Anna Maria Mühe: If you look like that, you want something from life
Anna Maria trouble in late 2002 in the teenage drama "big girls do not cry
Suddenly she appears in the entrance of the Berlin Cafégarten. Light blue skirt, pastel pink T-shirt, a pale face with soft cheeks. She looks a bit rushed, then slips unobtrusively between the other tables, finally reaching for a small hand to shake hands and murmurs a soft "hello". At first glance you might find Anna Maria Mühe quite shy. And feel affirmed when she answers seriously and reservedly to all questions, does not say a word too much and sometime in the conversation suddenly like a schoolgirl asks if she can just go to the bathroom.
The 20-year-old is considered the "young star" and "Zukunftshoffnung" of the German film, at least since she last year next to Daniel Bruehl and August Diehl in the movie drama "What good is love in thought?" Audience and critics enthusiastic. And the hopefuls of the glittering industry you imagine somehow brazen. But those who suspect only childlike naivety behind their soft features are taught by the very large, very blue eyes of a better person: They direct themselves clearly and directly towards their counterparts, quite openly and unperturbed. If you look like Anna Maria Mühe, you want something from life. And dares to do what he wants.
Even as a child, Anna Maria Mühe wants to become one: actress. This is also due to the parents. When Anna was born in East Berlin in 1985, Ulrich Mühe and Jenny Gröllmann are in demand as actors in the GDR. After the reunification, especially the father continues to have much success, plays at the major theaters and for the cinema and ends up with the ZDF series "The Last Witness" a public runner. The daughter grows up next to stages and film sets, so the career aspiration is no surprise. How it will become reality, alright. "Somehow fate," says Anna. With friends, the then 15-year-old squats in a pub in Berlin-Wilmersdorf and is annoyed - because a woman at the next table is constantly staring at her. "It's you," the stranger says at some point, "you're the Kati." The director Maria von Heland has found the leading actress for her movie - without knowing the actor's parents. And Anna Maria Mühe gets the first role of her life.
She has never played anything before, not in the school theater and not in small film or television roles like so many actor children. The parents are against the plans of the daughter anyway, there is stress at home. "They wanted to protect me," Anna says good-naturedly today. After all, both know about the pitfalls of the profession, which demands everything and guarantees nothing. And anyway: first finish the school. But Anna prevails, in a strange rebellion: The daughter separates herself from her parents by following in her footsteps. Much has changed since then. The school has thrown her without an abitur, has new friends, many of them actors like her. She moved out of her mother's house, earned her own money, is in demand, and runs on premieres across the red carpet. Big girls do not cry? is the first movie, a subtle teenage drama. When he comes to the cinemas at the end of 2002, one is crying: Anna's mother. Because it blows over her, as the daughter plays: As if she had never done anything else - and yet with the special power of carefree beginning. Not only the parents are convinced, but also director Maria von Heland is amazed by her discovery: "She plays everything exactly as it has to be, her timing is perfect, and she has all the emotions in her."
In the Brandenburg "police call 110" she played a rape victim
A big promise was this debut. Meanwhile, Anna Maria Mühe has redeemed it and proved in very different roles that it was not a coincidence hit. So she twisted in the movie "What good is love in thought?" as an erotic bitch Hilde row the men in the head, changed in the ZDF drama "Dolphin Summer" of adapted sect disciples for rebellious teenager and showed in the Brandenburg "police call 110" intensely the agony of a rape victim, whom nobody believes.
She has always convinced. Because she is always one with her role and yet very distinctive: with a face in which she shows joy and sorrow, indignation and despair, anger and zest for life in great purity. With her smile between child and woman, sometimes coquettish, sometimes graceful, sometimes lost in dreams. And with a body that always plays along, even on television, the medium of close-up shots.In doing so, she often shows her great emotions with small movements - but also with explosions of joie de vivre as in "Delphinsommer": Who has seen how she secretly dances to forbidden music in this paraphysical drama as Nathalie in the parental living room and frees herself from everything What has previously suppressed life and love does not forget the power of this erotic outburst and departure so quickly. Dancing excites her; She has learned ballet and break dance, hip hop and jazz dance. And dreams of shooting a dance movie.
How do you get it?To be so good young? "I do that very much out of my gut," she says. She approaches her roles from the inside, tries - accompanied by a private drama teacher - in every thought, every action to feel exactly. That's the requirement. But most of the time she does not explain why she does a certain movement in front of the camera and not otherwise. "That comes, or it just does not come."
Her mother has eyes, and her father has an idiosyncratic mouth. And of both the talent. Clear that Anna fears comparisons and is afraid to be eternally recorded as a "daughter of ...". She rejects interviews with her father. She wants to demarcate herself, just because the admiration is so great. Her parents are for her "the greatest people in the world". However, the two are only united in the pride of the daughter: they separated early, Anna was then four. And her four half-siblings (including Andreas Mühe, who photographed them for ChroniquesDuVasteMonde) come from three other parent connections. Anna appreciates the benefits of the Patchwork Federation: "We do not have sibling stress because we never lived a common life, and when we see each other, it's just heartfelt and beautiful."
She does not talk about the painful experiences of a divorce child - she prefers to use her for her work: in "Big girls do not cry", for example, their entry into the film business. The teenagers are not only dealing with their own problems, but also with those of the elderly, who freeze in broken marriages or break everything by their infidelities. "I've gone crazy with the character of the Kati and made a huge jump, which was exactly the same feeling process."
Also from the seductive Hilde in "What good is love in thought?" she has learned important things. "Flirting," she laughs. "That stayed with me." Nevertheless, there is no such thing as a boyfriend. To find someone who accepts that the girlfriend is always on the move for weeks to weeks and while still with the film partners rumknutscht now and then - that's not so easy. A pity, she thinks. "But that's it." The job happens, first.
Anna Maria Mühe as cult sect in the TV-drama "Dolphinsommer"
Does she feel like a professional after four successful years? "No, no way, and the uncertainty is good for my game." She wants to learn, always and even now, where you increasingly trust the directors and the pressure of expectation increases. At least once a week she goes to acting classes, prepares for castings and roles. Technology is necessary, she knows that by now, so as not to upset the soul in the interplay between reality and fiction. But she also believes that too much technology can suffocate - and therefore does not want to go to drama school. "I'm scared to lose my naivety there, letting myself be stuffed into something I'm not."
The danger, the flashlights of the photographers It does not exist for her to hold on to life and to stand out. She knows too well what is really important - especially since her mother fell ill with cancer a few years ago and repeatedly struggled with relapses. "These are hammer blows," says the daughter and that she has since been struggling to take the normal crises - her own and those of her friends - as seriously as 20 years ago might be normal. The knowledge of how quickly everything can be over is both a burden and a source of power: "I therefore spend more on life and enjoy it much more intensively." Sitting around the corner with the mother at the Italian, celebrating with friends on the river Spree, going into horror films or having fun with games evenings - "sone things," she says, make her happy. And next year, when the football World Cup is over, she would love to spin. Because with the favorite Italians in front of the TV mitzuschrölen, that would be the greatest.
