Martin Müller, a German actor known for stage and television work, took on the role of Heinrich Himmler in writer-director Felix Randau’s film “I Is Another,” which debuted in the Piazza Grande program at the 79th Locarno Film Festival in Switzerland on August 7. The production marked Randau’s exploration of a 1952 narrative centered on Felix Kersten, a former massage therapist to Himmler, as he encounters journalist Hedda who questions his claims about helping concentration camp prisoners escape.
Finding an actor willing to portray Himmler proved to be the production’s most significant casting obstacle. Randau encountered resistance from several performers who felt uncomfortable lending their talents to depicting such a historically notorious figure. The director defended his artistic choice by arguing that depicting evil in cinema serves an important function, particularly in contemporary Germany where far-right political movements have gained traction. The Alternative for Germany party achieved second-place finishes in recent federal elections and has established significant support in eastern regions.
Müller’s casting emerged from an existing professional relationship with casting director Suse Marquardt. After submitting a self-taped audition, Müller met with Randau in person, leading to an immediate agreement to move forward. The actor prepared for the role by gaining four to five kilograms at the director’s request to achieve a rounder facial appearance. Notably, Müller chose not to study previous portrayals of Himmler by other actors, instead developing his own interpretation based on the specific context of Kersten’s perspective within the film’s narrative.
During production, certain scenes proved emotionally demanding. A nighttime sequence in which Müller and co-star Claes Bang discussed numerical figures related to Jewish prisoners left both actors deeply affected by the dehumanizing nature of the dialogue. Müller described the experience as disturbing, noting that Himmler’s cold rationality and mathematical approach to human tragedy required sustained concentration. The psychological weight of inhabiting the character extended beyond filming, with Müller describing difficulty in separating himself from the role even after production concluded.
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