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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.
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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