Mario Adorf was born in Zurich in 1930, to a German nurse and an Italian surgeon. Eighty-one years later, he’s in the seventh decade of a successful acting career which shows no signs of slowing down. This year, he’s exploring new territory with edgy roles in uncharacteristic projects. He’s a familiar face in Germany, though his public image has always been coined by his choice of characters. Back in the 1970s, he was famous for playing rogues and baddies. International audiences got to know him as Oskar Matzerath’s father in the Oscar-winning arthouse hit The Tin Drum. In recent years, he’s established a more charming onscreen persona with roles such as the womanising restaurant manager in the hit 1997 comedy Rossini. But as familiar as he is, Adorf is perhaps even better known for the roles he didn’t take, including a mafi oso in The Godfather, but he says he has no regrets: “I made mistakes, but I’d make them again. I’ve always been consistent in my choice of roles and not made any compromises.” The actor is keen to play protagonists: “It doesn’t have to be the main protagonist, Rossini is proof of that. But in Hollywood, Germans tend to only get off ered onedimensional bit parts.” Behind that smooth facade, is a very smart, thoughtful man. Adorf could aff ord to retire to his 56—GW M A R I O A D O R F A MAN FOR ALL SEASONS He may have turned down a part in Coppola’s The Godfather but Mario Adorf still became Germany’s most famous actor. At 81, he’s taking on challenging new roles in cutting-edge fi lms, and appealing to fans – of all ages – as much as ever house in St Tropez with his wife Monique any time he liked, but instead, he chooses to take on new roles, and work with edgy young German directors. He’s interested in playing idiosyncratic, imperfect characters. Sometimes he’s drawn to the role and sometimes to the fi lm. He took on his current role in new movie Die lange Welle hinterm Kiel because he was interested in the fate of the Sudeten Germans in Czechoslovakia. The fi lm explores the power of memory and how individuals can have very diff erent memories of the same historical event. The fi lm also throws looks at ageing, with Adorf and his co-star Christiane Hörbiger playing two elderly people who feel misunderstood by the younger generation. Adorf is discerning about which older characters he portrays. He was recently off ered the part of an ageing cancer patient, but turned it down: “The public doesn’t want to see me play an old man, dying from a terminal illness. They see me as a man who’s old but still has a lot of life in him.” And it’s true – he’s full of energy. He recently portrayed a pub landlord from Hamburg’s St Pauli district in Tarek Ehlail’s Die Gegengerade – 20359 St Pauli. In one scene, the actor runs across the screen following a street battle, covered in blood and bellowing at a bunch of football fans. It’s a pretty uncharacteristic role for Adorf. “Yes, I was initially quite surprised that a young director would want me for that kind of part. For a while, young fi lmmakers didn’t approach me, because they probably thought I’d be too expensive or too domineering. But I always enjoy “I made mistakes, but I’d make them again. I’ve always been consistent in my choice of roles and not made any compromises” working on big-screen productions.” Adorf is clearly still highly ambitious and doesn’t let the grass grow under his feet. When we met in Hamburg, he’d just come from Berlin, where he’d been working on a low-budget short fi lm by emerging director Lola Randl. The fi lm had a tight budget and had to be shot in two short weeks. But he was determined to support the project, and agreed to play the part even before the screenplay was fi nished. As successful as Adorf has been, he is aware of the stress and pressure many actors are under. “Peaks of success followed by bouts of loneliness – it goes with the territory. One moment you’re standing on stage in front of an adoring public, and an hour later you’re at home on your own. For many actors it’s a burden, a kind of a test of their mental strength and resilience.” He talks about a contradiction inherent in his profession, the fact that actors have to be sensitive, but not so sensitive that they become vulnerable. “That’s often not recognised, which is why some actors become alcoholics. I remember when acting was about camaraderie. When I was in theatre, the ensemble would always get together after a rehearsals. Nowadays, everyone heads off in diff erent directions.” But Adorf learnt how to deal with the highs and lows of acting at a young age. He’s able to enjoy his own company when he needs to, keeping himself busy reading or writing. And he needn’t fear loneliness, as he has his wife Monique to go home to. It’s his second marriage and the couple have been together since 1985. They spend their summers in St Tropez and winter in Paris. He’s also in Munich a lot and has lived in Rome. Adorf is a true European. “I think Europe’s the most beautiful part of the world.” It’s a nice compliment. Europe should in turn be grateful he said no to Coppola.
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