Maximilian Schell (8 December 1930 – 1 February 2014) was a Swiss actor, theatre director, filmmaker, and musician of Austrian origin. He was one of the most internationally acclaimed German-speaking actors of his generation, earning accolades for his work on both screen and stage. Born and initially raised in Vienna, where his parents were involved in the arts, he grew up surrounded by performance and literature. While he was still a child, his family fled to Switzerland in 1938 when Austria was annexed by Nazi Germany, and they settled in Zürich. After the Second World War, Schell took up acting and directing full-time.
Schell won the Academy Award for Best Actor for playing a lawyer in the legal drama Judgment at Nuremberg (1961). He was Oscar-nominated for playing a character with multiple identities in The Man in the Glass Booth (1975) and for playing a man resisting Nazism in Julia (1977). Fluent in both English and German, Schell earned top billing in a number of Nazi-era themed films. He acted in films such as Topkapi (1964), The Deadly Affair (1967), Counterpoint (1968), Simón Bolívar (1969), The Odessa File (1974), A Bridge Too Far (1977), and Deep Impact (1998). He made his film directorial debut with the period romantic drama First Love (1970), and would be nominated for the German Film Award for Best Director three times.
On television, he received two Primetime Emmy Award nominations for the NBC film Miss Rose White and the HBO television film Stalin (1992), the later of which earned him the Golden Globe Award for Best Supporting Actor – Series, Miniseries or Television Film. He also portrayed Otto Frank in the TV film The Diary of Anne Frank (1980), the Russian emperor Peter the Great in the NBC series Peter the Great (1986), Frederick the Great in the British series Young Catherine (1991), and Brother Jean le Maistre in the miniseries Joan of Arc (1999).
Schell also performed in a number of stage plays, including a celebrated performance as Prince Hamlet, and was a director of stage plays and operas. He was an accomplished pianist and conductor, performing with Claudio Abbado and Leonard Bernstein, and with orchestras in Berlin and Vienna. The Deutsches Filminstitut called him "a universal artist." His elder sister was actress Maria Schell; he directed the documentary tribute My Sister Maria in 2002.
Schell was born in Vienna, Austria, the son of Margarethe (née Noe von Nordberg), an actress who ran an acting school, and Hermann Ferdinand Schell, a Swiss poet, novelist, playwright, and pharmacy owner. Though later in his career he would play several Jewish characters, his parents were both Roman Catholic, and Schell stated he had no known Jewish ancestry. His elder sister Maria Schell was also an actress, as were their siblings, Carl (1927–2019) and Immaculata "Immy" Schell (1935–1992).
Schell's father was never enthusiastic about young Maximilian becoming an actor like his mother, feeling that it could not lead to "real happiness". However, Schell was surrounded by acting in his early youth:
I grew up in a theatre atmosphere and took it for granted. I remember the theatre, as a child, the way most people remember their mother's cooking. Acting was all around me, and so was poetry. I made my debut in the theatre at the age of three, in Vienna ...
The Schell family fled from Vienna in 1938 to get "away from Hitler" after the Anschluss, when Austria was annexed by Nazi Germany. They resettled in Zürich, Switzerland.
In Zürich, Schell "grew up reading the classics" and, when he was ten, wrote his first play. Schell recalls that as a child, growing up surrounded by the theatre, he took acting for granted and did not want to become an actor at first: "What I wanted was to become a painter, a musician, or a playwright," like his father.
Schell later attended the University of Zurich for a year, where he also played association football and was on the rowing team, along with writing for newspapers as a part-time journalist for income. Following the end of World War II, he moved to Germany where he enrolled at the Ludwig-Maximilians-Universität München (LMU) and studied philosophy and art history. During breaks, he would sometimes return home to Zürich or stay at his family's farm in the country so he could write in seclusion:
My father and my uncle hunt deer there, but I do not like to hunt. I like to walk through the forest by myself. In 1948 and 1949, when I wrote part of my first novel, which I have never shown to anyone, I isolated myself in one of the hunting cabins for three months, without a telephone, without electricity, with heat only from a large open fireplace.
Schell then returned to Zürich, where he served in the Swiss Army for a year, after which he attended the sixth form of University College School, London, for one year before re-entering the University of Zurich for another year, and later, the University of Basel for six months. During that period, he acted professionally in small parts, in both classical and modern plays, and decided that he would from then on devote his life to acting rather than pursue academic studies:
I then decided, either you are a scientist or an artist ... To me it is much more important ... to admire and feel and be stimulated and inspired ... Art comes out of chaos, not out of a mechanical analyzing. So as soon as I made up my mind, there was no sense any more in continuing to study and in getting a degree. It is like an award; it does not mean anything in itself ... A university degree is just a title. I don't think an artist should have a title. It was time for me to concentrate on acting.
Schell began acting at the Basel Theatre.
1955–1959: Early work and theater roles
Schell's film debut was in the German anti-war film Kinder, Mütter und ein General (Children, Mothers, and a General, 1955). It was the story of five mothers who confronted a German general at the front line, after learning that their sons, some as young as 15, had been "slated to be cannon fodder on behalf of the Third Reich." The film co-starred Klaus Kinski as an officer, with Schell playing the part of an officer-deserter. The story, which according to one critic, "depicts the insanity of continuing to fight a war that is lost," would become a "trademark" for many of Schell's future roles: "Schell's sensitivity in his portrayal of a young deserter disillusioned with fighting became a trademark of his acting."
Schell subsequently acted in seven more films made in Europe before going to the U.S. Among those was The Plot to Assassinate Hitler (also 1955). Later in the same year he had a supporting role in Jackboot Mutiny, in which he plays "a sensitive philosopher", who uses ethics to privately debate the arguments for assassinating Hitler.
In 1958 Schell was invited to the United States to act in the Broadway play, "Interlock" by Ira Levin, in which Schell played the role of an aspiring concert pianist. He made his Hollywood debut in the World War II film, The Young Lions (1958), as the commanding German officer in another anti-war story, with Marlon Brando and Montgomery Clift. German film historian Robert C. Reimer writes that the film, directed by Edward Dmytryk, again drew on Schell's German characterisation to "portray young officers disillusioned with a war that no longer made sense."