Torben Meyer
Birthday:
Birthplace:
Not Available
Sour-visaged Danish actor Torben Meyer entered films as early as 1913, when he was prominently featured in the Danish super-production Atlantis. Despite his Scandinavian heritage, Meyer was usually typecast in Germanic roles after making his American screen debut in 1933. Many of his parts were fleeting, such as the Amsterdam banker who is offended because "Mister Rick" won't join him for a drink in Casablanca (1942). He was shown to excellent advantage in the films of producer/director Preston Sturges, beginning with Christmas in July (1940) and ending with The Beautiful Blonde of Bashful Bend (1949). Evidently as a private joke, Sturges nearly always cast Meyer as a character named Schultz, with such conspicuous exceptions as "Dr. Kluck" in The Palm Beach Story (1942). Torben Meyer made his last movie appearance in Judgment at Nuremberg (1961), playing one of the German judges on trial for war crimes; Meyer's guilt-ridden inability to explain his actions was one of the film's most powerful moments.
Highest Rated Movies
Filmography
MOVIES
RATING | TITLE | CREDIT | BOX OFFICE | YEAR |
---|---|---|---|---|
92% | Judgment at Nuremberg |
|
— | 1961 |
No Score Yet | The Matchmaker |
|
— | 1958 |
95% | The Fly |
|
— | 1958 |
No Score Yet | The Conqueror |
|
— | 1956 |
No Score Yet | Deep in My Heart |
|
— | 1954 |
No Score Yet | Living It Up |
|
— | 1954 |
85% | Houdini |
|
— | 1953 |
No Score Yet | The Story of Three Loves |
|
— | 1953 |
80% | Call Me Madam |
|
— | 1953 |
63% | What Price Glory? |
|
— | 1952 |
No Score Yet | My Favorite Spy |
|
— | 1951 |
No Score Yet | Come Fill the Cup |
|
— | 1951 |
No Score Yet | Mad Wednesday |
|
— | 1951 |
No Score Yet | A Christmas Wish (The Great Rupert) |
|
— | 1950 |
63% | The Beautiful Blonde From Bashful Bend |
|
— | 1949 |
94% | Unfaithfully Yours |
|
— | 1948 |
60% | Julia Misbehaves |
|
— | 1948 |
100% | Letter From an Unknown Woman |
|
— | 1948 |
No Score Yet | Sealed Verdict |
|
— | 1948 |
No Score Yet | The Exile |
|
— | 1947 |
No Score Yet | Variety Girl |
|
— | 1947 |
89% | Sin of Harold Diddlebock |
|
— | 1947 |
No Score Yet | Heartbeat |
|
— | 1946 |
60% | The Kid From Brooklyn |
|
— | 1946 |
No Score Yet | The Mighty McGurk |
|
— | 1946 |
No Score Yet | Hotel Berlin |
|
— | 1945 |
33% | A Royal Scandal |
|
— | 1945 |
No Score Yet | Greenwich Village |
|
— | 1944 |
95% | Hail the Conquering Hero |
|
— | 1944 |
No Score Yet | Once upon a Time |
|
— | 1944 |
No Score Yet | The Purple Heart |
|
— | 1944 |
86% | The Miracle of Morgan's Creek |
|
— | 1944 |
No Score Yet | Jack London |
|
— | 1943 |
25% | Frankenstein Meets the Wolf Man |
|
— | 1943 |
No Score Yet | Edge of Darkness |
|
— | 1943 |
No Score Yet | They Came to Blow Up America |
|
— | 1943 |
99% | Casablanca |
|
— | 1942 |
97% | The Palm Beach Story |
|
— | 1942 |
No Score Yet | Crossroads |
|
— | 1942 |
100% | Sullivan's Travels |
|
— | 1941 |
No Score Yet | Sunny |
|
— | 1941 |
100% | The Lady Eve |
|
— | 1941 |
No Score Yet | No, No, Nanette |
|
— | 1940 |
95% | Christmas in July |
|
— | 1940 |
No Score Yet | The Way of All Flesh |
|
— | 1940 |
No Score Yet | Dr. Ehrlich's Magic Bullet |
|
— | 1940 |
No Score Yet | Everything Happens at Night |
|
— | 1939 |
No Score Yet | Topper Takes a Trip |
|
— | 1938 |
No Score Yet | Bulldog Drummond's Peril |
|
— | 1938 |
No Score Yet | The First Hundred Years |
|
— | 1938 |
No Score Yet | Romance in the Dark |
|
— | 1938 |
No Score Yet | Tovarich |
|
— | 1937 |
No Score Yet | Thin Ice |
|
— | 1937 |
100% | The Prisoner of Zenda |
|
— | 1937 |
No Score Yet | The Emperor's Candlesticks |
|
— | 1937 |
89% | Shall We Dance |
|
— | 1937 |
No Score Yet | The King and the Chorus Girl |
|
— | 1937 |
No Score Yet | Wedding Present |
|
— | 1936 |
No Score Yet | Piccadilly Jim |
|
— | 1936 |
No Score Yet | Till We Meet Again |
|
— | 1936 |
No Score Yet | King of Burlesque |
|
— | 1936 |
80% | Front Page Woman |
|
— | 1935 |
No Score Yet | The Black Room |
|
— | 1935 |
80% | Mark of the Vampire |
|
— | 1935 |
86% | Roberta |
|
— | 1935 |
86% | The Good Fairy |
|
— | 1935 |
No Score Yet | Splendor |
|
— | 1935 |
No Score Yet | Two for Tonight |
|
— | 1935 |
No Score Yet | Enter Madame |
|
— | 1935 |
No Score Yet | Music in the Air |
|
— | 1934 |
No Score Yet | The World Moves On |
|
— | 1934 |
No Score Yet | Mandalay |
|
— | 1934 |
No Score Yet | The Crime of the Century |
|
— | 1933 |
No Score Yet | The Animal Kingdom (The Woman in His House) |
|
— | 1932 |
100% | Broken Lullaby, (The Man I Killed) |
|
— | 1932 |
No Score Yet | The Last Warning |
|
— | 1929 |
100% | The Man Who Laughs |
|
— | 1928 |
No Score Yet | The Viking |
|
— | 1928 |
No Score Yet | Once Upon a Time |
|
— | 1922 |
71% | The Great Moment |
|
— | 1921 |
No Score Yet | Atlantis |
|
— | 1913 |
TV
RATING | TITLE | CREDIT | YEAR |
---|---|---|---|
No Score Yet |
I Dream of Jeannie
1965-1970
|
|
|
No Score Yet |
I Love Lucy
1951-1957
|
|
|
Quotes from Torben Meyer's Characters
Werner Lammpe: | You do not think it was like that, do you? [the other defendants are silent] There were executions, yes, but nothing like that. Nothing at all! [turns to another prisoner] Pöhl. Pöhl! You ran those concentration camps, you and Eichmann. They say we killed millions of people. [scoffs] Millions of people! How could it be possible? Tell them, how could it be possible? |
Werner Lammpe: | You do not think it was like that, do you? [the other defendants are silent] There were executions, yes, but nothing like that. Nothing at all! [turns to another prisoner] You ran those concentration camps, you and Eichmann. They say we killed millions of people. [scoffs] Millions of people! How could it be possible? Tell them, how could it be possible? |
Pohl: | [matter-of-fact] It's possible. |
Werner Lammpe: | [aghast] How? |
Pohl: | You mean, technically? It all depends on your facilities. Say you have two chambers to accommodate 2000 people apiece. Figure it out. It's possible to get rid of 10,000 in a half hour. You don't even need knives to do it. You can tell them they're going to take a shower, then instead of water, you turn on the gas. It's not the killing that's the problem, it's disposing of the bodies. That's the problem. |