A Portrait of actor August Diehl

It is no secret that even brief moments are sufficient for a truly good actor to create a lasting impression. Yet in this respect, what August Diehl achieves in FATHERLAND is in a class of its own. As Klaus Mann, he is only really present in the first scene of Pawel Pawlikowski’s exploration of post-war Germany and the Mann family – and yet he leaves such a powerful mark on the film that it hangs, with its tragic inner conflict, like a cloud over the rest of these 82 minutes recounted with such perfect precision.

The size of a role has never been the deciding factor for Diehl, even though he began his career – whilst still studying acting in his home city of Berlin – with the lead role in Hans-Christian Schmid’s 23, promptly receiving the German Film Award for his work. “With a small role, you might only be the leading actor for one day; with a major one, it’s 20,” says the 50-year-old in interview. “But sometimes I get the feeling that the responsibility is almost greater in the former case. Whilst a leading actor can sometimes just go with the flow, often being someone to whom things happen, ultimately supporting actors are the driving forces that steer a story in a specific direction.”

It is the artistic exchange that is crucial for Diehl, and so it is no wonder that – in the case of FATHERLAND – it was not so much an interest in Klaus Mann dating back to his school days that drew him in, but the prospect of working with Pawel Pawlikowski. He describes the collaboration as “a gift” – and when it comes to directors, this actor knows what he’s talking about. Having spent several years of his childhood in France, he began appearing in international productions early on in his career. Since then, he has not only acted in front of the cameras for German-speaking filmmakers such as Volker Schöndorff, Christian Schwochow and Stefan Ruzowitzky; he has also worked with Quentin Tarantino (INGLOURIOUS BASTERDS), Philip Noyce (SALT), Bille August (NIGHT TRAIN TO LISBON), Arthur Harari (DARK DIAMOND), Robert Zemeckis (ALLIED), Raoul Peck (THE YOUNG KARL MARX), Thomas Vinterberg (KURSK), Élise Girard (MADAME SIDONIE IN JAPAN), Terrence Malick (A HIDDEN LIFE) and, most recently, Xavier Giannoli (THE RAYS AND SHADOWS).

It is hardly surprising, therefore, that after some 30 years as an actor, there is no question of Diehl falling into a rut or even showing signs of weariness. “I still enjoy the work; I really haven’t started to get bored yet,” he assures us. “It’s not just that the roles are so varied and each one is something new for me. It’s also because I’m a grateful audience member myself. Even after all these years, I find there’s nothing more exciting than watching good actors at work.”

Just a few months ago, Diehl won his second German Film Award for the title role in Kirill Serebrennikov’s THE DISAPPEARANCE OF JOSEF MENGELE. He has also worked with the Russian-born director on several theatre productions recently; indeed, he is someone who enjoys collaborating with people repeatedly, whether with theatre greats such as Peter Zadek and Andrea Breth, or filmmakers such as Lars Kraume. Tom Schreiber is another example: 18 years after their first film together, DR. ALEMÁN, was shot in South America, the two friends’ latest collaboration, BEAUTIFUL SOULS, recently celebrated its world premiere at Munich Film Festival.

Diehl is a loyal soul in other respects, too; many constants run through his life and work. He has been working with the same PR agent for decades, for example, and despite filming elsewhere and, not least, regular theatre engagements – particularly in Vienna – he has never wanted to leave his main home in Berlin. And then there’s the theatre! Whilst many of his colleagues turn their backs on the stage sooner or later – not least due to time constraints – theatre acting remains an integral part of Diehl’s professional life. “The theatre is the home of my profession, and ultimately, what I do in front of the camera is no different to theatre – just captured on film,” he explains. “There are countless fantastic films with average actors – or none at all. So, film is an art form that can exist without us. Theatre cannot; theatre is us. Consequently, I frequently learn as much during rehearsals for one play as I do on three films put together.” However, all this enthusiasm for the stage in no way detracts from his passion for filming. On the contrary: not long after the interview with German Films, Diehl is heading back to Spain and the set of the series THE BOYS FROM BRAZIL with Gillian Anderson, Jeremy Strong and Daniel Brühl – and eagerness is written all over his face.

Patrick Heidmann