Ten reasons why you should love Conrad Veidt

aikainkauna:

In honour of Conrad Veidt’s 120th birthday, let us present you with a list of reasons why you should love him. Because, let’s face it, he kicked more arse than you ever will. While wearing your great-grandmother’s dress.

1. He was an awesome actor who could hypnotise the screen in both the silents and the sounds. He could do amazing things with his body language, his eyes and his voice and move like an actual cat. Oh, and he was Method before it became popular. To the point where his friends and colleagues would get worried because his entire body language and way of speaking would change. He genuinely believed he was possessed by some greater spirit when he was acting. And it shows.

2. He was an amazing human being–everybody loved working with him because he was incredibly polite and jovial and charming, but he was even more amazing off the screen. Let us tell you why.

3. This guy starred in the first gay rights movie ever and played the first explicitly-referred-to-as-gay character on screen, and the first sympathetic gay character on screen. In a movie that said it was okay to be gay and that some people were just born that way. In 1919. The makers of the film and Connie himself were flooded with death threats from the far right. They would arrange riots in theatres and release gas and rabid rodents into the aisles. But the makers of the film stood their ground. Later, the Nazis tried to burn all copies of the film but over half of it still survives and a reconstruction can be seen here.

4. Oh yeah, and this guy also starred in an early pro-choice film, had a high opinion on women (with some progressive views for his time, when the right to vote and to wear trousers were still seen as new and scandalous things) and was a fierce campaigner for human rights and a vehement anti-Nazi for his entire life. Speaking of which…

5. In the Thirties, he starred in two British movies sympathetic to the plight of the Jews. While still a German citizen. Hitler sent him personal hate mail, Goebbels tried to persuade him into doing propaganda films for the Nazis instead and he told them to go stuff themselves. This was after some of his Jewish and gay friends had already been killed by the Nazis, too, so he knew exactly the sort of danger he was in. Oh, and they imprisoned him and tortured him with sleep deprivation and put him on the Gestapo hitlist. Guess what? He didn’t budge. He never raised his hand in the Heil Hitler salute, once. And when, finally, the British authorities helped him escape to England, he never went back to Germany again. Also? Despite being Protestant, he identified himself as Jewish on official forms as a form of protest. In. Nazi. Germany. I’m sorry, but Conrad Veidt’s balls>>>>>>>yours.

6. He spent a huge amount of money supporting the British war effort and personally smuggled people out of the hands of the Nazis. Including driving his third wife’s Jewish parents out to Switzerland in his car under the cover of night after much bribery and passport shenanigans. In the Forties, he participated in a fund helping fellow Europeans escape Nazis and settle in the UK and the US. One of the people he helped was his Casablanca co-star, Paul Henreid. By the time Henreid had reached the UK, the war was in full swing and he was treated as an enemy alien. Connie (who had managed to acquire British citizenship just before war broke out) personally rang the British authorities and vouched for him until Henreid could finally cross the Atlantic to safety (with some monetary assistance from Connie himself). So, kids, when you watch Major Strasser menacing Laszlo in Casablanca, remember this guy actually helped him escape the Nazis in real life.

7. While living in London in the late Thirties, he and his wife would regularly shelter war children at their house. When the air raid sirens came on, he’d rather run back home to be with the kids rather than stay safe at the studio’s bomb shelter. No, really. And even when he’d left for Hollywood in the 40s, he would do stuff like this for the poor kids of London huddled in bomb shelters. You might need tissues.

8. He was made of actual sex on and off the screen. He possessed an amazing, androgynous sexual aura that would take no prisoners. He could be feminine without being effeminate, seductive and possessing and powerful without being gruff or macho, incredibly catlike and soft without being weak. Despite being skinny as hell and 6’3" tall, he was as graceful as a dancer, gliding around so smoothly it was uncanny, slightly unnatural (when Disney were making Aladdin, they deliberately based the cartoon Jafar on his performance in The Thief of Bagdad and told the animators to make him glide like Connie did. Yeah, that’s right, Disney villains were based on him. No wonder. No, really, look at that). From the Thirties onwards, he was repeatedly described as pantherlike. He had a sensuous, cruel mouth (always a little more red and open and wet than it should have been in order to be decent), large, pale blue piercing eyes (oh yeah, he was well-read in hypnotism and occultism, so he is actually hypnotising and possessing you for real), finely manicured fingernails (sometimes filed into sharp points) and a voice to melt knickers off anyone within a five-mile radius. When he smoked, it looked like he was giving oral sex to a woman and a man at the same time. Watch A Woman’s Face, The Thief of Bagdad and Dark Journey for good examples of this amazing man’s slinking, slithering, purring charm.

9. Oh yeah, speaking of the off-screen sex… Merle Oberon said “he would have sex with a butterfly”, Anita Loos quipped “the prettiest girl on the [Berlin] street was Conrad Veidt” and he was a major gay icon in 1920s Germany thanks to the aforementioned gay rights movie and his androgynous looks and style. Let us remember this guy spent his youth in Weimar Berlin and its cabarets, a modern Babylon where “anything goes” was an understatement. Drugs, wild parties and sexual diversions of every sort imaginable were the done thing in those days. You were considered unfashionable if you didn’t dress in drag and experiment with bisexuality. In that, he was hardly different from his peers (like, for example, his good friend Marlene Dietrich). But then again… there were people who experimented and there were people for whom it was all a phase, but according to numerous sources, he was a natural, voracious bisexual and so in love with everything feminine he genuinely loved to dress as a lady. And apparently he would fall in love all the time, so the Twenties were… busy years for him, especially when his second marriage had started to fall apart. Just don’t ask what he did to Olivier. And according to a couple of sources, Gary Cooper. Oh, and his first wife left him after she found him wearing her dress (her loss). Most of the time, his friends would describe him as a ladies’ man during the day, and going after the men as well after he’d had a few drinks in the evening. He seems to have calmed down a lot in the Thirties after he found genuine happiness with his third wife and escaped the Nazis to the UK, but apparently he was still an incorrigible flirt with both sexes until the end of his life. If you think he looks seductive and deliciously perverse on screen, that’s all real and then some. So, yep, this was a guy who was a genuine saint and an amazing human being and a naughty, naughty man at the same time. How often do you hear of both sides coexisting in the same person?

10. He was, basically, the last lingering sigh of Romanticism as a genuine cultural movement. On screen, he played the Gothic, Byronic hero to the hilt (The Student of Prague being one of the greatest examples of the type). In the silents, he played degenerate dandies, tortured painters and pianists and violinists, cruel yet seductive tyrants, men haunted by their doppelgängers, possessed creatures wanting to crawl out of their own bodies, sleepwalking and twitching and writhing on the screen, turning everything into a dark, exquisite ballet. In the sound films, he turned that demonic energy outwards and would pin people down with his gaze as he cursed them, would undress women with a flick of his pitch-black lashes, would curl his long fingers around their arms in a sadomasochistic, erotic stranglehold. He never completely lost his accent, but he compensated for it with pitch-perfect softness and tone, speaking very slowly and quietly when everybody else would speak loud and fast. His voice in The Thief of Bagdad was compared to poisoned honey. The MGM bosses were surprised at the mountains of fanmail he received from women in the Forties, even if they had never given him a starring role, only supporting, villainous ones. And the ladies wanted this villain, oh yes. A woman moviegoer (presumably after seeing his performance in A Woman’s Face) described him thus: “Conrad Veidt has wicked eyes, a sinister mouth, strange hands and a half-man/half- woman quality about him. His walk is frightening. There is something not quite normal about him. And yet, he was totally fascinating, charming and appealing to me at the same time!”

So, there you have it. There are many more reasons to love him, but it would take forever to try and list all of them. I suggest you watch his movies and read up on him yourself, because he deserves to live forever.

Happy birthday, you beautiful, beautiful man.