Gustav Fröhlich was seldom involved in Nazi Propaganda films, a fact that helped him to establish a new film career after World War II. He remained a busy actor after the war but his roles changed from leading men to supporting parts as he got older. His best-known role during this time was perhaps in Die Sünderin (1951) with Hildegard Knef, in which Fröhlich portrayed a terminally ill painter. Die Sünderin caused a scandal because of its open treatment of several taboos such as nudity, suicide and euthanasia.

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During the Third Reich, Gustav Fröhlich remained one of the foremost male stars in German film (along with Hans Albers, Willy Fritsch and Heinz Rühmann). Between 1931 and 1935, Fröhlich was married to Hungarian opera star, and actress Gitta Alpár, with whom he had a child, Julika. He was engaged to the actress Lida Baarova until she became involved with the Nazi propaganda minister, Joseph Goebbels. There is also an unconfirmed story that Fröhlich slapped Goebbels in a fit of jealous rage.[1] In 1937, he rented his house in Berchtesgaden to Hitler's architect, Albert Speer. In 1941, he served in the Wehrmacht Landschützen-Regiment and in the same year, married Maria Hajek. They remained married until her death in 1987.

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Fröhlich’s syndrome, also called Adiposogenital Dystrophy, rare childhood metabolic disorder characterized by obesity, growth retardation, and retarded development of the genital organs. It is usually associated with tumours of the hypothalamus, causing increased appetite and depressed secretion of gonadotropin. The disease is named for Alfred Fröhlich, the Austrian neurologist who first described its typical pattern.

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Gustav Fröhlich began his stage career in the early 1920s at minor theatres in Germany. He quickly achieved more important roles and appeared as The Prince of Homburg at the Deutsche Theater under the direction of Max Reinhardt. One of Fröhlich's first film roles was composer Franz Liszt in Paganini in 1922. This was followed by a string of bit parts and supporting roles in film. He landed his breakthrough role as Freder Fredersen in Fritz Lang's film epic Metropolis (1927). Although the film itself was a financial failure, it established him as a leading film star in Germany. He was also notable for his appearance in Asphalt (1929), in which his restrained performance is still impressive today. In 1930 he was called to Hollywood to play roles in German versions of American films such as Die heilige Flamme and Kismet. He often appeared in musicals or comedies as a romantic hero and smart gentleman.

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Gustav Fröhlich was seldom involved in Nazi Propaganda films, a fact that helped him to establish a new film career after World War II. He remained a busy actor after the war but his roles changed from leading men to supporting parts as he got older. His best-known role during this time was perhaps in Die Sünderin (1951) with Hildegard Knef, in which Fröhlich portrayed a terminally ill painter. Die Sünderin caused a scandal because of its open treatment of several taboos such as nudity, suicide and euthanasia.

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Dr Frohlich was educated at Trinity College Dublin and following qualification completed specialist training in anaesthesia and intensive care medicine. He then worked at the John Radcliffe Hospital, Oxford and as a senior lecturer at Oxford University. He has completed a PhD in translational medicine, received over €700,000 in research grant funding funding and published in excess of 30 peer reviewed clinical papers. Dr Frohlich was selected to partake in the inaugural leadership in healthcare diploma course pioneered by the quality department of the HSE and holds specialist higher level qualifications in Intensive Care Medicine, statistical analysis and palliative care medicine. Dr Frohlich returned to Ireland in 2014 and together with Dr Noelle Murphy established a comprehensive Intensive Care service within the private sector.

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Gustav Fröhlich was seldom involved in Nazi Propaganda films, a fact that helped him to establish a new film career after World War II. He remained a busy actor after the war but his roles changed from leading men to supporting parts as he got older. His best-known role during this time was perhaps in Die Sünderin (1951) with Hildegard Knef, in which Fröhlich portrayed a terminally ill painter. Die Sünderin caused a scandal because of its open treatment of several taboos such as nudity, suicide and euthanasia.

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