Arriving for the first time of his life in Paris, he [von Molo] spotted Fritz Lang himself at the station, waiting for him. Lang stood with someone von Molo recognized but didn't know personally: Robert Liebmann. This writer, who, like Lang, had only one good eye (the other was glass), ranked as one of Germany's leading scenarists [screenwriters] since his adaptation of Der blaue Engel in 1930. A former journalist and critic, Liebmann was expert at blending fantasy and realism, and in his career wrote, often in collaboration, over one hundred outstanding thrillers, musical comedies,parodies, adventure, horror, and crime films.
Liebmann, who was Jewish, also had fled Nazi Germany. He and his colleague Hans Muller had been victims of the March 29 Ufa-board purge of Jewish employees, and in fact were denied credit on the screen for their last script--the film von Molo had been workin on, in fact, Walzerkrieg. Now Liebmann was adapting Liliom for Pommer and Lang...
Liebmann was one German film refugee who never left Paris, and whose fate became "unknown" after Nazi Germany occupied France in 1940. Only recently, French film historian Bernard Eisenschitz confirmed that Liebmann perished in a Nazi death camp during the war.