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Strange guy, Hugo Pratt. A whole lot like one of the rootless and rambling characters from his own fumetti, and those were some seriously weird comic books.
This is Hugo, who I met tonight for the first time. He's a friend of a friend, who owns a little night spot that's not really a night spot but actually where he lives! He puts on parties and exhibitions from time to time to help pay the rent.
He was a great guy and hopefully I'll be able to work with him over the coming months.
Best viewed large flickr.com/photo_zoom.gne?id=240862558&context=photos...
And here's a panorama of the whole place uptothehilt.com/stuff/Panorama.jpg
Being there reminded me of a Jeff Wall image:
www.tate.org.uk/modern/exhibitions/jeffwall/image/roomgui...
Starburst V for Vendetta preview April 2006, featuring interviews with Hugo Weaving, Natalie Portman and Stephen Fry
Shannon Harvey's review of the film Little Fish starring Cate Blanchett, Hugo Weaving, Sam Neill and Martin Henderson. Originaly posted online 11 September 2005; best viewed at Original Resolution.
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Review of STC's production of Uncle Vanya published in the Sunday Telegraph, 21 November 2010. The production stars Richard Roxburgh, Hugo Weaving, Cate Blanchett, John Bell and Jackie Weaver
Vintage German postcard. Photochemie, Berlin, K. 3107. 1910s. Photo by Alex Binder.
Hugo Flink, born Fleischhacker (* 26 August 1879 in Vienna, Austria-Hungary; † 2 May 1947 in Berlin), was an Austrian actor.
Hugo Fleischhacker was born in Mödling and first appeared on stage at the age of six. He completed his military service in the K.u.k. Infantry Regiment Hoch- und Deutschmeister No. 4. From 1897 to 1899 he attended the Arnau Theatre School of the Vienna Burgtheater. In 1899 he came to Berlin and received an engagement at the Neues Theater. From 1900 to 1911 he belonged to the ensemble of the Residenztheater, from 1904/05 he worked at the Lustspielhaus. He impersonated gentlemen and bon vivants, later also fathers and gentlemen of rank and name.
From 1910 he appeared regularly in front of film cameras. At first he took leading roles and was partner of Henny Porten (Das Modell, 1910; Das Geheimnis der Toten, 1910; Perlen bedeuten Tränen, 1911; mostly directed by Franz Porten) and also of Asta Nielsen (Im großen Augenblick, 1911, Zigeunerblut, 1911; Die Kinder des Generals, 1912; Komödianten, 1913; all directed by Urban Gad). In 1911-15 Flink also played at Deutsche Bioscop in many dramas by Emil Albes and some by Max Obal and Stellan Rye, often with Paul Bildt, Ilse Oeser and Albes himself, later also with Ludwig Colani, Hans Mierendorff and Hedda Vernon (e.g. Madeleine, 1912; Frou-Frou, 1913). Often these films were scripted by Luise Heilborn-Körbitz. During the First World War, Flink starred in several comedies by Albes. Occasionally, he worked again with Nielsen, as in Die Tochter der Landstraße (Gad, 1915), but mostly he worked for Deutsche Bioscop, e.g. in films starring Maria Carmi such as Fluch der Schönheit (Erich Zeiske, 1915).
In 1916 the steady work for Deutsche Bioscop was traded for single performances at various companies, often as co-actor opposite female stars of the day such as Ressel Orla, Hanne Brinkmann, Hedda Vernon, Steffi Walidt, etc. or such male stars as Harry Liedtke (as detective Joe Deebs) and Erick Kaiser-Titz (as Phantomas). The collaboration with director Richard Oswald in Es werde Licht! (1917), starring Bernd Aldor, led to more collaborations with Oswald and Aldor. After his experience with Harry Liedtke detective Joe Deebs, and another one with Max Landa as Deebs, Flink played the most famous of detectives: Sherlock Holmes, and even three times (Die Kassette, 1917; Der Erdstrommotor, 1917; Der Schlangenring, 1918).
In 1918 Flink he starred opposite Mady Christians in Die Verteidigerin and Nachtschatten, both by Fredric Zelnik, opposite Ellen Richter in Die schöne Jolan by Rudolf Meinert, opposite Lya Mara in Die Rothenburger by Lupu Pick, and many more. Also in the years 1919-1921 he remained a very prolific actor (even 20 titles in 1920!), in films starring Gilda Langer, Edith Meller, Lucie Höflich, Ernst Pitttschau, Fritz Kortner, and in particular Ellen Richter (e.g. De Profundis, 1919; Brigantenliebe, 1920; Die Fürstin Woronzoff, 1920; Die Frau mit den Millionen, Part 1, 1923). From 1922 Flink's parts were less numerous and he had to satisfy with supporting parts as prosecutor, vaudeville and business manager, commissioner, etc.
Yet, one sound film had been established, Flink continued his career as supporting actor - often in comedies - all through the 1930s and the early 1940s, even if much less intense (about five films per year in the mid-1930s and no films at all in 1938). Often these were star vehicles for female stars such as Hertha Thiele, Paula Wessely, and Jessie Vihrog, or male stars like Willi Fritsch, Hermann Thimig and Hermann Speelmans. Flink's last part was as the coachman in the historical comedy Das Bad auf der Tenne (Volker von Collande, 1943), starring Heli Finkenzeller. From 1943 Flink only played theatre until the end of the war. Flink was on the Gottbegnadeten list of the Reich Ministry for Popular Enlightenment and Propaganda in 1944. Two years after the war ended, Flink died in Berlin in 1947, age 67.
Sources: German Wikipedia, IMDb.