The Ufa-Palast am Zoo, located near Berlin Zoological Garden in the New West area of Charlottenburg, was a major Berlin cinema owned by Universum Film AG, or Ufa. Opened in 1919 and enlarged in 1925, it was the largest cinema in Germany until 1929 and was one of the main locations of film premières in the country. The building was destroyed in November 1943 during the Bombing of Berlin in World War II and replaced in 1957 by the Zoo Palast. The Neo-Romanesque building was originally designed as an exhibition hall by architect Carl Gause, with construction taking place from 1905 to 1906.
History
The Neo-Romanesque building at Hardenbergstraße was designed as an exhibition hall by architect Carl Gause (1851–1907), an alumnus of the Bauakademie who had also drawn plans for the Hotel Adlon. Like the Romanisches Haus nearby, the design followed the model of the Kaiser Wilhelm Memorial Church at Auguste-Viktoria-Platz (present-day Breitscheidplatz), built in 1891–1895 according to plans by Franz Schwechten. The development of a "Romanesque forum" met the demands of Emperor Wilhelm II who even set guidelines for the design of streetlights and tram power lines.Romanisches Forum - Berlin.de Construction work took place from 1905 to 1906; the building complex initially hosted the Ausstellungshallen am Zoologischen Garten exhibition halls, named after the adjacent Berlin Zoo.
In 1912, Arthur Biberfeld converted the western hall into a theatre. In 1913–15, projection facilities were installed by Oskar Kaufmann for the première of the film Quo Vadis, produced by the Italian Cines company, and from 1913 to 1914, the theatre was called the Cines-Palast.Ehemaliger Ufa-Palast am Zoo, Lexikon: Charlottenburg-Wilmersdorf von A bis Z, Bezirksamt Charlottenburg-Wilmersdorf, City of Berlin, retrieved 19 December 2012 The other section of the building housed a café and variety theatre called the Wilhelmshallen.Rudolf Woelky, EIN ETWAS ERLEBT ETWAS: ... UND DAS WAR DAS LEBEN, Norderstedt: Books on Demand, 2010, , p. 76
In 1919, architect Max Bischoff rebuilt it for Ufa as a 1,740-seat cinema, which opened on 18 September 1919 with the première of Ernst Lubitsch's Madame Dubarry.Klaus Kreimeier, trans. Robert and Rita Kimber, The Ufa Story: A History of Germany's Greatest Film Company, 1918–1945, 1996, repr. Berkeley: University of California, 1999, , p. 56, referring to the film by its U.S. title, Passion.Marc Silberman, German Cinema: Texts in Context, Detroit: Wayne State University, 1995, , p. 3. The cinema had a rectangular auditorium with two levels of proscenium boxes and the remaining seating arranged in horseshoe-shaped rows. Siegfried Kracauer praised the sightlines from the amphitheatre-style seating and the "discreet" and "tasteful" colour scheme;Cited in Sabine Hake, Passions and Deceptions: The Early Films of Ernst Lubitsch, Princeton, New Jersey: Princeton University, 1992, , p. 119. the décor was simple, with faïence panels around the screen.
In 1925, the cinema was again rebuilt by Carl Stahl-Urach; it was enlarged to 2,165 seats by the addition of a balcony, the lighting was improved, and an illuminated cinema organ was added.Ken Roe, Ufa Palast am Zoo, Cinema Treasures, retrieved 20 December 2012. The interior décor by Samuel Rachman resembled that of Broadway cinemas.Victoria De Grazia, Irresistible Empire: America's Advance Through Twentieth-Century Europe, Cambridge, Massachusetts: Harvard-Belknap, 2005, , p. 286. It was the largest cinema in Germany until the 1929 opening of the Ufa-Palast in Hamburg, which then became the largest in Europe.
The reopening on 25 September 1925 was overseen by Ernö Rapée, a former employee of the American cinema impresario "Roxy" Rothafel who was brought over by Ufa together with Alexander Oumansky, who had been ballet director at Roxy's Capitol Theatre, to introduce US-style cinema shows to Germany. They were given an 85-member orchestra plus a jazz band, and Roxy himself came to offer assistance. The New York Times reported that the American "combination of symphony concert, ballet and film" had been successfully imported to Germany for the first time. Rapee stayed on for almost a year as manager and as Ufa's senior music director, in which role he arranged music to accompany several films; he left after supervising the opening of Ufa's new Gloria-Palast across the square.Ross Melnick, American Showman: Samuel "Roxy" Rothafel and the Birth of the Entertainment Industry, 1908–1935, Film and culture, New York: Columbia University, 2012, , pp. 253–54. Berlin's own Capitol cinema, designed by Hans Poelzig, also opened in 1925 as a nearby competitor to the Ufa-Palast;Michael Bienert and Elke Linda Buchholz, Die Zwanziger Jahre in Berlin: ein Wegweiser durch die Stadt, 2nd ed. Berlin: Berlin-Story, 2006, , p. 208 by 1928, when Joseph Goebbels made a speech denouncing the entertainment and other business venues there, Berlin's premier cinemas were clustered close together around the Kaiser Wilhelm Memorial Church and some had deliberately sought to make it the "Broadway of Europe".Janet Ward, Weimar Surfaces: Urban Visual Culture in 1920s Germany, Weimar and now 27, Berkeley: University of California, 2001, , pp. 181–83.
Following the renovation, the exterior was used for advertising, designed by Ufa's scenic designer Rudi Feld. This began with light displays and large posters and progressed to complete transformations of the appearance of the building. For example, for Spione in 1928, a gigantic stylised eye stared out of the centre of the façade and the letters of the title, written across the whole width of the central bay, became pupils which emitted searchlights;Ward, p. 171.Photo in Steven Heller, Mirko Ilić, The Anatomy of Design: Uncovering the Influences and Inspiration in Modern Graphic Design, Minneapolis, Minnesota: Quayside, 2009, . for Frau im Mond in 1929, the façade was draped in lights to evoke stars, and above the entrances skyscraper cities jutted out, from the centres of which model spaceships travelled to a moon globe and back;Ward, p. 169, Fig. 41, p. 170. and for Asphalt, also in 1929, a huge transparency of a street scene—taken from the credits—was mounted on the front of the building, with speeding cars in the foreground, and alternately lighted and darkened; wooden gates swung closed in front of it, with the title written on them in letters blazing with light.Ward, p. 157, Fig. 37. p. 158.Kreimeier, p. 117; photographs following p. 152. The exception was Fritz Lang's Metropolis, which received a double première on 10 January 1927: the gala première at the Ufa-Palast am Zoo was attended by President Hindenburg but advertised only by a sign above the entrance reading Welturaufführung (world première), while the smaller première, primarily for the press, took place at the smaller Ufa-Pavillon am Nollendorfplatz (Germany's first purpose-built cinema, dating to 1912), which for the occasion was painted silver and illuminated "gleam[ing] like a beacon into the night", as a contemporary reviewer put it, and had a gong mounted over the main entrance; the film's brief German run continued there.Aitam Bar-Sagi, "'Metropolis' around the World", The Film Music Museum, 6 November 2010, retrieved 23 December 2012.Ward, pp. 166–67, Figure 40 p. 168.Review in Der Kinematograph, 16 January 1927, in translation in: Michael Minden and Holger Bachmann (eds.), Fritz Lang's Metropolis: Cinematic Visions of Technology and Fear, Studies in German literature, linguistics, and culture, Rochester, New York: Camden House, 2000, , pp. 82–83."1927: Art & Culture", Starr Figura and Peter Jelavich, German Expressionism: The Graphic Impulse, exhibition catalogue, New York: Museum of Modern Art / Distributed Art, 2011, , p. 280.
Under the Nazis, for important occasions like the 1935 première of Leni Riefenstahl's Triumph des Willens and the March 1943 celebration of Ufa's own 25th anniversary, Albert Speer modified the façadeSteven Bach, Leni: The Life and Work of Leni Riefenstahl, New York: Knopf, 2007, , p. 138. and it was dressed with large numbers of swastika flags spotlighted from below and with a huge eagle.Kreimeier, p. 254.Kreimeier, p. 322. For the 1936 Summer Olympics in Berlin, Speer designed a false front in simplified classical style. The following year, the remainder of the façade was similarly covered and heavy masonry pylons evoking the entrance to the Olympic Stadium set on either side of the entrance;Bach, Leni, p. 164. one architectural historian has noted that except for the lack of windows and the decoration with film posters rather than government symbols, the building then looked very like Speer's New Reich Chancellery.Kreimeier, p. 254, citing Dieter Bartetzko, Illusionen in Stein: Stimmungsarchitektur im deutschen Faschismus: ihre Vorgeschichte in Theater- und Film-Bauten, Rororo Sachbuch, Kulturen und Ideen, Reinbek bei Hamburg: Rowohlt, 1985, .
The building was destroyed by bombing on 23 November 1943. The Zoo Palast was built on the site in 1957, built as a large film festival cinema for the Berlin International Film Festival, and fully renovated in 2011–2013. As part of a lease agreement, it became part of the Bikini-Berlin building complex in 2010, and it will remain so until at least 2043.
Use for premières
The Ufa-Palast am Zoo was one of the main locations for film premières in Germany.Stephen Brockmann, A Critical History of German Film, Studies in German Literature, Linguistics, and Culture, Rochester, New York: Camden House-Boydell & Brewer, 2010, , p. 144.Michael Bienert, Ufa-Palast, Erich Kästners Berliner Adreßbuch, retrieved 19 December 2012 These included:
Premières under the Weimar Republic 18 September 1919: Madame DubarryHerman G. Weinberg, The Lubitsch Touch: A Critical Study, 3rd ed. New York: Dover, 1977, , p. 29. 4 December 1919: Die PuppeBernard Eisenschitz and Jean Narboni, Ernst Lubitsch, [Paris]: Cahiers du cinéma: Cinémathèque française, 1985, , p. 269 14 December 1920: Anna BoleynDer Bär von Berlin (1995) p. 52 9 March 1920: Kohlhiesels TöchterUte Becker, Johannes Ebert, et al., Die Chronik. Geschichte des 20. Jahrhunderts bis heute, , [Gütersloh]: Wissen Media, 2006, p. 143 1 September 1920: SumurunChristian Rogowski (ed.), The Many Faces of Weimar Cinema: Rediscovering Germany's Filmic Legacy, Screen cultures, Rochester, New York: Camden House, 2010, , p. 326. 29 October 1920: Der Golem, wie er in die Welt kamFrances Guerin, "Dazzled by the Light: Technological Entertainment and Its Social Impact in 'Varieté'", Cinema Journal 42.4, Summer 2003, pp. 98–115, p. 113, note 22. 14 April 1921: Die BergkatzeWeinberg, p. 330. 22 October 1921: Das indische Grabmal (Part 1)Becker, Ebert, et al., p. 150. 19 November 1921: Das indische Grabmal (Part 2)Georges Sturm, Fritz Lang: films, textes, références, Collection "Films/textes/références" 2, Nancy: Presses universitaires de Nancy, 1990, , p. 51 27 April 1922: Dr. Mabuse, der Spieler (Part 1)Kreimeier, p. 87.Lotte H. Eisner, Fritz Lang, London: Secker & Warburg, repr. New York: Da Capo, 1976, , p. 408. 26 May 1922: Dr. Mabuse, der Spieler (Part 2) 13 November 1922: PhantomLotte Eisner, Murnau, rev. trans. Berkeley: University of California Press, 1973, , p. 276. 7 January 1924: Die Finanzen des GroßherzogsEisner, Murnau, p. 277. 14 February 1924: Die Nibelungen (Part 1) 26 April 1924: Die Nibelungen (Part 2) 23 December 1924: Der letzte MannKreimeier, p. 145.Eisner, Murnau, p. 277. 16 November 1925: VarietéRichard W. McCormick, "The carnival of humiliation: sex, spectacle, and self-reflexivity in E.A. Dupont's Variety (1925)", in: Light Motives: German Popular Film in Perspective, ed. Randall Halle and Margaret McCarthy, Contemporary film and television series, Detroit: Wayne State University, 2003, , pp. 41–60, p. 60.