Over fifty years have elapsed since the death of Anton Walbrook, which took place on this day in 1967, and sometimes it feels like I have been researching and writing his biography for almost half that period. This project is nearing its end, which has often given me cause to reflect upon what it means to complete a lifetime’s work – or more specifically, the nature of the legacy left by AW in his career.

What initially intrigued me about his life was the relationship between the different eras of his life – the prominent stardom of his film and stage career in Germany (which is still under-appreciated in Britain), his contributions to British stage and screen as a wartime exile, and his latter years finding work in a world that had been dramatically changed in terms of the cultural and political landscape, social expectations and technical media. His acting career spanned several different ‘worlds’ – cultural, geographical, chronological – and the decision to migrate between these was not always a free one. Like many great performers, AW was forced to adapt to successively changing circumstances and the creative choices he made reflect this – in such instances, it is not always clear how much is innovation and how much is reaction. Was his acting career moulded by his environment, or can it be argued that he played an overlooked role in the transition between the performance styles of one generation of British actors and the next?

After his death, one British newspaper hailed Walbrook as ‘one of the last of the romantics’ and there is no doubt that he represented the end of a noble tradition that stretched back to the previous century. Notices continued to be placed in newspapers for many years after his death, on either his birthday or the anniversary of his passing, with variations of the same message: ‘His bright and unique talent gave ever-recalled pleasure… Fond and treasured memories of him and his bright talents undimmed’ and expressing ‘much gratitude and happiness for his brilliant work on stage and screen.’ I can do no better today than to echo those sentiments.