Hugo Haas(1901-1968)
- Actor
- Writer
- Director
A portly, somewhat grubby and bohemian-looking character star, Hugo
Haas was one of the most celebrated Czech actors back in the 30s, a
comic star who only grew in stature as he delved creatively into
writing, directing and producing. The Nazi invasion forced him to leave
his beloved country and come to the United States. Like a fish out of
water, he had to start small. Beginning as an announcer on US
broadcasts to the Eastern Europe underground, he also offered his
talents as a narrator of propaganda films.
After the war, Haas revitalized his acting career with flashy,
thick-accented support roles, often as a slick, seedy villain in lavish
costumers. He enjoyed a certain amount of popularity and with the money
he made, he began financing his own independent films in the 50s,
taking total creative control with almost a Svengali-like obsession.
This time around, however, there was little of the adulation he had
reaped so easily back in his homeland. With such lurid titles as
Pickup (1951),
Thy Neighbor's Wife (1953),
and Bait (1954), these vehicles smacked hard
of sensationalism and he and his films were generally dismissed. Many
were badly acted and obviously cheap and cheesy in production values. A
recurring "Blue Angel"-styled theme appeared in many of Hugo's starring
vehicle whereas an older respectable man was seduced and ruined by the
charms of a much younger hussy (blonde, busty bombshells such as
Cleo Moore,
Beverly Michaels, and (former "Miss
Universe") Carol Morris.
Haas' reputation was so tainted by these so-called vanity projects that
he was quickly dubbed the "foreign Ed Wood", which was unfair given his
earlier reputation. Haas was planning to return to his native land in
1968 when the Russians seized control. Profoundly disheartened and
depressed by the current state of affairs in his country, the homesick
actor, who also suffered from an asthmatic condition, died shortly
after of heart failure. He should be better remembered today than he
is. He is solid proof that Hollywood has a way of sometimes robbing a
person of his artistic creativity or integrity.
Haas was one of the most celebrated Czech actors back in the 30s, a
comic star who only grew in stature as he delved creatively into
writing, directing and producing. The Nazi invasion forced him to leave
his beloved country and come to the United States. Like a fish out of
water, he had to start small. Beginning as an announcer on US
broadcasts to the Eastern Europe underground, he also offered his
talents as a narrator of propaganda films.
After the war, Haas revitalized his acting career with flashy,
thick-accented support roles, often as a slick, seedy villain in lavish
costumers. He enjoyed a certain amount of popularity and with the money
he made, he began financing his own independent films in the 50s,
taking total creative control with almost a Svengali-like obsession.
This time around, however, there was little of the adulation he had
reaped so easily back in his homeland. With such lurid titles as
Pickup (1951),
Thy Neighbor's Wife (1953),
and Bait (1954), these vehicles smacked hard
of sensationalism and he and his films were generally dismissed. Many
were badly acted and obviously cheap and cheesy in production values. A
recurring "Blue Angel"-styled theme appeared in many of Hugo's starring
vehicle whereas an older respectable man was seduced and ruined by the
charms of a much younger hussy (blonde, busty bombshells such as
Cleo Moore,
Beverly Michaels, and (former "Miss
Universe") Carol Morris.
Haas' reputation was so tainted by these so-called vanity projects that
he was quickly dubbed the "foreign Ed Wood", which was unfair given his
earlier reputation. Haas was planning to return to his native land in
1968 when the Russians seized control. Profoundly disheartened and
depressed by the current state of affairs in his country, the homesick
actor, who also suffered from an asthmatic condition, died shortly
after of heart failure. He should be better remembered today than he
is. He is solid proof that Hollywood has a way of sometimes robbing a
person of his artistic creativity or integrity.