Sharetti actor Philip Hochmere plays a blind detective

Berlin. As a blind investigator Vienna crime novels (The following episodes “Tod im Fiaker”, April 8, 8:15 pm, and “Buried Alive,” April 15, 8:15 pm, Das Erste) and series such as “charity” Become Austrian Philip Hochmere A name familiar to a wide German audience. The 47-year-old, who was also seen as Gederman, owes some of the most important roles in his life to Prince Goethe. This is why he also speaks in an interview about how these classic texts shaped his life, why he feels a Faustian spirit in himself and how much he wishes to stop.

You are now playing the title hero in “Blind Determined” for the fifth time. Can you, as a blind person, find your way around our world?



I do not think so. Moving blindly in the big city requires a certain routine and a very dangerous one. Our world is designed for the sighted only. But what I do know from my own experience is the feeling that I am a kind of stranger, like blind investigator Alexander Haller, and that he has his own view of the world.



And do you still feel like a stranger?

Philip Hochmere: Before I went to theater, I often felt this way. Fortunately, that sentiment changed in theater and later in the movie.

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What helped you?

Hashmir: When I was still a student at my grandparents’ house, I discovered an old torn booklet from Reclam “Faust 1”, and even the first few sentences I almost hypnotized me. In general, I found many answers in Goethe’s works.

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In the meantime, younger generations may connect Goethe with the title German comedies.

Hashmir: Yes, you are probably right! Luckily, as a teenager, I saw the legendary film “Faust”, adapted by Gustav Grundgens in the cinema – that was a special moment. I believe many Goethe texts provide great orientation to the emotional life of a growing person. I found in it many ideas that were important to my life. Funny that I’ve also played Torquato Tasso and Mephisto in “Faust” and “Sorrows of Young Werther” for so long. As “Werther” I had the opportunity to show what an outsider is for the first time. This book has been with me for a long time. I recently did a new setup with my band, with an electronic soundtrack from Werther. This record is aimed specifically at young people who do not automatically have access to this literary world.

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Faust becomes blind as the end of his life approaches and receives new insights by focusing on his innermost being. How cool is your inner self?

Hashmir: That’s right, blindness in Faust – as in my character Alexander Haller – means more. In a sense, I also experienced this introspection at shutdown. I’ve never been so quiet and internally transformed in my adult life. It took the first few months to sort myself out, but now I’m somewhat grateful for the inertia.

Like him, do you know the constant feeling of dissatisfaction?

Hashmir: Of course I know that, very good indeed. Faust is stuck in a stalemate, and his opponent Mephisto frees him with force of acceleration. Mephisto says yes: “I am the soul that always denies.” (Laugh)

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Do you need ghosts deny being peers in your life?

Hashmir: at all. Everyone needs their own personal Mephisto. Also in Inspector Alexander Haller’s film Blind Determination, his counterpart in Nikko, his unnatural driver and assistant, played by Andreas Gunther. He is addicted to games, has a connection to the underworld, and thus gives the inspector the opportunity to enter the Vienna demi-world.

And do you still have Faustian ambition?

Hashmir: Yes, I think so, I still want to know what “binds the world together in its essence,” as Goethe said, and there is a blind inspector or forensic scientist Otto Prokop, whom I see in Season 3 of “Charité” playing important pieces in the mosaic in search of this the question.

The big question with Faust is whether or not he is saying at the moment, “Hold on for a while, you’re so beautiful.” Have you said that before?

Hashmir: When I see an episode of “Blind Stylists” it works, I think so, and precisely because anxiety shapes my life, I always look for the moments when everything stops.

And keep working until you are redeemed like Faust?

Hashmir: Yes, I see life as a form of freedom from traditional views, and I am looking for this freedom from oppression.

But there are conscious compulsions. Werther and Tasso confront pragmatic bureaucratic figures such as Albert and Antonio. Do you have them too?

Hashmir: Yes of course. But this is part of our life, we have to deal with these contradictions meticulously. It is important to have certain skills and discipline, as you are obligated to clarify the workflow particularly in theater and cinema.

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There is also a pair of classic galleries for artists and citizens.

Hashmir: I would like to put myself on the technical side. It is interesting that with Goethe there are often these two male poles opposing each other. And between them is often the fate of the woman. Gretchen between Faust and Mephisto. Or Lott between Werther and Albert, for example.

Which brings us to the last sentence of Faust: “The immortal female draws us to her.” What do you think that?

Hashmir: Fortunately, today we no longer have to talk about the classic gender roles. I hope we can become freer and think, feel, and act more pluralistic and open about this issue as well.

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