New trends in post-war German cinema saw a shift away from the glamorous divas or idealised motherhood figures of the 1930s and 40s towards uncomplicated, wholesome, vivacious, perhaps tomboyish girl-next-door types. Germanic features were no longer strictly required. Dimple-cheeked, dark-haired Sonja Ziemann with her grey/green eyes and Bardot mouth became the paragon of the new fun-loving heroine for undemanding romantic fare or the ever popular 'Heimatfilm'.Sonja Alice Selma Toni Ziemann was born in Eichenwalde, near Berlin, the daughter of a tax advisor. She learned ballet under Hilde Altmann-Vogt and Tatjana Gsovsky and began her career as a showgirl in revues and operettas, singing and dancing at the Metropol Theater. There, the director Peter Paul Brauer 'discovered' her for the screen. Sonia made her movie debut in a 1942 musical comedy and was thereafter groomed by Germany's pre-eminent film company Ufa (headquartered in Babelsberg) as an up-and-coming starlet. She appeared in a few undemanding supporting roles and made a brief return to the stage in the immediate aftermath of World War II. After toiling for several more years in assorted musicals and comedies without making too much of a ripple, she hit the big time with La fiancée de la Forêt-Noire (1950). The first motion picture to be shot in colour after the war, it ended up topping the popular charts and became the highest grossing picture of the year. Sonja garnered the first of two Bambi Awards but found herself effectively typecast. Further Heimatfilms and operettas followed which built on her pairing with Austrian matinee idol Rudolf Prack , lauded as Germany's most popular screen couple. Grün ist die Heide (1951) was the biggest of the Ziemann-Prack blockbusters, scoring an audience of 16 million viewers nationwide."All my roles were kitsch" she declared in a 1961 American interview. Indeed, many of those roles had relied on her camera-proof looks and patented profile. Eventually, Sonja took steps to shed her "snow white and marzipan" image and moved on to dramatic character roles. Her first was a Polish-West German co-production, Ósmy dzien tygodnia (1958), based on a story and screenplay by Polish author Marek Hlasko (who became her second husband in 1962). The rest of the decade completed her breakout from typecasting through a variety of roles and genres, some filmed at home, others in England or the U.S.. She now had leading roles in realistic wartime dramas based on factual events (Chiens, à vous de crever ! (1959), Strafbataillon 999 (1960), Le pont de Remagen (1969)), thrillers (SOS - Train d'atterrissage bloqué (1959), Journey Into Nowhere (1962), Frühstück mit dem Tod (1964)) and crime dramas (Das Messer (1971)). There was even a comedy (of sorts) with Sonja billed second in the cast behind Terry-Thomas (as a 'germ detective') in Un croque-mort trop curieux (1961), shot by MGM at Elstree.Sonja's screen acting took a backseat during the 70s with a return to the stage at theatres in Berlin, Frankfurt and Munich. Having moved to Switzerland, she became an honorary member of the Zurich Schauspielhaus in 1981. Three years after the death of Hlasko in 1969 she married the actor Charles Regnier. Sonja Ziemann died on February 17 2020 in Munich at the age of 94. Show less «