Marianne Koch Biography
Marianne Koch is a retired German actress and physician born on 19th August 1931 in Munich, Germany. In 1971 she retired from acting and resumed to study medicine. She as a specialist in Munich until 1997 as of 2014 she has a medical advice program on radio. She hosted 3 nach 9 (de) (Three After Nine) talk show which earned her the Grimme-Preis.
Marianne Koch Age
Koch was born on 19th August 1931 in Munich, Germany (87 years old as of 2018)
Marianne Koch Husband
In 1953, she married the physician Gerhard Freund, with whom she has two sons. The marriage ended in 1973 after Freund began an affair with Miss World 1956, Petra Schürmann, whom he later wed.
Marianne Koch Net Worth
She has a net worth of 17 Million dollars.
Marianne Koch Career
Koch appeared in more than 65 films, between 1950 and 1971 . In the haunting 1954 espionage thriller Night People she starred alongside Gregory Peck. Sergio Leone’s 1964 production A Fistful of Dollars showcased her alongside Clint Eastwood as a civilian tormented by ruthless local gangsters, torn between her husband and child and the villains. In Germany she was probably best-loved for her many years of participation in the highly popular TV game show Was bin ich? which ran from the 1950s until 1988 and achieved ratings of up to 75% at its peak.
Marianne Koch resumed the medical studies she had broken off in the early 1950s to become an actress, in 1971 . She earned her MD in 1974 and practiced medicine until 1997 as a specialist in Munich. Also in 1974, she was one of the initial hosts of Germany’s pioneering talk show 3 nach 9 (de) (Three After Nine), for which she was awarded one of the most prestigious awards of the German television industry, the Grimme-Preis. She also hosted other television shows and, as of 2014, still has a medical advice program on radio.
Marianne Koch Book
- Body Intelligence – What you should know to stay young
Marianne Koch Movies
- 1950: The Man Who Wanted to Live Twice as Katja Hesse
- 1951: Czardas der Herzen as Reporterin
- 1951: Dr. Holl as Anna
- 1951: Geheimnis einer Ehe as Musi Camphausen
- 1951: My Friend the Thief as Resl
- 1952: The Chaste Libertine as Gerty Seibold
- 1953: Dark Clouds Over the Dachstein as Christl, die junge Magd
- 1953: Scandal at the Girls’ School as Marina von Leithen
- 1953: The Monastery’s Hunter as Gittli
- 1953: The Poacher as Ursula
- 1954: Love and Trumpets Bettina von Brixen
- 1954: Night People as Kathy Gerhardt
- 1954: Hubertus Castle as Geislein
- 1954: Bruder Martin as Rosl
- 1955: Ludwig II: Glanz und Ende eines Königs as Prinzessin Sophie
- 1955: Des Teufels General as Dorothea ‘Diddo’ Geiss
- 1955: Der Schmied von St. Bartholomae
- 1955: Königswalzer as Therese
- 1955: As Long as You Live as Teresa
- 1955: Zwei blaue Augen as Christiane Neubert
- 1956: The Marriage of Doctor Danwitz as Edith Danwitz – Mannequin
- 1956: If We All Were Angels as Elisabeth Kempenich
- 1957: Four Girls in Town as Ina Schiller
- 1957: Salzburger Geschichten as Konstanze
- 1957: Der Stern von Afrika as Brigitte
- 1957: Vater sein dagegen sehr as Margot Ventura geb. Sonnemann
- 1957: Interlude as Reni Fischer
- 1957: Der Fuchs von Paris (de) as Yvonne
- 1958: Gli italiani sono matti as Cristina
- 1958: … und nichts als die Wahrheit as Mingo Fabian
- 1958: Die Landärztin (de) as Dr. Petra Jensen
- 1959: Frau im besten Mannesalter as Carola Hauff
- 1960: The Woman by the Dark Window as Luise Konradin
- 1960: Heldinnen (de) as Minna von Barnhelm
- 1960: Mit Himbeergeist geht alles besser asHilde von Hessenlohe
- 1961: Spotlight on a Murderer as Edwige
- 1961: Unter Ausschluß der Öffentlichkeit as Ingrid Hansen
- 1961: Napoléon II l’Aiglon as Kaiserin Marie Louise
- 1962: Die Fledermaus as Rosalinde
- 1962: Heißer Hafen Hongkong (de) as Joan Kent
- 1962: Liebling, ich muß dich erschießen asJeannine Messmer
- 1962: The Devil’s Agent as Nora Gulden
- 1963: The Black Panther of Ratana as Dr. Marina Keller
- 1963: Death Drums Along the River as Dr. Inge Jung
- 1964: The Last Ride to Santa Cruz as Elizabeth Kelly
- 1964: The Monster of London City as Ann Morlay
- 1964: A Fistful of Dollars as Marisol
- 1964: Der Fall X 701 as Dr. Helen Wieland
- 1965: Trunk to Cairo as Helga Schlieben
- 1965: Coast of Skeletons as Helga
- 1965: The Hell of Manitoba as Jade Grande
- 1965: Jessy Does Not Forgive… He Kills! as Anna-Lisa
- 1966: Wer kennt Johnny R.? as Bea Bordet
- 1967: Clint the Stranger as Julie Harrison
- 1968: Sandy the Seal as Karen Van Heerden
- 1969: The Unnaturals as Mrs. Vivian Taylor
- 1984: Reserl am Hofe as Erzählerin
Marianne Koch Interview
Ms. Koch, you were a movie star, with “What am I” and the talk show “Three After Nine” did you write TV history.
Marianne Koch: I never felt so prominent.
After all, you’ve practically found the Italo-Western in “For a Fistful of Dollars!”
Marianne Koch: Not me. That was Sergio Leone, the director. Clint Eastwood and I just played our roles. Of course, I was well known then. That was a long time ago. Since then, other things are much more important to me. For example, the medical advice program that I have been doing every Saturday live on Bayerischer Rundfunk for 15 years.
Are we right in assuming that you are a bit proud of your past successes?
Marianne Koch: Actually, I was only really proud once in my life, apart from the birth of my children – that was the day I graduated with a medical degree. I walked one meter above the ground. But I came down pretty fast.
There you were over 40. For a student an advanced age.
Marianne Koch: It was the total upheaval in my life, ending the movies, going back to college, ending the marriage, beginning a wonderful new relationship, all within a year.
Was that all your voluntary decision?
Marianne Koch: The end of the marriage could have come earlier, but it is not. We said, okay, we have the kids, as it was then.
It was also the time of the ’68 . At the universities was the saying “mourn no over 30”.
Marianne Koch: I’ve been looking funny in the first weeks, because of: What does the old woman want here? But they quickly realized that I’m serious.
Were there any advantages of not joining a new profession until mid-40?
Marianne Koch: Definitely: life experience, communication skills and a self-confidence that I did not have in my younger years. You learn more conscious, structured. I sometimes have to explain difficult topics for my medical program today. Maybe I profit from the fact that with 40 so many new things came to me. I always enjoyed learning.
And the disadvantages?
Marianne Koch: Maybe people initially saw me as an actress, not a doctor. That has quickly settled down. Anyone who is admitted to the clinic, who hopes to be helped, is not so important to whom.
Before, you had once played a country doctor. Was reality a shock?
Marianne Koch: I have always dealt with illness and patients. Doctor was my dream job, at the age of 18. If not earlier. As a kid I treated my little brother in the game. I have such a strange talent mix, was very good in physics, chemistry, math, but also in arts subjects. Our mother was a pianist. Her great esteem and love in difficult circumstances has made me a normal adult. She let us walk on the long leash.
In the legendary advice “What am I” you were a skilled questioner. Does that help with the diagnosis interview?
Marianne Koch: You can not compare God with that now. But I think that the talking medicine, the communication between doctor and patient, is something extremely important. Unfortunately, the conversation in our healthcare system with its five-minute medicine is unfortunately not paid for.
You wrote a whole book about the heart, it seems to be your favorite organ. Because body and soul come together there?
Marianne Koch: Not only. But without doubt, psycho-cardiology is a great chapter in heart medicine. It is known that depressive people are more likely to have heart problems. There is a disease, the Tako-Tsubo cardiomyopathy , named after a Japanese octopus trap. It also looks the same when the heart goes from a frenzied state of anxiety to the shock of high levels of stress hormones. The condition is also called the “broken heart syndrome”. What moves you mentally affects yourself organically.
If medicine has always been your heart’s desire, why did you, as a young woman, drop out of post-graduate studies to work as an actress?
Marianne Koch: I thought the movie career might take two or three years. That was also coincidence. We lived in Munich Grünwald, Geiselgasteig …
… where the movie studios are.
Marianne Koch: One day a photographer called me in the street and said we are looking for someone who looks like you.
They were 18, the war did not end long, Munich bombed. And then Hollywood announces itself .
Marianne Koch: That was a little later. I already sat in Munich after school always in America house. First, it was heated, and then they had all these international magazines, the books, Steinbeck, Hemingway. I grew up with the American culture, after the war I felt that as a liberation. Germany was gray in every way, if you could get out there …
… then nothing stopped you?
Marianne Koch: On the other hand, I had already made some films before I came to Hollywood …
Among others on the side of Gregory Peck in “The Invisible Net”.
Marianne Koch: Sounds weird: I somehow felt that this was something normal, that I was sitting in the Super Constellation and flying across the Atlantic, and Ella Fitzgerald , whom I knew from the radio, is sitting next to me .
Did you talk to her?
Marianne Koch: She warned me about the men in Hollywood. Then came the red carpet when we landed, not for me, of course, but for Ella Fitzgerald. They got me a house in Brentwood, as was customary in the 1950s.
A celebrity district, Marilyn Monroe lived there.
Marianne Koch: You had to take a six-lane highway to get into the studio. I could not drive a car. Of course they said that it does not exist, and immediately provided me with a car and a driving instructor. It was a Dodge, a big car in which you had to push buttons forwards and backwards. So he said, go ahead. I pressed the appropriate button and drove a bit. Then backwards, push button again, and already I got the driver’s license.
So you were left on the highway?
Marianne Koch: That’s how I dared to go on the highway.
Since you already swarmed for America anyway, did not you think about emigrating?
Marianne Koch: No. First, I had met my husband already, and then Germany was by now quite interesting for a young person. The signs were on the move, everything was getting better every year. And that was not so easy with my Dodge. I parked the car in front of my house in Brentwood and forgot to put on the handbrake. It rolled down to the street and crashed into the house wall.
That gave trouble.
Marianne Koch: Not at all. People came out of the house, said, you arms, once you drink a sip of whiskey . And those of the studio just meant, no problem, you get a new car and you’re done. The Americans were really great. Everyone, including all the stars, Rock Hudson, George Nader, who did test shots with me.
In Hollywood you were called Marian Cook. What was it like giving up your name?
Marianne Koch: Koch was spoken like cock, that’s a synonym for … Of course, that did not work.
In Rome they hired you in the 60’s for the Italo-Western.
Marianne Koch: Since I really wanted to start a new life. One did not know that “For a handful of dollars” would create a whole genre. Sergio Leone was one of the greatest directors I’ve ever worked with. A wonderful person.
And as a director?
Marianne Koch: He had a clear picture of what he wanted, and quarreled quite often with Clint Eastwood. He was a different type, stoic, straightforward.
What did it look like when they were exhausted?
Marianne Koch: Then they withdrew, they did not open the set. The mutual respect must still have been great, they have indeed continued to work together.
Are you at least proud of this role?
Marianne Koch: I really did not want to take it over. After reading the script, I thought, these are all terrible scoundrels. The leading actor the worst, a commercial killer.
You went to a convent school …
Marianne Koch: … that maybe came through there. But then the fee lured me.
They led a self-confident life – and then you came back to Germany and advertised from 1968 for a curtain. The spot was forever on you.
Marianne Koch: The curtains were completely okay. In addition, then it was over with the filmgages, because I was now a student, got into a new profession.
So you have never given up the old one. For an interview with Egon Bahr on the talk show “Drei nach Nine” you got the Grimme-Preis. The show was famous for its impudence.
Marianne Koch: That was not acting, that was journalism. There were already some other talk shows back then. But there was kindly asked and nicely answered. We wanted something different.
They rejected Amanda Lear because she did not want to talk about transgender, but about her new record.
Marianne Koch: I have never directed anyone out of the studio. She probably went voluntarily. Wolfgang Menge was the most original in our moderator round. From the tailor of Queen Elizabeth, he wanted to know the dimensions of the Queen. And when Beate Uhse came into the studio, he began to discuss the prices of dildos with her.
And while you were present on television in the evening, you operated a medical internship in Munich during the day. Did your fans line up there?
Marianne Koch: The work in my practice was really important. I had a medical assistant with a very good sense of who is coming. If you wanted to be with me because I was the actress, you were more discouraged. My practice was also at the Munich Ostbahnhof, not Schickimicki area, but one with many old people, guest workers, just normal people.
Now you are old yourself, will be 85 next week.
Marianne Koch: I know. But I’m lucky. I can move my limbs, I see and hear well and work in an interesting profession. I am very privileged.
Also in terms of appearance.
Marianne Koch: Many Thanks. I did one of those shallow movies on Lake Garda when Lil Dagover played along. In the sleeping car, I saw her carefully wrap her chin band and always tried not to laugh too much to maintain her famous beauty. Then I met her sister. She looked normal, funny, laughed out of bounds and never wore a chin band. Even then I thought: It works that way too. Actually, even better. A principle that I hold to this day. Just no cosmetic surgery.
Do you understand people who are afraid of old age?
Marianne Koch: Of course. It’s not just about physical problems. Discrimination against elders is much stronger than you would imagine.
Is there something you are afraid of?
Marianne Koch: I think that the brutalization of the language and the blatant call for violence, which continues from the anonymity of the internet down to the street, must be of great concern to all of us.
Ms. Koch, can you tell us a few tricks on how to stay courageous and healthy for a long time?
Marianne Koch: I can tell you that crossword alone is not enough. It is better to learn a language, to get together with other people. Social contacts are incredibly important. In addition to reasonable nutrition , adequate exercise. Maybe you’ll get a dog.
Are you afraid of death?
Marianne Koch: Actually, I consider myself a courageous person. Because I like to make decisions, and pretty quickly. I am not afraid of death, but, like so many people, of dying. However, I know that palliative medicine will help me, that’s what it’s for. And I think I can let go when the time comes.
Source: www.tagesspiegel.de (19.08.2016)
Marianne Koch Video
Marianne Koch News
Marianne Koch – Doctor on the red carpet
Münchner Marianne Koch is an actress and as a film partner of Curd Jürgens, OW Fischer and Clint Eastwood a star. After more than 70 films, she says goodbye to the “red carpet” and resumes her medical studies.
Her single mother Marianne Koch owes two qualities that have always given her at work and in crises, self-reliance and self-confidence. The young medical student is discovered as she works in the film studios in Geiselgasteig. In 1955 she succeeds in the breakthrough in “The Devil’s General” with Curd Jürgens and soon she gets so many roles offers that she gives up her studies. Followed by films with OW Fischer, Heinz Rühmann and Clint Eastwood, over 70 in total. In “Lebenslinien”, Marianne Koch first publically talks about her biological father, the Jewish physician Rudolf Schindler, who had to flee to America because of the Nazi regime. She does not get to know him until she turns in Hollywood in her mid-30s. In the most painful phase of her life, the divorce from the doctor Gerhard Freund, She ends her film career and continues her studies. Thereafter, as an internist in her own practice, she primarily treats cash-desk patients. To this day, she advises listeners seeking advice in the BR radio program “Gesundheitsgespräch.” She describes the growing up of her sons, the Einser state examination and her meeting with the writer and writer Peter Hamm, with whom she lives together for almost 50 years, as the great moments of happiness of her life.
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