Curt Goetz

1.1. Childhood and Education

Born Kurt Walter Götz on November 17, 1888, in Mainz, Germany, Curt Goetz was the son of Bernhard Götz, a Swiss wine examiner, and Selma Rocco, his German wife of Italian-French descent. His father passed away in 1890, and at the age of two, Goetz and his mother relocated to Halle, Saxony-Anhalt, where his mother managed a private clinic. In 1906, Goetz graduated from City High School in Halle, where he notably portrayed Franz Moor in Schiller's play, The Robbers. His mother's remarriage proved beneficial for his artistic aspirations, as his stepfather actively encouraged and financed his initial forays into the world of theater. Goetz pursued formal acting training under the tutelage of Emanuel Reicher in Berlin.

1.2. Early Career

Goetz made his professional stage debut in 1907 at the Stadttheater in Rostock, concurrently beginning to write his first theatrical sketches. His early acting career saw him perform at various theaters in Nuremberg before he settled in Berlin. In 1912, he took on a leading role in the silent film Black Blood, directed by Harry Piel, marking his entry into the film industry. He continued to act in silent movies, predominantly appearing in comedies such as I Don't Want to Be a Man (1918), which was directed by the acclaimed Ernst Lubitsch. During this period, he collaborated with fellow actor Max Landa.

1.3. Marriages and Career Development

In 1914, Goetz married Erna Nitter, but their marriage ended in divorce in 1917. A pivotal moment in his personal and professional life occurred in 1923 when he married Valérie von Martens in Berlin. He had first met Valérie while acting in Vienna. Their marriage marked the beginning of a profound artistic partnership, as they subsequently embarked on tours together, performing in theatrical productions based on Goetz's own plays. This collaboration became a hallmark of his career, allowing him to seamlessly integrate his talents as a writer, actor, and director.

1.4. Hollywood Period

In 1939, Curt Goetz traveled to Hollywood, California, with the intention of studying filmmaking. However, the outbreak of World War II prompted him and Valérie to remain in the United States. During his time in Hollywood, he collaborated with notable figures like director Reinhold Schünzel, and several of his comedic works were adapted into films. He secured a contract with MGM and contributed to various film scripts. Goetz and Valérie purchased a farm in Van Nuys, California, where they engaged in chicken breeding. It was also during this period in California that Goetz drafted his narrative Tatjana and developed a revised version of his play Hokuspokus. Furthermore, he reworked an earlier play into The House in Montevideo, which he successfully premiered at Broadway's Playhouse Theatre in 1945.

1.5. Return to Europe and Later Years

Following the conclusion of World War II, the Goetzes returned to Europe in 1945. They established their residence in Switzerland near Lake Thun, leveraging Goetz's Swiss nationality, which he held from birth. In Switzerland, he continued his prolific writing career, authoring several successful novels. Later in their lives, they relocated to Liechtenstein. Curt Goetz passed away on September 12, 1960, in Grabs, within the canton of St. Gallen, Switzerland.

2.1. Plays

• Der Lampenschirm (1911)
• Nachtbeleuchtung (1918, revised 1919) - This collection includes five one-act plays: Nachtbeleuchtung, Lohengrin, Tobby, Minna Magdalena, and Der fliegende Geheimrat.
• Menagerie (1919) - This collection features four one-act plays: Der Spatz vom Dache, Die Taube in der Hand, Der Hund im Hirn, and Der Hahn im Korb.
• Ingeborg (1922)
• Die tote Tante und andere Begebenheiten (1924) - A collection of three one-act plays: Der Mörder, Das Märchen, and Die tote Tante.
• Hokuspokus (Original) (1926)
• Der Lügner und die Nonne (1928)
• Frauenarzt Dr. med. Hiob Prätorius (Original) (1934)
• Das Haus in Montevideo (1945)
• Hokuspokus (New version) (1953)
• Dr. med. Hiob Prätorius (New version) (1953)
• Nichts Neues in Hollywood (1956)
• Miniaturen (1958) - Consists of three one-act plays: Die Rache, Herbst, and Die Kommode.
• Seifenblasen (1962) - Features three one-act plays: Ausbruch des Weltfriedens, Die Bacarole, and Die Bärengeschichte.

2.2. Novels

• Tatjana (1944)
• Die Tote von Beverly Hills (1951)

2.3. Autobiography

• Die Memoiren des Peterhans von Binningen (Memoirs Vol. 1, 1960)
• Die Verwandlung des Peterhans von Binningen (Memoirs Vol. 2)
• Wir wandern, wir wandern ... (Memoirs Vol. 3, Reminiscences of Valérie von Martens, 1963)

2.4. Other Works

• Gesammelte Werke (Collected Works) (1958)
• Viel Spaß mit Curt Goetz (Have Fun with Curt Goetz) (1964) - by Fritz Fröhling
• Das große Curt-Goetz-Album, Bilder eines Lebens (The Great Curt Goetz Album, Pictures of a Life) (1968)
• Curt's Geschichten (Curt's Stories)
• Ergoetzliches (Delightful Things) (1974)
• Curt Goetz - In deinem Sinne (Curt Goetz - In Your Spirit) (1982)
• Sämtliche Bühnenwerke (All Stage Works) (1987)

3.1. Films Based on His Works

• Hokuspokus, directed by Gustav Ucicky (Germany, 1930), based on the play Hokuspokus.
  • The Temporary Widow, directed by Gustav Ucicky (UK, 1930), also based on the play Hokuspokus.
• Doctor Praetorius, directed by Curt Goetz and Karl Peter Gillmann (West Germany, 1950), based on the play Dr. med. Hiob Prätorius.
• People Will Talk, directed by Joseph L. Mankiewicz (1951), based on the play Dr. med. Hiob Prätorius.
• The House in Montevideo, directed by Curt Goetz and Valérie von Martens (West Germany, 1951), based on the play Das Haus in Montevideo.
• Hocuspocus, directed by Kurt Hoffmann (West Germany, 1953), based on the play Hokuspokus.
• Ingeborg, directed by Wolfgang Liebeneiner (West Germany, 1960), based on the play Ingeborg.
• The House in Montevideo, directed by Helmut Käutner (West Germany, 1963), based on the play Das Haus in Montevideo.
• Dead Woman from Beverly Hills, directed by Michael Pfleghar (West Germany, 1964), based on the novel Die Tote von Beverly Hills.
• Praetorius, directed by Kurt Hoffmann (West Germany, 1965), based on the play Dr. med. Hiob Prätorius.
• Hocuspocus, directed by Kurt Hoffmann (West Germany, 1966), based on the play Hokuspokus.
• Der Lügner und die Nonne, directed by Rolf Thiele (West Germany, 1967), based on the play Der Lügner und die Nonne.

3.2. Screenwriting

• Friedrich Schiller (directed by Curt Goetz, 1923)
• Lucky Kids (directed by Paul Martin, 1936)
  • Les gais lurons (directed by Paul Martin and Jacques Natanson, 1936)
• Land of Love (directed by Reinhold Schünzel, 1937)
• Seven Slaps (directed by Paul Martin, 1937)
• Napoleon Is to Blame for Everything (directed by Curt Goetz, 1938)

3.3. Directing

• Friedrich Schiller (1923)
• Napoleon Is to Blame for Everything (1938)
• Doctor Praetorius (1950)
• The House in Montevideo (1951)

3.4. Acting

• Schwarzes Blut (1912)
• Nur nicht heiraten (1915)
• Der Hund mit dem Monokel (1916)
• Fliegende Schatten (1916)
• Rose of the Wilderness (1918)
• Imprisoned Soul (1918) as Stefan Rainer
• Fantasie des Aristide Caré (1918) as Gentleman / Einbrecher Aristide Caré
• I Don't Want to Be a Man (1918) as Dr. Kersten
• Katinka (1918)
• Ruth's Two Husbands (1919) as Robert Holversen
• The Revenge of Count Silvain (1920) as Count Silvain
• Das Skelett des Herrn Markutius (1920) as Detektiv Joe Deebs
• The Lady in Black (1920) as Joe Deebs
• Tragedy of Love (1923) as Prosecutor
• Die Gräfin von Paris (1923) as Staatsanwalt
• All for Money (1923) as Graf Ehrhardt
• Napoleon Is to Blame for Everything (1938) as Lord Arthur Cavershoot
• Doctor Praetorius (1950) as Dr. Hiob Prätorius
• The House in Montevideo (1951) as Professor Traugott Nägler
• Hocuspocus (1953) as Peer Bille

4.1. Positive Assessment

Curt Goetz is widely regarded as one of the most brilliant German comedy writers of his generation. His plays are characterized by their witty dialogue, elegant plots, and sophisticated humor, often featuring clever twists and insightful social commentary. Beyond his writing, Goetz was also celebrated for his innovative acting and directing, particularly in his own productions. He frequently performed in his self-written comedies, effectively bringing his unique comedic vision to life on stage and screen. His ability to craft and perform highly effective comedies, often incorporating intricate stage effects, solidified his reputation. Goetz's intellectual and comedic style was often compared to that of his distant relative, the renowned Irish writer George Bernard Shaw, highlighting the perceived depth and sharpness of his satirical observations.

4.2. Criticism and Controversy

While Curt Goetz was widely praised for his artistic talent and contributions to comedy, historical records and available sources do not highlight significant public controversies or criticisms concerning his actions, decisions, or ideologies. His career remained largely focused on his creative output, and his personal life, though including a divorce, did not appear to generate major public dispute.