German actor Peter Weiss carved out a notable place for himself in the world of cinema. Over the course of his early career, Weiss was involved in a wide array of projects that showcased his versatility as a performer. One of his earliest and most intriguing roles came in the 1967 film The Persecution and Assassination of Jean-Paul Marat As Performed By the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade, starring Ian Richardson. That performance helped set the stage for what would become a long and varied career.
In addition to his stage and film work, Peter Weiss also ventured into television, appearing in the popular series Man From Atlantis, which aired on NBC from 1976 to 1977. As time went on, he continued to take on diverse roles across different genres. In 1985, he starred alongside Marianne Sägebrecht in the comedy Sugarbaby, a film that brought a lighter tone to his repertoire.
Later in his career, Peter Weiss demonstrated his dramatic range once again in Die Zweite Heimat: Leaving Home (1993), sharing the screen with Henry Arnold in what would become a memorable installment of the acclaimed series. He also appeared in the medical drama Gideon’s Crossing (2000–01), further proving his adaptability as an actor. In 2000, he played a role in the film Nightfall, starring Verena Jasch, which added yet another dimension to his body of work.
Peter Weiss made one final notable appearance in the 2012 film Dating Lanzelot, marking a return to the screen after some time away. In his personal life, he was married to Barbara Robbins, a relationship that stood as a significant part of his life story.
Sadly, Peter Weiss passed away in May 1982 at the age of 66, leaving behind a legacy of performances that reflected his dedication to the craft of acting.
Peter Weiss is perhaps best known for his critically acclaimed film Marat/Sade (1967), which stands out as his highest-rated work. Interestingly, the same film also appears as his lowest-rated movie, showcasing the varied reception it has garnered over time. While some audiences and critics praise its bold artistic vision, others seem to find it less compelling. This duality highlights the complexity of Peter Weiss’s creative approach and the enduring impact of Marat/Sade (1967) within his filmography.