Director Gerhard Klein was born in Berlin on May 1, 1920, and grew up in Kreuzberg. As a young man he joined the resistance against the Nazis and was arrested twice. At age twenty he became a soldier and, eventually, a POW with the English. Klein was self-educated and worked as a cartoonist and documentary filmmaker after WWII.
He began working for DEFA as a scriptwriter for short and documentary films in 1946 and then, as of 1952, at the DEFA Studio for Feature Films. There he achieved his dream of becoming a filmmaker who could express the poetry of daily life and the fascination of his beloved Berlin. Together with his friend, scriptwriter Wolfgang Kohlhaase, he produced a series known as the “Berlin Films.” Kohlhaase paid Klein, his long-time collaborator, the highest compliment, when he remarked, “He could show you how a courtyard smells.”
Klein’s films were limited in number, in part because his productions were challenged by dogmatic film officials, who deemed his… read more
Director Gerhard Klein was born in Berlin on May 1, 1920, and grew up in Kreuzberg. As a young man he joined the resistance against the Nazis and was arrested twice. At age twenty he became a soldier and, eventually, a POW with the English. Klein was self-educated and worked as a cartoonist and documentary filmmaker after WWII.
He began working for DEFA as a scriptwriter for short and documentary films in 1946 and then, as of 1952, at the DEFA Studio for Feature Films. There he achieved his dream of becoming a filmmaker who could express the poetry of daily life and the fascination of his beloved Berlin. Together with his friend, scriptwriter Wolfgang Kohlhaase, he produced a series known as the “Berlin Films.” Kohlhaase paid Klein, his long-time collaborator, the highest compliment, when he remarked, “He could show you how a courtyard smells.”
Klein’s films were limited in number, in part because his productions were challenged by dogmatic film officials, who deemed his Berlin films aesthetically inappropriate models for a socialist state. Berlin around the Corner, for example, was among the films banned by East German officials in 1965; officials also faulted The Gleiwitz Case (1961), whose powerful style they interpreted as converging too closely with fascist aesthetics.
Klein died in 1970, while working on a film entitled Murder Case Zernik. —DEFA Film Library