- Born
- Died
- Classically-trained actor, former chemist, whose formative years on the stage were spent in Bern (Switzerland) and, from 1909, the Deutsches Theater Berlin under Max Reinhardt's direction. Specialised in Shakespearean roles ('Richard III', 'Hamlet') and was a famous interpreter of the plays of Henrik Ibsen. He delivered his screen debut in a silent version of 'Dr.Jekyll and Mr.Hyde' (Der Andere (1913)). Bassermann remained active in motion pictures throughout the 1920's, also frequently appearing on stage in Austria and Switzerland. His wife, Elsa Bassermann, nee Schiff, was Jewish, and the discrimination shown towards her in his native country so outraged him that he emigrated with her to the United States in 1939.
At the age of 72, he carved out another career in Hollywood as a celebrated character actor. It took him some time to come to terms with the English language, but he was soon cast in a small part in Dr. Ehrlich's Magic Bullet (1940), as Dr.Robert Koch. He also played a sympathetic chemistry professor in Knute Rockne All American (1940). That same year, he appeared as Van Meer in Alfred Hitchcock's Foreign Correspondent (1940) and was promptly nominated for an Academy Award as Best Supporting Actor. His distinguished-looking countenance and serious demeanour lent itself to being assigned a variety of consular or professorial roles: he was excellent as Consul Magnus Barring in A Woman's Face (1941) with Joan Crawford; Professor Jean Perote in Madame Curie (1943); and a dying German music teacher in Rhapsody in Blue (1945).
At the age of 83, he made a triumphant return to the German/Austrian stage in Ibsen plays. Albert Bassermann died of a heart attack en route from New York to Zurich on May 15 1952.
- IMDb mini biography by: I.S.Mowis
- SpouseElsa Bassermann(1908 - May 15, 1952) (his death, 1 child)
- Nominated for an Oscar for his role of the kidnapped diplomat Van Meer in Alfred Hitchcock's 1940 film Foreign Correspondent (1940). During filming, his dialogue had to be spelled out phonetically for him, as he spoke almost no English .
- In the following years his reputation increased in such a way that at the beginning of the 20th century he was regarded as one of the most important players. So it was the more important that Bassermann was also one of the first prominent actors who decided to appear in movies. This had a signal effect to other theater actors which until then were in the habit of turning up one's nose as soon as the medium film was mentioned.
- Annija Simsone who played opposite Bassermann in the Neue Wiener Buehne Theater in the 1920s wrote the following in her autobiography: "During the Hitler era, Bassermann did not perform in Germany, though Adolf Hitler personally held him in high regard; Elsa - his wife - was Jewish. Bassermann was told that if he wanted to continue to perform in Germany, he would have to get divorced. He did not get divorced, but Elsa and he went to Switzerland instead.
- His illustrious career was acknowledged when he received the Iffland-Ring from the prominent actor Friedrich Haase. While Bassermann himself attempted to bestow the Iffland-Ring, he outlived each of the three grantees he chose. Not wanting to be mistaken a fourth time, Bassermann deferred making a choice; instead, a group of German actors made the decision.
- Of him, the revered American actress Uta Hagen had this to say in her acting textbook Respect for Acting.: "One of the finest lessons I ever learned was from the great German actor Albert Basserman. I worked with him as Hilde in The Master Builder by Ibsen. He was already past eighty but was as 'modern' in his conception of the role of Solness and in his techniques as anyone I've ever seen or played with. In rehearsals he felt his way with the new cast. (The role had been in his repertoire for almost forty years.) He watched us, listened to us, adjusted to us, meanwhile executing his actions with only a small part of his playing energy. At the first dress rehearsal, he started to play fully. There was such a vibrant reality to the rhythm of his speech and behavior that I was swept away by it. I kept waiting for him to come to an end with his intentions so that I could take my 'turn.' As a result, I either made a big hole in the dialogue or desperately cut in on him in order to avoid another hole. I was expecting the usual 'It's your turn; then it's my turn.' At the end of the first act I went to his dressing room and said, 'Mr. Basserman, I can't apologize enough, but I never know when you're through!' He looked at me in amazement and said, 'I'm never through! And neither should you be.'".
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