Alfred Müller (4 July 1926 – 2 December 2010) was a German stage and screen actor. His career peaked in the German Democratic Republic during the 1960s and 1970s, but he was still making frequent appearances – increasingly, by this time, on the small screen – in film dramas through the 1980s. He was 63 when the wall came down and, unlike many performers who had built their careers in East Germany (1949–1989), he successfully transitioned in reunified Germany, continuing to appear in stage musicals and television dramas long after his seventieth birthday. As a result of his starring role in the 1963 East German espionage film For Eyes Only he was burdened, over many decades, with the labels, the "James Bond of the East" and "007 of the East": he detested the epithets.

Life Provenance and early years Alfred Müller was born and grew up in the Wedding district of central Berlin. His father worked sometimes as a casual labourer and sometimes as a taxi driver: his mother worked as a secretary. Müller attended school in the adjacent Berlin district of Humboldthain. Long before completing his schooling he had become determined to make a career as an actor, "preferably in comedy or musicals". That was partly down to his father, who in the years of economic collapse that followed the Wall Street crash of 1929 had, like many others, experienced lengthy periods of unemployment. Müller later explained to an interviewer that his father had spent many afternoons that would otherwise have been idle at the "daytime cinema" and variety shows, accompanied by young Albert "from the moment he was able to sit up straight". On returning home the child would re-enact the show he had just witnessed in front of a mirror. By the time he left school Germany was at war. When he was sixteen he attended a Needlework School, "the only 'man' surrounded by noisy girls".

There was no money for stage school, and the needlework training was evidently never a fulltime commitment, since between 1940 and 1943 he was also enrolled as an apprentice mechanic at a Berlin Siemens plant. While working at Siemens he teamed up with likeminded friends and work-colleagues to form a factory cabaret troupe. In 1943, his apprenticeship completed under an accelerated war-time procedure, he was conscripted for military service. Quite soon he found himself a prisoner of war in France.

Post-war career building He was able to return home only in 1949. Since May 1945 the remaining western two-thirds of Germany had been divided into four military occupation zones, with separate special arrangements for Bremen (which was strategically important) and for the (former and future) German capital, Berlin. Berlin was separately divided into occupation sectors, administered respectively by the British, U.S., French and Soviet military. Berlin Wedding, where Müller had grown up, was now administered as part of the French sector, but the entire eastern part of the city, where he later made his home, was administered as part of the Soviet occupation zone, relaunched in October 1949 as the Soviet sponsored German Democratic Republic (East Germany). East Berlin, as the city's Soviet sector was coming to be known, had been home to the "Deutsche Film-Aktiengesellschaft" (DEFA), the first film production company in post-war Germany, since 1946. Müller, still pursuing his dream of a career as an actor, applied to the DEFA for a training, which would have been provided at no cost if his application had been accepted. It was rejected, however. Undaunted, he applied to study music at the "Konservatorium des Nordens", a music conservatory in the western part of the city, becoming a proficient guitarist. He teamed up with friends to provide impromptu music entertainment in Berlin bars and restaurants. The administrative border dividing East Berlin from West Berlin was still not marked by any effective physical barrier, and he was able to combine his music training in "the west" with theatre work at Prenzlauer Berg in "the east", where he appeared as a member of an amateur drama group and of a cabaret group.

In 1952, by now aged 26, having tried again to gain acceptance for a training in acting, Alfred Müller was accepted at the recently opened "Berlin Stage School" ("Berliner Schauspielschule" – as it was known at that time) where he studied for three years between 1952 and 1955.

Lift off In 1955, despite the difficulties in obtaining the necessary training and qualification, Alfred Müller's career took off from the outset. He later told an interviewer: "I had, at the start of my career, a lot of luck" Between 1955 and 1959 he worked at the "Stadttheater" (as the "Civic Theatre" was known at that time) in Senftenberg. Here his debut performance was as Faust in "Urfaust", as the earlier version of Goethe's "Faust" is known in the German-language. Elsewhere it is stated that Müller's debut performance at Senftenberg was as "Muley Hassan" in Schiller's Fiesco's Conspiracy at Genoa. Sources differ as to which was the earlier performance, but there is agreement that during nearly four years at the "Stadttheater Senftenberg" Alfred Müller was able to hone his craft through playing a broad selection of roles from the German theatre classics, ancient and modern, including lead characters in Brecht's "Puntila" and "Theodor Maske" in Carl Sternheim's Die Hose ("The Trousers").

It was during his time at Senftenberg that Alfred Müller met the costume designer Eva Drechsler, originally from Usedom in the north. They married in 1958. The couple's son was born in 1967.

Maxim Gorki Theater Someone else to whom Müller became increasingly close during his Senftenberg years was the theatre director Horst Schönemann. In 1959 Schönemann switched to the Maxim Gorki Theater in East Berlin. Müller went too: it was a welcome opportunity to return to his home city. Alfred Müller was based at the Gorki Theatre in East Berlin between 1959 and 1965, and then again between 1972 and 1984. In the words of the commentator Ehrentraud Novotný, this versatile and expressive actor achieved his greatest successes at the Gorki Theatre in "roles of sophisticated comedy with a serious background". He achieved critical acclaim with his 1961 appearance in The Broken Jug by Heinrich von Kleist. Commentators were also impressed by his characterisation of Phileas Fogg in a 1962 production of Pavel Kohout's comedic stage drama adaptation of Jules Verne's adventure-novel Around the World in Eighty Days. Müller succeeded in communicating to audiences with irony and intelligence the authoritative calm and engrained snobbism present in Verne's vision of the classic "British Gentleman" of Victorian England. In the same mould, critics also pick out for praise his performance as Colonel Pickering in a theatre production of My Fair Lady.

It seems to have been around this time, during the early 1960s, that Alfred Müller finally joined the party. In 1964 he was a recipient of the Art Prize of the German Democratic Republic, the Patriotic Order of Merit and the Arts Prize of the FDGB (Trade Union Federation).

James Bond of the East Moving back to Berlin and, in particular, becoming a regular stage-presence at the Gorki Theater clearly raised Alfred Müller's profile, both with the party and with theatre audiences more broadly. East Berlin was also home to the DEFA film studios. Alfred Müller was interested in the movie business, and even had his own cine-camera, though he seems to have used it only for home-movies. He was nevertheless able to find time to appear in film productions for public distribution starting, in 1959/60, with a very minor role in Flucht aus der Hölle ("Flight out of Hell"), a four-part film drama for television. A succession of further minor film roles followed.

He found overnight screen success with his appearance as "Agent Hans" in the 1963 political thriller "For Eyes Only". The film director, János Veiczi, already had a record of proven success with East German audiences with productions in the well-proven "adventure film" genre. "For Eyes Only" is the story of an East German intelligence agent who successfully penetrates the CIA at a high level. He manages to steal from the CIA headquarters a critical plan for a military attack against East Germany, and then to return home successfully. Alfred Müller and screenwriter Harry Thürk present "Agent Hans" as understated character, reassuringly free if heroic pretensions: he is lovable, clever and brave. The character is convincing also because of the way in which Müller makes him appear "normal". The agent manages to succeed as a master spy without the need to resort to any of the "classic espionage clichés". "For Eyes Only" was hugely popular. More than nine million East Germans are reported to have seen the film in a cinema: if none had seen it more than once, that would indicate that roughly 50% of the population attended a cinema screening of it. The role established Alfred Müller's enduring popularity as a film star. Described by admirers as reticent and modest by nature, he seems never to have been much bothered over his popularity: "With a name like Müller, you have to be good for something" Modest or not, success in "For Eyes Only" turned out to be the first in a series of leading film roles in which he played a succession of "everyman" characters, skilfully and flexibly combining the cheerful with the serious, and dealing both with contemporary and with historical themes.

Little Rabbit The next film in which he starred was "Das Kaninchen bin ich" ("The Little Rabbit, that's me"), filmed during 1965 and directed by Kurt Maetzig. The lead role was taken by Angelika Waller, appearing in the first lead role of her career as Maria Morzeck, a nineteen year old whose ambition to study at university is destroyed after her brother is imprisoned for three years following a conviction for "staatsgefährdender Hetze" ("activism endangering the state"). Instead she becomes a waitress. She meets and falls in love with a much older man called Paul Deister. Deister, it transpires, is a married man and a respected judge. He is, indeed, the judge who convicted and sentenced Maria's brother. Much of the second part of the film deals with the exposure of Deister's corruption and hypocrisy. The part of Paul Deister was played by Alfred Müller.

The film was a product of the so-called Khrushchev Thaw, a period of very cautious liberalisation emanating from Moscow during the early 1960s. First Secretary Khrushchev's De-Stalinization programme included some relaxation in repression and censorship in the Soviet Union along with the release of hundreds of thousands of political prisoners. Inevitably these winds of change from the Kremlin found their echoes in East Germany, whether the party leadership liked it or not. The production of Das Kaninchen bin ich was part of a phase of liberalisation in East Germany so cautious that it went largely unremarked in the west. After First Secretary Khrushchev fell from power at the end of 1964 there followed a period of several months during which the future direction of travel in respect of the political and social liberalisation or repression was impossible to determine, both with respect to Moscow, where Khrushchev's departure was followed by a power struggle between Alexei Kosygin and Leonid Brezhnev. and in East Berlin. By the end of 1965 the direction of travel was becoming clearer, however, and Das Kaninchen bin ich, which had been scheduled for release early the following year, was one of twelve cinematic productions that was deemed "politically damaging" by the Party Central Committee and, in December 1965, banned. It was only in 1990, as the East German dictatorship collapsed that Das Kaninchen bin ich was distributed to cinemas.

DEFA