopin Lost film[48]
1919 The Japanese Woman The Secretary Lost film[48]
1919 Prostitution Alfred Werner Lost film
1919 Around the World in Eighty Days Phineas Fogg Lost film[48]
1919 Peer Gynt (2 parts) Ein fremder Passagier Lost film[48]
1919 Different from the Others Paul Körner Restored version of the film exists
1919 The Ocarina Jaap Lost film
1919 Prince Cuckoo Karl Kraker Lost film
1919 Madness Bankier Lorenzen Veidt's directorial debut, lost film
1919 Unheimliche Geschichten Death (framing story) / The stranger (ep.1) / The assassin (ep.2) / Traveller (ep.3) / Club president (ep.4) / Husband (ep.5) Original negative is lost, but a restored version of the film exists
1920 The Count of Cagliostro The Minister Lost film
1920 Figures of the Night Clown Lost film
1920 Satan Lucifer / Hermit / Gubetta / Grodski Lost film
1920 The Cabinet of Dr. Caligari Cesare
1920 The Merry-Go-Round Petre Karvan
1920 Patience Sir Percy Parker Lost film
1920 The Night at Goldenhall Lord Reginald Golden / Harald Golden Directed by Veidt, lost film
1920 The Eyes of the World Johannes Kay, Julianne's Lover Lost film
1920 Temperamental Artist Arpad Czaslo
1920 Kurfürstendamm Satan Lost film
1920 The Head of Janus Dr. Warren / Mr. O'Connor Lost film
1920 Moriturus Wilmos Lost film
1920 The Clan
1920 Evening – Night – Morning Brilburn – Maud's brother Lost film
1920 Manolescu's Memoirs Manolescu Lost film
1920-1921 Christian Wahnschaffe (2 parts) Christian Wahnschaffe Opening act does not survive but the remainder of the film was restored in 2018[49][50]
1921 People in Ecstasy Professor Munk Lost film
1921 The Secret of Bombay Dichter Tossi
1921 Journey into the Night The Painter
1921 Love and Passion Jalenko, the Gypsy Lost film
1921 The Love Affairs of Hector Dalmore Hektor Dalmore Print exists at the Cinémathèque royale de Belgique[51]
1921 Desire Ivan – a young Russian dancer Lost film
1921 Country Roads and the Big City Raphael, der Geiger Print exists at the Cinémathèque royale de Belgique[51]
1921 Danton
1921 Lady Hamilton Lord Nelson Copy exists in a Russian film archive[52][53]
1921 The Indian Tomb (2 parts) Ayan III / Prince von Eschnapur / The Majarajah of Bengal
1921 The Passion of Inge Krafft Hendryck Overland
1922 Lucrezia Borgia Cesare Borgia
1923 Paganini Niccolò Paganini  Lost film
1923 William Tell Hermann Gessler
1923 Gold and Luck The Count Lost film
1923 Bride of Vengeance Cesare Borgia Lost film[54]
1924 Carlos and Elisabeth Don Carlos
1924 The Hands of Orlac Paul Orlac
1924 Waxworks Ivan the Terrible
1924 Husbands or Lovers Der Liebhaber, ein Dichter
1925 Count Kostia Count Kostia Lost film
1925 Love is Blind Dr. Lamare Lost film
1925 Destiny Count L. M. Vranna Lost film
1925 Ingmar's Inheritance Hellgum
1926 The Fiddler of Florence Renées Vater
1926 The Brothers Schellenberg Wenzel Schellenberg / Michael Schellenberg Bad quality print exists[55]
1926 Should We Be Silent? Paul Hartwig, Maler Exists in fragmentary form
1926 The Woman's Crusade Prosecutor
1926 The Student of Prague Balduin, a student
1926 The Flight in the Night Heinrich IV
1927 The Beloved Rogue King Louis XI
1927 A Man's Past Paul La Roche Presumed lost
1928 The Man who Laughs Gwynplaine / Lord Clancharlie Won a Golden Train Award for Best Actor[56]
1929 Gesetze der Liebe Exists and contains newly edited material from Different from the Others[57]
1929 Land Without Women Dick Ashton, telegrapher Veidt's talkie debut, lost film
1929 The Last Performance Erik the Great Filmed and released in New York in 1927, exists but 10 minutes are missing
1930 The Last Company Hauptmann Burk
1930 Menschen im Käfig (People in the Cage) Kingsley Lost film
1930 The Great Longing Himself
1931 The Man Who Murdered Marquis de Sévigné
1931 The Night of Decision General Gregori Platoff Lost film
1931 The Other Side Hauptmann Stanhope Exists but 10 minutes are possibly missing[58]
1932 Rasputin, Demon with Women Grigori Rasputin
1932 The Congress Dances Prince Metternich
1932 The Black Hussar Rittmeister Hansgeorg von Hochberg
1932 Rome Express Zurta
1933 The Empress and I Marquis de Pontignac
1933 F.P.1 Maj. Ellissen
1933 I Was a Spy Commandant Oberaertz
1933 The Wandering Jew Matathias
1934 William Tell Gessler (both German- and English-language versions)
1934 Jew Süss Josef Süss Oppenheimer
1934 Bella Donna Mahmoud Baroudi
1935 The Passing of the Third Floor Back The Stranger
1935 King of the Damned Convict 83
1937 Dark Journey Baron Karl Von Marwitz
1937 Under the Red Robe Gil de Berault
1938 Storm Over Asia Erich Keith
1938 The Chess Player Baron Kempelen
1939 The Spy in Black Captain Hardt
1940 Contraband Capt. Andersen
1940 The Thief of Bagdad Jaffar
1940 Escape General Kurt von Kolb Won an NBR Award for Best Acting[56]
1941 A Woman's Face Torsten Barring
1941 Whistling in the Dark Joseph Jones
1941 The Men in Her Life Stanislas Rosing
1942 All Through the Night Ebbing
1942 Nazi Agent Otto Becker / Baron Hugo Von Detner
1942 Casablanca Major Heinrich Strasser
1943 Above Suspicion Hassert Seidel Released posthumously


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  7. ^ Allen, Jerry C. (1987). Conrad Veidt: From Caligari to Casablanca. ISBN 9780940168046.
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  9. ^ "His Nickname is Connie".
  10. ^ Soister, John T. (2 September 2015). Conrad Veidt on Screen: A Comprehensive Illustrated Filmography. ISBN 9781476611228.
  11. ^ Allen, Jerry C. (1987). Conrad Veidt: From Caligari to Casablanca. ISBN 9780940168046.
  12. ^ "Conrad Veidt: The Cinema's Master". The Conrad Veidt Society.
  13. ^ "Conrad Veidt". A History of Horror. Archived from the original on 9 March 2011. Retrieved 3 April 2011.
  14. ^ "Conrad Veidt: Cinema's Dark Prince, 1893–1943". Monster Zine. October–December 2000. Archived from the original on 7 February 2005.
  15. ^ "Focus on Film". 1974.
  16. ^ a b c d "Meet Conrad Veidt, Badass". Badass Digest. 9 July 2013.
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Further reading

  • Alistair, Rupert (2018). "Conrad Veidt". The Name Below the Title : 65 Classic Movie Character Actors from Hollywood's Golden Age (softcover) (First ed.). Great Britain: Independently published. pp. 244–248. ISBN 978-1-7200-3837-5.

External links

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