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December 7, 2000 / 4:46 PM
/ AP

Werner Klemperer, a refugee from Nazi Germany who went on to play the bumbling German prison-camp commandant Col. Klink on TV's Hogan's Heroes, has died. He was 80.
Klemperer died of cancer Wednesday at his home in New York, said his publicist, Bernie Ilson.
Klemperer, who fled Germany in the 1930s with his father, Otto, a distinguished conductor, won two Emmy Awards for his portrayal of Klink on the 1960s sitcom about World War II Allied prisoners of war.
He also received a Tony nomination in 1988 as a feature actor in a musical for his role in Hal Prince's revival of Cabaret.
Klemperer's film credits included Death of a Scoundrel, The Goddess, Judgment at Nuremburg, and Ship of Fools.
Klemperer also appeared as a narrator with nearly every major symphony orchestra in the United States. His repertoire included such works as Beethoven's Egmont and Fidelio, Stravinsky's L'Historie du Soldat and Oedipus Rex.
His narration of Mozart's The Impresario, with the Mostly Mozart Festival Orhcestra, aired on PBS's Live from Lincoln Center.
Klemperer's other Broadway roles included starring opposite Jose Ferrer in The Insect Comedy, and with Tallulah Bankhead in the 1955 production of Dear Charles. Most recently, he co-starred in the Circle in the Square's production of Chekhov's Uncle Vanya.
He also performed in various operas, including The Sound of Music, with the New York City Opera. He performed the role of Prince Orlofsky in Die Fledermaus, with opera companies in Seattle and Cleveland.
But for television sitcom fans, who can still see Hogan's Heroes in syndication, Klemperer will always be remembered as the bumbling, monocled Klink. He was the commandant of a prison camp of Allied soldiers who routinely sneaked out of the compound — sometimes to attack the Nazi war effort and other times for other less patriotic endeavors.
He is survived by his wife, actress Kim Hamilton Klemperer; a son, and a daughter. A private funeral will be held and a memorial service will be scheduled at a later date.
By FRANK ELTMAN © 2000, The Associated Press. All Rights Reserved. This material may not be published, broadcast, rewritten, or redistributed

First published on December 7, 2000 / 4:46 PM

© 2000 The Associated Press. All Rights Reserved. This material may not be published, broadcast, rewritten, or redistributed.

Copyright ©2022 CBS Interactive Inc. All rights reserved.

Updated Aug. 05, 2017 10:32PM ET / Published Aug. 06, 2017 12:00AM ET
Thirty years after fleeing the Nazis, Werner Klemperer skewered the Nazis by playing them in one of TV's greatest hits.
Imagine achieving fame as an actor playing Nazis in America – thirty years after fleeing the Nazis to America.
In our dour politically correct culture, which takes comedy too seriously, it sounds like a particularly excruciating form of hell. Werner Klemperer, born in Cologne in 1920, built his career playing a Nazi criminal Emil Hahn on trial in Judgment at Nuremberg , and the mass murderer Adolf Eichmann in Operation Eichmann . Then, he was the bumbling, hyper-Teutonic, Colonel Wilhelm Klink in the TV sitcom Hogan’s Heroes from 1965 through 1971. Coming from a generation that could see art as challenging and comedy as subversion, Klemperer was proud of these roles. His outrageous star turn ridiculing Nazis week after week on CBS was downright liberating.
It sounds like a Saturday Night Live skit gone bad: produce a comedy about a German Prisoner of War camp just twenty years after the liberation of Auschwitz; Gomer Pyle meets Stalag 17. Then hire three German Jewish refugees as three prominent Nazis. Include among the “prisoners” a Buchenwald survivor who lost twelve siblings and parents in Auschwitz, and still bears the concentration camp number A5714 the Nazis branded onto his forearm.
Even in those less PC times, Jack Gould , the standard-setting New York Times critic first found Hogan's Heroes: “a little sick… an insensitive and misguided extension of Hollywood television’s all too prevalent belief that anything and everything can be converted into cheap slapstick.”
The Buchenwald survivor Robert Clary, who played the French prisoner LeBeau, insisted : “Stalag 13 is not a concentration camp. It's a POW camp, and that's a world of difference. You never heard of a prisoner of war being gassed or hanged.” True, captured soldiers weren’t slaughtered like Jews – but POW camps were cruel. And central to the comedy’s success was its Naziness, with recurring visits from Gestapo Major Wolfgang Hochstetter, played by another Jew, Howard Caine (originally Cohen).
John Banner, a Viennese-born Jew, who also lost relatives to the Nazis and played the beefy, clueless “I see Nothing” Sergeant Schultz claimed : “Schultz is not a Nazi.” He saw “Schultz as the representative of some kind of goodness in any generation.” The “Good German” stance is morally problematic, absolving the millions whose indifference enabled Hitler.
As the son of the famous violinist, composer and conductor Otto Klemperer, as a trained actor who spent most of his three years in the American army during World War II entertaining the troops, Werner Klemperer often called Klink “just another acting assignment.” He would say that when people tried “to overanalyze 'Hogan's Heroes' I merely tell them that it was a funny show, a wonderful show, and I'm very proud of it.”
The key here is the one condition this World War II veteran and German refugee placed when cast as the anal, violin-playing, monocle-sporting colonel. “If they ever wrote a segment whereby Colonel Klink would come out the hero, I would leave the show,” he said . In other words, this show would always be “I hate Nazis,” and resist television’s saccharine impulses to become “I Love Lucy,” the Stalag edition.
Remarkably, this charmingly subversive show worked. True, the sane, smooth-talking, lady-killing, wry center of Hogan’s Heroes was Bob Crane as Colonel Hogan, the highest-ranking prisoner. But Hogan’s patsies—Klink and Schultz—were the most mimicked—and memorable.
This was the pre-Sixties Sixties, when a mischievous “beat” sensibility reigned rather than the angrier “Hey, Hey LBJ how many kids did you kill today” approach that emerged a few years later. Back then, Americans laughed at Cold War anxieties with Get Smart . They worked through class anxieties by watching fish-out-of-water country bumpkins living in luxury during Beverly Hillbillies and spoiled aristocrats mix with regular folk in Green Acres . And every week, Americans with still-vivid nightmares from World War II, which involved 16.1 million American troops, could laugh through a controlled topsy-turvy cantata that guaranteed an Allied victory. “If you liked World War II, you’ll love Hogan’s Heroes ,” the show’s over-the-top tagline proclaimed.
Back when the cone of silence still squelched much conversation about the genocide of the Jews, when it took three years to sell the first 3,000 copies of Elie Wiesel’s memoir Night— which has now sold over 10 million copies—no reasonable person believed that Hogan’s Heroes exonerated the Nazis. But laughing made the once unspeakable more discussable.
Just as I Love Lucy advanced feminism by empowering women to defy their husbands, just as in a later generation, M*A*S*H mocked the military and All in the Family blasted racists and sexists, viewers loved watching the Nazis get out-smarted thanks to the underground tunnels, elaborate ruses, and spy versus spy subplot mocking the Nazis.
Surprisingly, Hogan Heroes became respectable. Klemperer was nominated for a Best Supporting Actor Emmy, for all six seasons from 1965 through 1971—and won twice. In the highest pop culture compliment, he reprised his role as Colonel Klink on the camp classic Batman and, decades later, as Homer’s guardian angel in The Simpsons.
Klemperer’s Emmy six-peat suggested his true career frustration. TV’s establishment was flattered because he was slumming—with his highfalutin classical resume giving the lowest form of tv entertainment some tone. He was cultured, the son of a Highbrow icon, and one of the persecuted not the persecutors (although his Jewish-born father converted to Catholicism then back to Judaism and his soprano mother Johanna Geisler raised him Catholic).
Within two years, Jack Gould of the Times conceded: “the half-hour is passingly amusing as Hogan’s Heroes pulls off a coup every week and invariably foils the enemy.” And, Gould added, it’s an “ironic commentary on the uncertainties of show business” that “the primitive role of Klink” has given Klemperer “national prominence and a bulging bank account…. It is nice that such a reward should fall to a gentleman of the theatre.”
Now rich and famous, Klemperer returned to his—and his—father’s loves: he became a High Priest of High Culture. He performed as a concert pianist. He won a Tony nomination as Herr Schultz in Cabaret . He sang in great operas. And, using his distinctively persnickety but now almost universally recognizable voice, he narrated classical music performances, bring them to the masses.
When Klemperer died in 2000, his widow Kim Hamilton admitted that all the clanking about his Klink role could be demoralizing. She said , “He sometimes felt he was too identified with that character.” He would have preferred to live in a world that loved him for his classical music. Still, he was enough of a professional—and a decent enough person—to appreciate the adulation and the opportunities it provided.
Historians tracing America’s cultural recovery from World War II should acknowledge Hogan’s Heroes ’ comic genius helped America confront the Holocaust’s hideousness.
Comedy should be edgy. Comedy should be triggering. By learning how to laugh at Klemperer’s “HO-gggan!” and Sergeant Schultz’s “I see nothing,” we were saying “I fear nothing”—and am hungry to learn about everything. Raising a generation of finger-pointing, cry-babying narcs is problematic. By judging everything students learn nothing, stuck in their echo chambers.
If refugees from Nazism could use comic Nazis to skewer Nazi evil, we can learn to love laughing lovingly at our more benign foibles, to better ourselves and our society.

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Resistance since 7 days. Past 2 weeks action could be down channel.

Base between 67 - 68 region with a potential double bottom W at previous high. Line chart analysis shows triple bottom instead of double.

Analysis for swing traders

Without reversal pattern on top WTI long is not dead nor reversed. It chose to continue to zigzag the big rising channel. Steep rally no. Gentle rally yes. Take retracement as discount for long. This is now the game for investors and medium term traders. Speculators hoping for 0-100mph in 4 secs will be sorely tested.

There may be a...

Screw projective methods and candlesticks. They introduce too much noise. Stripped to bare minimum zigzag and line chart WTI action looks surprising clear.

Colonel Kink's observation: still long still wait for clear base to show up.

See all my previous WTI observations which have been bullish till now.

In previous research on bullish WTI I overlaid XLE and observed that there is a cup and handle. Cup and handle or ascending triangle or whatever pattern price zigzag combined with rising WTI says XLE is a bullish continuation.

Keep a close eye as that continuation pattern is now pushing against resistance.

Analysis for swing traders

WTI is clear cut. With new 52-week high and former becoming support this is a long proposition. In my last observation for WTI I brought up inserting a Fib-R. With new high adjust this Fib-R higher also. Note that price bounced off 23.6 so this is a strong trend .

Since price is now pretty close to high might as well wait for a...

Analysis for swing traders

Price action test > re-test of shadow zone confirms that it is resistance. Price action at resistance meets Bollinger Band overbought so there is confluence. Now for trigger which could look like

/\/\ in line chart
clear wash and rinse of shadow+bollinger upper band
break below shadow zone
break black dotted trend line

...

Analysis for swing traders

GBPUSD favours continue short with swing lower highs and lower lows. Bollinger Bands agree. Noting where the higher Bollinger Band is price might not be able to reach shadow A. Zooming below shadow B should be an entry signal as well. Look for wash n rinse or /\/\ on line chart.

Analysis for day traders

Continue to long in line...

Analysis for swing traders

AUDUSD swing is still printing lower highs lower lows and Bollinger Bands agree.

Look for short signal at shadow A. Trigger could look like /\/\ on line chart or wash and rinse with clear /\ above then back below the shadow. If price fails to reach shadow A then zooming past shadow B could be an entry too.

Analysis for day traders...

Analysis for swing traders

Swing is clearly trending higher with higher highs higher lows from not just price action but bollinger bands as well. Therefore current movement = retracement.

For trigger look for VV in line chart at shadow or clear wash n rinse of shadow i.e. V shape below and then sharply back above shadow. If in doubt insert a 3ema display2 on...

Analysis for swing traders

ColonelKink SAR™ method of drawing 'shadows' on weekly chart shows USDJPY stuck between too many shadows. This is why the pair is stuck. However line zigzag is printing a cup and handle. My previous analysis was bullish now I am still bullish.

Analysis for day traders

Space is very tight now. If insist to trade follow short term...

Analysis for swing traders

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Analysis for swing traders

WTI continues to power high. Both daily and weekly time frame are in agreement for long continuation. Current price being close to previous top at 72.88 this may be area for profit taking so any weakness could lead to sell off as bulls take profit and bears step in.

Those who want to add position or who missed the boat should wait for...

EURAUD is inside shadow pre-identified in previous post. Goto back story for basis of this discussion.

The boundaries of current resistance/shadow zone are 1.5717 and 1.5618. Black candle last Friday is a price reaction or rejection to this zone.

Since today is up we have luxury to wait and see if another rejection in the daily chart. Window panel below shows...

Analysis for swing traders

Current trend is up-down-up so the next swing direction is down. Swing traders look for swing short with down continuation since Feb. Overhead shadows 1 2 and 3. Look below for explanation on shadow.

Analysis for day traders
Day traders look for long continuation in line with current white week candle.

Notes: Technical Analysis...

Analysis for swing traders:

1.676 - 1.68 is a major former support going back to November 2017. This is a major shadow with many lines inside
Kennedy Leigh Bondage
Aida Fox Nude
Paris Kennedy Bound

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