Paul Lukas actor of American cinema of Hungarian origin, after performing courses of interpretation; he was introduced to the theater, where he managed to be one of the most popular actors of the decade of the ten years in his country. Almost immediately, he was able to get into various cinematographic contests that led him to other filming in Austria. A few years later, in the late twenties, when Hollywood attended his most important transformation with the introduction of sound, Lukas settled in Los Angeles to continue a very active career, although perhaps not everything relevant that he had wanted.
Adolph Zukor was who gave him the opportunity to start in American cinema, with films like Two Lovers (1928), by Fred Niblo, Three Sinners (1928), Rowland V. Lee, director with whom he worked in other films ( The Loves of an actress, 1928; The Wolf of Wall Stree , 1929), and in several works of Dorothy Arzner. Nevertheless, Lukas was linked to the Paramount until 1932, during a very prolific period in which he participated in interesting films of George Abbot ( Between Earth and the sky , 1929), William A. Wellman ( Aguiluchos , 1930), John Cromwell ( Desengaño , 1931) or Rouben Mamoulian ( The streets of the city , 1931).
Paul alternated these works with other Warner productions, among which we can highlight Alexander Korda's The Watchman (1928), William Dieterle's The Great Play (1933), His Private Life (1935), Mervyn LeRoy. Under the cover of this Studio will get the only Oscar of his career for the excellent role in Herman Shumlin's Whatch on the Rhine (1943), which he worked with Bette Davis.
However, as an unparalleled secondary, it was also claimed by other studies such as Columbia, in which he interpreted in 1933 In the light of the candelabrum and Kiss in the mirror, both directed by James Whale, and in 1934 I give my love, as protagonist, and the gift of the labia, both by Karl Freund. His collaboration with Metro Goldwyn Mayer is worth mentioning Kurt Neumanns Espionage (1937) and Frank Borzages Strange Cargo (1940), with Clark Gable and Joan Crawford.
In the early 1930s, after nationalizing the United States, he starred in several films by Richard Wallace (Tomorrow and Tomorrow, 1931; Thunder Below, 1932) and William Wyler (Fascination, 1934), who also had him in a good story entitled Desengaño (1936). At the end of this decade Alfred Hitchcock called him to intervene in Alarm in the Express (1939). It is also worth remembering his participation in Night in the Soul (1944), by Jacques Tourneur.
In the final stretch of his career, during which he did not leave the theater, worked on several television episodes of the ABC series FBI (1965), in addition to other sporadic appearances. In film participated in several films directed by Victor Saville ( Kim of India , 1950), John Huston ( The Roots of Heaven , 1958), Vincente Minnelli ( The Four Horsemen of the Apocalypse , 1961), Henry King ( Tender Is the Night , 1962), Nicholas Ray ( 55 days in Beijing, 1 963) and Richard Brooks ( Lord Jim , 1965), undoubtedly some of the most important signatures of American cinema.
Paul Lukas was one of the most recognizable faces in American cinema of the thirties and forties. Elegant in his manners, his fine mustache helped him with a seductive air, although they were other very different roles, especially the dark personages-spy, official Nazi-those that marked him during the forty years that he dedicated to the interpretation Cinematographic. Biography Desk is all about the
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