Curd Jürgens played the most beautiful of roles in my young girl’s dreams for a long time. I had a burning interest in everything about him, even his wives, who were all extraordinarily pretty but not always right for him, as I thought, and when he left them or they left him I’d say I’d known that that would happen all along and why hadn’t he asked me for my advice?
A few years later, Curd Jürgens began to work abroad and it seemed like he had always been part of the international film scene. Although he was so German, much more German than people in America and France thought.
Curd loved the German language and especially the soft variant spoken in Austria. He loved both these countries and their culture, their literature, music and theatre, to which he stressed he owed so much, and which remained a benchmark for him for all of his life.
I was studying at drama school. I now looked at Curd Jürgens critically, severely, with the demands due to someone one admires. I had seen him as Bruno in DIE RATTEN (1955), a mangy loser and unforgettable; of course, in DES TEUFELS GENERAL (The Devil’s General, 1954, D: Helmut Käutner) – a film unthinkable without him – and as a pimp in PRATERHERZEN (1953), a film by Paul Verhoeven. Paul had summoned Curd Jürgens to his theatre, the Brunnentheater in Munich, immediately after the end of the war to do some productions. Paul was both a director and an actor.