Annemarie Düringer was born to the family of a Swiss industrialist. After completion of training at a trade school, she began classes at the Cours Simon acting classes and spent two years at the Vienna Max-Reinhardt-Seminar. She began her career in theater and has never strayed far from theater roles. However, in 1953, she began a film career in German language films such as Gefangene der Liebe (1954, Rudolf Jugert ), Die Stadt ist voller Geheimnisse (1954, Fritz Kortner ), Der 20. Juli (1955, Falk Harnack ) and Robert Siodmak’s thriller, Nachts, wenn der Teufel kam, starring Mario Adorf and Claus Holm.
After two Victor Vicas adventure films, Count Five and Die (1958) and SOS Gletscherpilot (1959) she spent less time in film and more in theater. She re-emerged in 1970 when she played Frau Jenny in Kurt Früh’s Dällebach Kari and also had a lead role in Früh’s Der Fall. Her association with Fassbinder began in 1976 as Frau Müller in Schatten der Engel (Daniel Schmid), and in 1978… read more
Annemarie Düringer was born to the family of a Swiss industrialist. After completion of training at a trade school, she began classes at the Cours Simon acting classes and spent two years at the Vienna Max-Reinhardt-Seminar. She began her career in theater and has never strayed far from theater roles. However, in 1953, she began a film career in German language films such as Gefangene der Liebe (1954, Rudolf Jugert ), Die Stadt ist voller Geheimnisse (1954, Fritz Kortner ), Der 20. Juli (1955, Falk Harnack ) and Robert Siodmak’s thriller, Nachts, wenn der Teufel kam, starring Mario Adorf and Claus Holm.
After two Victor Vicas adventure films, Count Five and Die (1958) and SOS Gletscherpilot (1959) she spent less time in film and more in theater. She re-emerged in 1970 when she played Frau Jenny in Kurt Früh’s Dällebach Kari and also had a lead role in Früh’s Der Fall. Her association with Fassbinder began in 1976 as Frau Müller in Schatten der Engel (Daniel Schmid), and in 1978 she appeared in the rarely screened short film Bourbon Street Blues by Douglas Sirk. She played an important role in Berlin Alexanderplatz in 1980 as Cilly, and an even more prominent role in Fassbinder’s Veronika Voss (1982).
Of Fassbinder she said, With (Fassbinder), everything was totally professional, I’ve never shot with anyone as fast as him. He shot admirably. Not a single meter had to be cut away, and he never talked much.
Television roles and theater consumed her professional life until two recent film roles brought her to the fore again playing John Malkovich’s mother in Klimt. That same year she played in the Swiss film Late Bloomers, the role of Frieda Eggenschwyler. —wikipedia (translation)
