It was 1960 when Peter received his first German Film Award (Flucht nach Berlin (Escape to Berlin)) and began to establish a name for himself. These early successes occurred alongside a major event in his private life: the birth of his first son, Philip. “It was me who made the music,” Peter recalled, “but it was my dear Cordy who drove my life. She said to me back then: ‘You have everything here, you know everyone. You address everyone as a friend, and they do the same to you. We should go somewhere else and start over.” In August 1961, the month the Wall was built, the Thomas family moved to Grünwald, a municipality near the Bavarian capital of Munich. The latter had become a culturally important metropolis and film location.
Cordy, Peter’s wife, on the change of location:
“At first, Peter wasn’t convinced. But once we got to Munich, he was immediately overwhelmed with offers of work.”
And Peter:
“When you turn 18, you decide whether you want to work for yourself or for somebody else. Anybody who has been there will know: if the money isn’t there on the first of the month, you need to be prepared to struggle. But this struggle liberates your mind and forces you to get creative. This also makes you more convincing as an artist. When one’s needs are completely met, the power to convince is somewhat diminished.”
His second son, Dominik, was born in 1962.
Never had Kitzbühel seen such a sensation! As whispers on every corner alluded to the arrival of Zarah Leander, the legendary Swedish singer and actress, Peter and Cordy Thomas threw a lavish party in her honour. High society travelled from far and wide for the occasion.
Cordy recalls the night:
I had prepared a champagne reception to welcome Zarah – and the idea was not met warmly. “What, champagne?!” came her horrified response. “NO! Give me a vodka right now, and a quadruple measure at that!”
After that, Zarah energetically gave orders for how she wanted to be received by the guests.
“I’ll take this green chair here,” she told me. “It goes well with my red hair.”
Since Zarah was never one to shy away from a drink, she simply called me Brandy. “And you, Brandy, please introduce me to all the guests – or rather, let them parade before me,” she said.
No sooner said than done. It happened that the first guest was her ardent admirer, Arndt Krupp von Bohlen und Halbach, heir of Germany’s Krupp steel dynasty.
Zarah found a kind word for all. When I introduced her to the handsome French ambassador, however, Zarah grinned and whispered in my ear: “Please tell this beautiful man that I find his nose very promising indeed.”
At this, I was lost for words. “My dear Zarah,” I laughed, “you’ll have to tell him the smutty stuff yourself!”
Later, after Zarah had performed countless renditions of her current hit Wodka für die Königin (Vodka for the Queen), she was overcome by a sudden tiredness and allowed her husband, Arne, to lead her to the bedroom.
The guests left behind were sorely disappointed – until Arne made a magnificent proposal. “Would you like to see my Zarah sleeping?”
The guests, of course, thought this was marvellous. The illustrious company marched single file up to the first floor.
Oh, what a vision she was in her lace nightgown, red wig set aside! The blissful silence was interrupted only by Zarah’s regular, rather ear-splitting snores. Her devoted fans could scarcely believe their eyes. The Krupp heir, Arndt, a sensitive character, was overcome with emotion at the sight of his beloved and had to turn away.
A female fan jostled her husband. “You see, Seppi,” she said, in her distinctive Bavarian dialect, “even international stars snore. It’s not just me!”
The next day, church began an hour later than usual. There was only one subject on everyone’s lips: Zarah snoring and wigless in bed!
Sachs blazed his way through the sixties and seventies as a true ‘playboy’ of the era. He scattered 1000 red roses over Brigitte Bardot’s villa from a helicopter and cruised around the St Tropez seafront in his Riva yacht, watching the glamorous lives of the jeuneusse dorée pass before him.
A look at his pictures and work, however, reveals that Sachs was not at all an exuberant bon vivant at heart, but something of a German pedant: orderly, precise and driven. As art expert Otto Letze remarked: “The more you dig into the depths of Sachs’ work, the more fascinating he becomes – as a perfectionist, a patron, a collector, a lateral thinker in the way he approached his collecting and his own creations. He is a fascinating personality; a pioneer of the first order who creates revolutionary things.”
In film, Sachs was an early adopter of time lapse and super slow motion. He played with digital technology and tried things out, often with amazing results.
Sachs’ first art film Le petit port told the story of a small port in the Swiss city of Lausanne. His search for a suitable musical collaborator led him to Peter Thomas, who was recommended by Sachs’ editor at the time. For Sachs, the collaboration was “outstanding; [Peter] is a lively chap and a fantastic musician. He composed to a tight schedule, and the finished recordings were always first-class. We never had any artistic run-ins. On the contrary, he was very adept at shifting gears.” Other films were made in quick succession – including Les giraffes de St. Tropez, in which the two (very much human) main actors take part in a 15-minute cinematic declaration of love. It is a homage by Gunter Sachs and Peter Thomas to their (then) adopted home in the south of France; to the wild-partying, St Tropez lifestyle of ‘seeing and being seen’.
The musical partnership between the two men reached its zenith with ski film Happening in White (1969), which caused a stir many years before Willi Bogner had a similar idea with Fire and Ice in 1986. Sachs’ film opens with the Swiss Glacier Express racing through the tunnels, while daring skiers soar into the sky and compete with fighter jets for elegance and strength. During their work on this documentary, Sachs was “particularly impressed by Peter: I worked with super slow motion and the accompanying film score was a roaring success. Peter is a force of nature; he never tackles the recording process with anything less than a hundred percent. ‘Give ‘em hell!’ he commands, and everything is always right the first time. He is a consummate professional.” Peter wrote music for a total of five short films, with most of the recording work being carried out in Munich. Just as the two men enjoyed a long-lasting friendship, their respective spouses, Cordy (Peter) and Mirja (Gunter) also developed an enduring and affectionate bond. For Peter Thomas, Gunter Sachs was “the archetype of a society – a way of living – that one has to search hard for today; like Aladdin with the magic lamp…”.
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