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Hans Car Haupt, Jr. (30 October 1915 Chicago – 22 November 1991 Munich)

Career

United States

Ulrich Carl Haupt was born in Chicago to Ullrich Haupt (1887–1931) and Anna Maria Beaumes (maiden), both actors. He spent his early childhood in the United States. Although he grew up speaking English and his German later required some reacquisition, he became a notable actor within German-language theatre. Before turning to acting, Haupt worked in Los Angeles as a painter’s assistant and initially intended to become a visual artist.

Father’s fatal accident

When Ullrich, Jr., was 15, his father, Ullrich Haupt, Sr. – after completing a role as Colonel von Axt in Ronald Coleman‘s 1931 film, The Unholy Garden, with seven other people, including himself (Ullrich Carl Haupt, Jr.) and his 8-year-old brother, Hans Haupt – went on a deer hunting trip in the San Rafael Mountains. His father died of an accidental gunshot wound August 5, 1931, at 8:50 pm in a remote area, at Davy Brown’s [fr] cabin – about six miles from Figueroa Mountain, and approximately 50 miles north of Santa Barbara.

According to reports, Haupt’s chauffeur, Carl Anderson, was unloading his 32.20 rifle when his glove caught the trigger, causing the firearm to discharge. The round struck Haupt in the elbow and severed an artery. Ullrich, Jr., with a guide from another hunting party, rode on horseback roughly fifteen miles to Santa Ynez to summon help. He returned at midnight to Davy Brown’s cabin with a physician, Henry Gustaf Hanze, M.D. (né Henry Gustaf Hanze; 1901–1952), of Solvang, but Ullrich, Sr., had died at 8:50 pm of internal hemorrhage. Hanze himself had been injured en route when his horse fell, breaking two ribs. The horse was not injured.

Their home had been in Inglewood.

Germany

In 1932, Ullrich, Jr., traveled to Berlin to study painting at the United State Schools for Fine and Applied Arts (Vereinigte Staatsschulen für freie und angewandte Kunst). His career direction shifted after attending a performance of Goethe‘s Faust, which inspired him to pursue acting instead.

In 1936, Haupt was accepted to the State Drama School in Danzig (Staatliche Schauspielschule Danzig), where he began his formal theatrical training in the final years before World War II. He made early stage appearances in Munich at the Bavarian State Theatre (Bayerisches Staatsschauspiel [de; pl], including the Residence Theatre) around 1940, and soon afterward joined the company directed by Gustaf Gründgens in Berlin.

Haupt’s early stage roles included youthful heroic characters such as Karl Moor in Friedrich Schiller‘s The Robbers, Leander in Franz Grillparzer‘s Des Meeres und der Liebe Wellen (The Waves of Love), and Leopold in Geschwister (“Brother and Sister”). Over time, his repertoire expanded to include comedy, and during the war years he also worked in film. By the end of World War II he was already well established and continued appearing in films into the mid-1950s.

Haupt’s stage career extended over several decades, during which he was noted for his unaffected style and seemingly ageless stage presence. He became associated with the Neue Theater, where he was regarded as one of its formative ensemble members. In 1951 he returned to Düsseldorf, and in 1954 he joined the founding ensemble of a new stage in Hamburg.

Beginning in 1959, Haupt also worked as a director. His productions included Marcel Pagnol‘s Der goldene Anker (Fanny, the second play of the Marseille Trilogy, Marseille being a city in Southern France)^[a] and Monsieur Topaze. At the Schauspielhaus Zürich in 1968, he appeared as Klummann in Max Frisch‘s Biography [de; fa], staged by Leopold Lindtberg. He later returned to Hamburg‘s Thalia Theater, where he both acted and directed, including in Harold Pinter‘s The Caretaker, a role demanding considerable psychological nuance.

Haupt continued to work in theatre into his later years, maintaining his reputation for clarity of performance and versatility of stage presence.

Original translation (annotated)

“It All Began with Shakespeare’s Romeo”

He was neither especially handsome nor especially ugly, neither particularly young nor particularly old, Ulrich Haupt once said about himself — and casually added: “That’s how a director can get started.” It reveals something about the actor Ulrich Haupt, who was born more than 70 years ago in Chicago — as the son of German parents. He grew up in the U.S., his German was somewhat rusty. And yet he became a well-known figure in German-speaking theater. Of course, he had first acted in the United States, in Los Angeles, where he worked as a painter’s assistant — naturally to earn money.

He wanted to be a painter. And because he wanted to study in Germany, he arrived in Berlin in 1932 to attend the art academy (see United State Schools for Fine and Applied Arts [de]). But then he saw a performance of Faust with Mephisto (see Faust and Mephistopheles) — and that changed his life. Ulrich Haupt suddenly wanted to train as an actor. In 1936 he was accepted into the State Drama School in Danzig and began studying there before the war. Already at that time he could be seen in Munich, at the State Theater (see Bayerisches Staatsschauspiel [de; pl] and Residence Theatre) in 1940, only four years after his debut, and soon afterwards in Gründgens‘ theater in Berlin.

There he remained. The American Ulrich Haupt played youthful heroes: the Robber Karl Moor (see The Robbers), Grillparzer‘s Leander (English: The Waves of Love; German: Des Meeres und der Liebe Wellen), and Leopold (“Brother and Sister”, Austrian Court). But soon Haupt was in Charlottenburg — and more and more in comedies. When the Americans came in 1941, he joined the film. He acted in front of the camera, and when the war was over and everything began again, he was already someone who was known and regarded as something of a veteran. So he remained in film until the mid-1950s.

This career is remarkable not only because it spanned so many years, but also because Haupt was one of those actors who do not age visibly. Ulrich Haupt is halfway through life, but you wouldn’t think so when you see him on stage. Haupt appears open and youthful even today. Among the founding members of the Neue Theater (New Theater), Haupt, now in his later years, has remained the same for his audience.

In 1951, Ulrich Haupt returned to Düsseldorf. Three years later, he was among the founding ensemble in Hamburg. From 1959 onward, he directed his own plays — including The Golden Anchor (in German, Der goldene Anker; in French Fanny) by Marcel Pagnol, followed by his direction of Monsieur Topaze. In Zurich (at the Schauspielhaus Zürich), he appeared in 1968 as Klummann in Biography [de; fa] — a play by Max Frisch, in a production by Leopold Lindtberg. Later, he played the lead role in The Caretaker by Harold Pinter — a role that demands a great deal of the actor. After that he returned to Munich.

Three years ago, Peter Stiebeck brought him to Hamburg, to the Thalia Theater. There Haupt acted and directed — including the difficult play The Caretaker by Harold Pinter. The difficulty, however, was not the play, but the expectation that the theater audience had of Ulrich Haupt in recent years. But his audience has always thanked him for it.

KATHRIN BERGMANN

Marriages

Naturalization

Death

After completing a important role as a German Colonel (Colonel von Axt) in Ronald Coleman‘s 1931 film, The Unholy Garden, Haupt went on vacation with a group of seven other people, including his two sons (and E.C. Campbell). The hunting party had been in the mountains four day when, Haupt died on August 5, 1931, from an accidental gunshot wound while on a deer-hunting trip in a remote area in the San Rafael Mountains, outside Davy Brown’s [fr] cabin – about six miles from Figueroa Mountain, and approximately 50 miles north of Santa Barbara. According to reports, Haupt’s chauffeur, Carl Anderson, was unloading his 32.20 rifle when his glove caught the trigger, causing the firearm to discharge. The round struck Haupt in the elbow and severed an artery.

Haupt’s 15-year-old son, Ullrich Haupt, Jr., with a guide from another hunting party, rode on horseback roughly fifteen miles to Santa Ynez to summon help. He returned at midnight to Davy Brown’s cabin, scene of the accident, with a physician, Henry Gustaf Hanze, M.D. (né Henry Gustaf Hanze; 1901–1952), of Solvang, but Haupt had died at 8:50 pm of internal hemorrhage. Hanze himself had been injured en route when his horse fell, breaking two ribs. The horse was not injured. Ullrich’s 9-year-old son, Hans, was also with the hunting party of eight.

Bibliography

Annotations

Ullrich Haupt, Jr. and Axis Sally

“Ex-Actor Outlines ‘Axis Sally’ Role”
“Tells Capital Jury He and She Took Part in Nazi Broadcast to Discourage Invasion”

WASHINGTON, Feb. 1 (AP) — Haupt, 33-year-old former Berlin actor, testified today that Mildred (Axis Sally) Gillars played the leading role in a wartime Nazi radio horror drama aimed at discouraging the Normandy invasion.

He testified for the prosecution which seeks to· prove that Miss Gillars, who was born in Maine, took part in treasonable broadcasts to help Germany win the war.

The witness said that Miss Gillars portrayed “Ohio mother” in the broadcast beamed to American troops. He had the role of an American son. He stood less than twenty feet from Miss Gillars in the Berlin studio where the program originated, he added.

The “play” depicted an American mother’s reaction to the death of her son in the invasion. The Government argues that the broadcast was designed to break down morale of our troops.

To prove treason, the prosecution must produce two witnesses to an overt act. Mr. Haupt, now employed in the mail room of a New York hotel, spent most of the day on the witness stand.

During the afternoon he listened to a play-back of the horror broadcast and identified voices. He did not identify Miss Gillars’ voice in every instance, but his score was high.

Born in this country of German parents. Mr. Haupt remained here until 1930 when he went to Germany. He was 15 at the time. He said that he stayed in Germany until 1946, but denied that he was a Nazi. He said that he studied acting in Berlin and was a success there.

Mr. Haupt testified that while his mother was Jewish, he did not regard himself as a Jew. As a former German, he said, he was drafted by the Nazis. Instead of being put in uniform, he was commanded to play in the German theatre.

James J. Laughlin, defense. lawyer, asked if he opposed the Nazi party.

“I certainly did, as far as possible,” Mr. Haupt replied.

He acknowledged that he played parts in Nazi-sponsored, anti-Jewish dramatic programs, but said I that he was forced to do so.

Mr. Laughlin asked what would have happened if he had refused.

“It would have been a political case,” the witness replied. “My mother would have been sent to a concentration camp. “My wife and my children would have been sent to concentration camps.”

He said that the mildest thing I that would have happened to him would have been execution by a firing squad.

Notes

References