NEW YORK, NY.- Günter Lamprecht, the German character actor whose acclaimed performance anchored Rainer Werner Fassbinder’s 14-part television epic, died Tuesday in Bad Godesberg, a suburb of Bonn, Germany. He was 92.

His agent, Antje Schlag, confirmed the death, at an elder care facility, on Friday.

When “Berlin Alexanderplatz” was first broadcast in West Germany in 1980, Lamprecht was hailed for his portrayal of Franz Biberkopf, an ex-convict navigating life in the gritty Berlin of the late Weimar era. “Berlin Alexanderplatz” was later shown in movie theaters in the United States, in cut of more than 15 hours.

In the 1990s, Lamprecht became a familiar face to television viewers in the newly reunified Germany as police inspector Franz Markowitz on the long-running crime procedural, “Tatort.”

Before “Berlin Alexanderplatz,” Lamprecht appeared in a number of Fassbinder’s films and television series, including the 1973 science fiction epic “The World on a Wire” and the director’s breakthrough international hit, “The Marriage of Maria Braun,” in 1979. But it was his herculean performance in “Berlin Alexanderplatz” that won him the greatest praise of his career.

Reviewing its U.S. theatrical release in 1983 (a year after Fassbinder’s death), Vincent Canby of The New York Times wrote: “At the center of the film is the remarkable performance of Günter Lamprecht as Franz. He is a large, doughy-looking fellow with small eyes, a big stomach and a certain sweetness that makes understandable the loyalty he inspires in the series of women who live with him. Mr. Lamprecht must rant, rave, laugh crazily, booze, brawl and never — not for a minute — be ridiculous while behaving in ridiculous ways.”

Lamprecht said he had been cut out for the role.

“You must remember that I grew up close to Alexanderplatz,” he said in a 2007 documentary film that accompanied a screening of a restored print of “Berlin Alexanderplatz” at the Museum of Modern Art in New York. He recalled knowing intimately the seedy and run-down Berlin quarter that is the center of Biberkopf’s world; swimming in the Spree, the river that runs through Berlin; and stealing fruit from the marketplace as a rambunctious boy.

Günter Hans Lamprecht was born in Berlin on Jan. 21, 1930, at the tail end of the Weimar era, when Germany was a republic between the world wars. His father was a taxi driver and a staunch supporter of the National Socialist Party, which gave rise to Nazism. His mother was a cleaner. Toward the end of World War II, Günter, when he was 15, served as a paramedic and buried bodies during the Battle of Berlin.

After the war, he trained as an orthopedic technician, a trade he practiced for a few years. In his free time he danced at a West Berlin jazz club frequented by actors. Getting to know the performers there inspired him to pursue a stage career, he recalled in an interview with German broadcaster ARD in 2020.

Beginning in 1952, Lamprecht studied at the Max Reinhardt Seminar acting school in Vienna on a stipend from the city of Berlin. He had early engagements with theater companies in the West German cities of Bochum and Oberhausen. In Oberhausen, where he worked from 1959 to 1961, he won praise for his portrayal of Stanley Kowalski in Tennessee Williams’ “A Streetcar Named Desire.”




He remained active both on screen and onstage throughout his long career. In 1981, Wolfgang Petersen (who died in August) cast him in a relatively small role in “Das Boot,” the World War II submarine drama that became an international hit. One of Lamprecht’s more recent appearances, in 2017, was as Paul von Hindenburg, Germany’s Weimar-era president, in the hit Netflix series “Babylon Berlin.”

Fassbinder, the prolific and unruly West German filmmaker, discovered Lamprecht while Lamprecht was working in Bochum and cast him in three small roles before entrusting him with the demanding lead in “Berlin Alexanderplatz,” an adaptation of a modernist novel by Alfred Döblin.

“He looked at me and said, ‘You’re Biberkopf!’ I said, ‘Great, who is that?’” Lamprecht recalled in the 2007 documentary. He said he had tried reading the novel three times while in acting school but gave up each time, finding it too difficult.

Fassbinder mailed Lamprecht the script, and the actor shut himself up in a hotel on the Baltic coast for an entire week to read all 14 episodes. “In the end, exhausted but elated, I said to myself: ‘Yes, of course. You’re Biberkopf,’” Lamprecht said.

Döblin’s novel, published the year before Lamprecht’s birth, follows Franz Biberkopf, newly released from prison, as he navigates the mean streets of a radically altered Berlin. An Everyman coping with the tumult of the city, Biberkopf is drawn into a life of petty crime and ultimately crushed under the weight of an uncaring society on the brink of self-destruction, losing an arm in the process.

From the first day of filming, Lamprecht and Fassbinder quarreled about how much Berlin dialect to use; in the end, the actor, the Berlin native, prevailed over the director, a Bavarian. One of Lamprecht’s other contributions drew on his orthopedic skills: He designed a bandage to keep his right arm (the one the character loses) flat against his body and out of sight.

A decade after “Berlin Alexanderplatz,” Lamprecht achieved new prominence in Germany with “Tatort.” From 1991 to 1996, he was Markowitz, an endearing police inspector who does not carry a gun, rides the U-Bahn and snacks on currywurst, Berlin’s popular street food. Lamprecht also contributed to the scripts.

“Seventy percent of Markowitz is Lamprecht,” he said in the ARD interview. “I’m hidden in this character.” He also performed onstage as Markowitz.

In fall 1999, Lamprecht was in the Bavarian spa town of Bad Reichenhall for a performance when a 16-year-old student opened fire from the window of his parents’ home there, killing four people and injuring several others, before turning the gun on himself. Lamprecht and his partner at the time, actress Claudia Amm, were among the injured. Both recovered. They later married, his agent, Schlag, said.

Amm survives him, as does a daughter.

He published two volumes of memoirs, “And Sadly I’m Still: A Youth in Berlin” (2000) and “A Hellish Thing, Life” (2007). The titles are both quotations from the Döblin’s novel. At the time of his death, he was working on a third volume.

This article originally appeared in The New York Times.