Friedrich Feher

Friedrich Feher (16 March 1889 – 30 September 1950) was an Austrian-Jewish[1] actor and film director. He first entered the film business in 1913, starting out as an actor but quickly gravitating toward directing.[2]

Friedrich Feher
1920
Born(1889-03-16)March 16, 1889
Vienna, Austria
DiedSeptember 30, 1950(1950-09-30) (aged 61)
Stuttgart, Germany
NationalityGerman
OccupationActor, director

He is perhaps best remembered as Francis, the protagonist of The Cabinet of Dr. Caligari (1920). He directed The House Without Windows that same year (based on a book by Thea von Harbou), in which his art directors mimicked the Expressionist set designs of Caligari, and which is now considered a lost film.[3]

Feher was born Friedrich Weiss in Vienna and died in 1950 in Stuttgart at age 61.

Selected filmography

Actor

  • Kabale und Liebe (1913)
  • Emilia Galotti (1913) - Odoardo
  • Die Räuber (1913) - Karl Moor
  • Die Ehe der jungen Felicitas (1913)
  • Stürme (1913)
  • Die Befreiung der Schweiz und die Sage vom Wilhelm Tell (1913) - Hermann Gessler
  • Theodor Körner (1914) - Theodor Körner
  • Alexandra (1915) - Graf Erwin
  • The Robber Bride (1916, Short)
  • Lebenswogen (1917)
  • Das neue Leben (1918)
  • Bergblumen (1919) - Kunstler Daniel Thom Suhn
  • Pro domo, das Geheimnis einer Nacht (1919)
  • Der unsichtbare Gast (1919)
  • Wie das Schicksal spielt (1920) - Erwin Freiburg
  • The Cabinet of Dr. Caligari (1920) - Franzis
  • The Three Dances of Mary Wilford (1920)
  • Die tote Stunde (1920)
  • Tyrannei des Todes (1920) - Toter
  • Die sieben Gesichter (1920)
  • Marionetten des Teufels (1920)
  • Die rote Hexe (1921)
  • Das Haus des Dr. Gaudeamus (1921)
  • Die Geburt des Antichrist (1922)
  • Die Memoiren eines Mönchs (1922) - Oginski
  • The Tales of Hoffman (1923)
  • Der Rosenkavalier (1926) - Valzacchi
  • Ihr Junge (1931) - Michowski
  • Jive Junction (1943) - Frederick Feher (final film role)

Director

Bibliography
  • Jung, Uli & Schatzberg, Walter. Beyond Caligari: The Films of Robert Wiene. Berghahn Books, 1999.
gollark: The grid here noticeably breaks for a few hours every year or so, presumably because there's a lot of redundancy due to lots of components in it. If we had a smaller-scale one, it would either have to be really overbuilt or fail when it was cloudy for too many weeks or something like that, but it would be free of cascading-failure-y problems.
gollark: Less area/stuff to spread problems over.
gollark: Dunbar's number is an incredibly handwavey estimate, but I think the concept is sound.
gollark: Revolutions have always worked well, so this is a good idea.
gollark: Maybe I should have documented this.

References
  1. Siegbert Salomon Prawer, Between Two Worlds: The Jewish Presence in German and Austrian Film, 1910-1933, Berghahn Books (2007), p. 211
  2. Workman, Christopher; Howarth, Troy (2016). "Tome of Terror: Horror Films of the Silent Era". Midnight Marquee Press. p. 223.ISBN 978-1936168-68-2.
  3. Workman, Christopher; Howarth, Troy (2016). "Tome of Terror: Horror Films of the Silent Era". Midnight Marquee Press. p. 223.ISBN 978-1936168-68-2.
  4. Workman, Christopher; Howarth, Troy (2016). "Tome of Terror: Horror Films of the Silent Era". Midnight Marquee Press. p. 223.ISBN 978-1936168-68-2.


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