Christine Kaufmann(1945-2017)
- Actress
- Soundtrack
Born in Austria to a French mother and a German father, young Christine Kaufmann conquered the hearts of post-war German movie audiences in movies like L'Ange silencieux (1954), Ein Herz schlägt für Erika (1956) and, most famously, La Porteuse de fleurs (1954). Discovered at the tender age of six, Christine was soon the breadwinner for her family. This quickly changed when puberty destroyed her blooming career as "the sweet innocent child" in West Germany. Her ambitious mother, by now Christine's manager, relocated to Rome with her. In Italy, her Lolita-like qualities were appreciated and used in movies like Les Derniers Jours de Pompéi (1959) in which, at age 13, she played the love-interest of "Mr. Universe" Steve Reeves (then 32). Due to her hard work as a child (between 1952 and 1959 she starred in 18 films!), she was never able to attend school; yet, by the age of 14, young Christine was fluent in German, French, Italian, Spanish and English.
In 1959, Christine headed to London to audition for the role of Karen in Exodus (1960). Director Otto Preminger chose Jill Haworth over Kaufmann but was still so impressed with her that he recommended her for a substantial part in Gottfried Reinhardt's courtroom drama Town Without Pity (1961). The movie, which starred Kirk Douglas, E.G. Marshall and Robert Blake, became an international success and earned Kaufmann a Golden Globe as Most Promising Newcomer. After a string of rather forgettable movies in West Germany, France, and Italy, she flew to Argentina to co-star alongside Yul Brynner and Tony Curtis in Taras Bulba (1962). Curtis, who was already 36, fell immediately for the 16-year-old German starlet, left his wife Janet Leigh and his two daughters and started to live with Christine in both Europe and in Los Angeles. (In the US, they had to keep their relationship on the DL because Christine was still underage and therefore jail bait.) Shortly after her 18th birthday, Curtis and Kaufmann got married in Las Vegas. Kirk Douglas was their best man. One of Curtis' demands was that she would retire from acting after the wedding, and Christine gladly acquiesced to his request; actually she had been dreaming of retiring since her success with La Porteuse de fleurs (1954) which had ended her once-peaceful childhood abruptly. She later claimed that she'd never really been interested in becoming an actress in the first place and was more or less forced into it by her parents: "I was an obedient girl and wanted to make my mother happy, so I simply did what I was being told. Unfortunately, once you are famous, there's no way back, and since I didn't have a formal school education, I could not fulfill my dream of studying archaeology and art history."
Her last movie, a droll comedy titled La mariée a du chien (1964), was released in June 1964 to mixed reviews. In July, she gave birth to her first daughter, Alexandra Curtis. Christine was 19. Two years later, a second daughter, Allegra Curtis, arrived. Her husband, who already had two daughters with his first wife, had wanted a son and was unable to hide his disappointment. By late 1966, Tony Curtis was pretty much spending his time with other women, while Christine, living the life of a 40-year-old Hollywood matron at the age of 20, was slowly growing up. In 1968, she left Curtis and filed for divorce in Mexico, because she didn't want any of his money. She took her daughters and moved back to Europe.
By the early 1970s, Christine worked steadily in theatre, on TV and occasionally in movies: "I worked with discipline, but without any interest." Art house directors like Werner Schroeter, Percy Adlon, and Rainer Werner Fassbinder cast her in sometimes interesting, but mostly forgettable movies. In 1971, she did another American movie (filmed in Madrid), the tepid, too-artsy-for-its-own-good Double assassinat dans la rue Morgue (1971) with Jason Robards and Herbert Lom, and in 1987 she was offered a wonderfully written part in Bagdad Café (1987) with Marianne Sägebrecht, CCH Pounder and Jack Palance which became one of the most enchantingly beautiful movies of the decade. But Christine's real passion belonged to the theatre where she acted under maverick directors like Peter Zadek and Michael Bogdanov.
She made a lasting impression on German television with her hilariously witty portrayal of Olga Behrens in Monaco Franze - Der ewige Stenz (1983), written by Patrick Süskind.
In the 1990s, now approaching 50, Christine took up writing, publishing several books on beauty, health, and fame, including three autobiographies. She also became a business woman with her own line of cosmetics which made her a fairly wealthy woman. Generous as she was, she financed (with the help of ex-stepdaughter Jamie Lee Curtis) her grandchildren's education.
After Curtis, Christine Kaufmann re-married three times, all marriages ending in divorce. She lived all over the world, including five years in Morocco. In March 2017, shortly after her 72nd birthday, Christine died of leukemia (like her mother) in Munich. She wanted to be buried next to her mother and grandmother in Vernon, just outside Paris, a wish that was granted by her older brother and her daughters.
In 1959, Christine headed to London to audition for the role of Karen in Exodus (1960). Director Otto Preminger chose Jill Haworth over Kaufmann but was still so impressed with her that he recommended her for a substantial part in Gottfried Reinhardt's courtroom drama Town Without Pity (1961). The movie, which starred Kirk Douglas, E.G. Marshall and Robert Blake, became an international success and earned Kaufmann a Golden Globe as Most Promising Newcomer. After a string of rather forgettable movies in West Germany, France, and Italy, she flew to Argentina to co-star alongside Yul Brynner and Tony Curtis in Taras Bulba (1962). Curtis, who was already 36, fell immediately for the 16-year-old German starlet, left his wife Janet Leigh and his two daughters and started to live with Christine in both Europe and in Los Angeles. (In the US, they had to keep their relationship on the DL because Christine was still underage and therefore jail bait.) Shortly after her 18th birthday, Curtis and Kaufmann got married in Las Vegas. Kirk Douglas was their best man. One of Curtis' demands was that she would retire from acting after the wedding, and Christine gladly acquiesced to his request; actually she had been dreaming of retiring since her success with La Porteuse de fleurs (1954) which had ended her once-peaceful childhood abruptly. She later claimed that she'd never really been interested in becoming an actress in the first place and was more or less forced into it by her parents: "I was an obedient girl and wanted to make my mother happy, so I simply did what I was being told. Unfortunately, once you are famous, there's no way back, and since I didn't have a formal school education, I could not fulfill my dream of studying archaeology and art history."
Her last movie, a droll comedy titled La mariée a du chien (1964), was released in June 1964 to mixed reviews. In July, she gave birth to her first daughter, Alexandra Curtis. Christine was 19. Two years later, a second daughter, Allegra Curtis, arrived. Her husband, who already had two daughters with his first wife, had wanted a son and was unable to hide his disappointment. By late 1966, Tony Curtis was pretty much spending his time with other women, while Christine, living the life of a 40-year-old Hollywood matron at the age of 20, was slowly growing up. In 1968, she left Curtis and filed for divorce in Mexico, because she didn't want any of his money. She took her daughters and moved back to Europe.
By the early 1970s, Christine worked steadily in theatre, on TV and occasionally in movies: "I worked with discipline, but without any interest." Art house directors like Werner Schroeter, Percy Adlon, and Rainer Werner Fassbinder cast her in sometimes interesting, but mostly forgettable movies. In 1971, she did another American movie (filmed in Madrid), the tepid, too-artsy-for-its-own-good Double assassinat dans la rue Morgue (1971) with Jason Robards and Herbert Lom, and in 1987 she was offered a wonderfully written part in Bagdad Café (1987) with Marianne Sägebrecht, CCH Pounder and Jack Palance which became one of the most enchantingly beautiful movies of the decade. But Christine's real passion belonged to the theatre where she acted under maverick directors like Peter Zadek and Michael Bogdanov.
She made a lasting impression on German television with her hilariously witty portrayal of Olga Behrens in Monaco Franze - Der ewige Stenz (1983), written by Patrick Süskind.
In the 1990s, now approaching 50, Christine took up writing, publishing several books on beauty, health, and fame, including three autobiographies. She also became a business woman with her own line of cosmetics which made her a fairly wealthy woman. Generous as she was, she financed (with the help of ex-stepdaughter Jamie Lee Curtis) her grandchildren's education.
After Curtis, Christine Kaufmann re-married three times, all marriages ending in divorce. She lived all over the world, including five years in Morocco. In March 2017, shortly after her 72nd birthday, Christine died of leukemia (like her mother) in Munich. She wanted to be buried next to her mother and grandmother in Vernon, just outside Paris, a wish that was granted by her older brother and her daughters.
