Biography

Although Haas did not appear in many English language films, she did have an important role in Alfred Hitchcock's 1953 film, I Confess. Haas was a personal friend of Hitchcock's, and Hitchcock cast her as Alma Keller, the wife of the murderer-janitor Otto Keller.

She replaced Mary Martin in the lead role in "Lute Song" in 1946 for the touring production. Her co-star, Yul Brynner, stated that Haas's casting substantially improved the show, stating that, "Dolly Haas understood the part. She had an affinity for it, and the play immediately improved. It wasn't at all that Dolly was a better actress. She was just better casting for the part than Mary." Martin reportedly agreed with Brynner's assessment and helped Haas to prepare for the role in a very short span of time allotted for rehearsal.

Her attendance in the film "Das hässliche Mädchen" (1933) started her turning away from German movie. When it came to riots against her Jewish partner Max Hansen during the first night and after the names of director Hermann Kosterlitz and writer Felix Joachimson were stroke off from the credits, she became aware of the political threat. This finally led to her emigration to England in 1936.

Diminutive German leading lady, daughter of an English father and a Viennese mother. Studied ballet at the age of six. Aged twenty, she performed in cabaret and musical revues. In romantic films and comedies from 1930. Left Germany in 1936 to continue her career in Britain. Married the director John Brahm, who directed her in the sound version of "Broken Blossoms". Went to Hollywood and was signed by Columbia, but was never utilised following her refusal to change her name to 'Lilli Marlowe'. Acted for some time on the New York stage. Broadway debut in 1943 in "Doctors Disagree". Later with John Gielgud and Lillian Gish in "Crime and Punishment". Off-Broadway in Brecht's "Threepenny Opera". Only later film appearance of note in Hitchcock's "I Confess".

When Dolly Haas made her New York stage debut in 1941 in Erwin Piscator's production of the Chinese fantasy "The Circle of Chalk," Brooks Atkinson, the drama critic of The Times, wrote that she was "an exquisitely beautiful actress, with the limpid grace of a Chinese poem or print.".