- After Alice Guy of France, Louise Kolm-Fleck ranks among the first female feature director/writer/producers with a substantial career that spanned the silent era into sound.
- After her first direction for "Am Gänsehäusl" (1908) she realised movies as a director from 1911 regularly.
- Her cinematical career began in 1910 when she founded together with her husband Anton Kolm and the director Jakob Fleck the "Erste österreichische Kinofilms-Industrie". This company was renamed into "Wiener Kunstfilm-Industrie" in 1911. It soon crystallized that Luise Fleck Kolm was the artistic head whereas her husband was especially responsible for the financial part.
- In 1919 she founded together with her husband the Vita Film and they realised other well-known productions like "Durch Wahrheit zum Narren" (1920), "Der tanzende Tod" (1920), "Eva, die Sünde" (1920), "Eine Million Dollar" (1921), "Revanche" (22) and "Die Tochter der Frau Iarsac" (24) under her direction. The production company went bankrupt in 1924. She successfully continued her cinematical career in the next years despite this setback.
- Her father Louis Veltée run an panoptikum wax museum in Vienna and already showed movies from 1896. Luise Fleck Kolm sat at the cash-box as a child and came in contact with this new medium very early.
- The first realised movies were normally short documentaries in and around Vienna and was able to prevail against the French competition. But soon the feature film took over the place of the documentaries and became very popular.
- Afte the death of her husband Anton Kolm she went to Germany with Jakob Fleck and got married with him in 1924. Both became well-known as a director couple in the film business. From now on she worked under her new name Luise Fleck.
- Altogether Luise Fleck wrote at least 18 screenplays, directed 53 films and produced 129 films. Some sources assume far higher figures, allowing for her work being often uncredited.
- Der Pfarrer von Kirchfeld ("The Pastor of Kirchfeld") appeared in cinemas in 1937. It was Luise and Jacob Fleck's first sound film production, based on a well-known anti-clerical play of 1870 by Ludwig Anzengruber. It was intended as anti-Nazi and pro-Catholic "Austria propaganda", but was not perceived as such by the critics, who misinterpreted and discounted it.
- Her son, Walter Kolm-Veltée, was also a noted film director.
- Her cinematical works diminished with the rise of the sound film era but this was not least a question of the political circumstances with the rise of National Socialists which affected the career of many artists.
- When Hitler took power in 1933 they returned to Vienna, as Jacob Fleck was Jewish, but continued to produce for "Hegewald-Film" in Vienna and Prague, while Luise's son Walter Kolm-Veltée, who had taken a qualification in sound production at Tobis-Tonbild-Syndikat, was nominally responsible for direction.
- After a torture of her husband through the KZ's in Buchenwald and Dachau for a total of 16 months they were able to emigrate to China thanks to the intervention of Wilhelm Dieterle. There they realised their last cinematical work with "Söhne und Töchter der Welt" (1941) together with director Fei Mu. But the rest of the time they lived in huge poverty.
- Luise Kolm, as she was then called, was principally responsible for the studio's production of socially critical dramas that dealt with questions of class conflict and ideological questions, unlike the standard productions of other film studios of the time. The actor Eduard Sekler, who worked for Wiener Kunstfilm, described her in this way: "Luise Kolm was a brilliant all-round talent while her husband Kolm just looked after the money - she did everything, she cut and spliced the films, wrote the intertitles and helped her brother in the laboratory. Without her drive and initiative it's doubtful if the firm could have remained in existence.".
- Luise Fleck Kolm and Jakob Fleck only returned to Austria in 1947. But the planned comeback did not come off, three years later Luise Fleck Kolm died at the age of 77.
- When in 1938 the National Socialists also took power in Austria in the Anschluss, and control over the Austrian film industry passed virtually overnight into the hands of the Reichskulturkammer, there was no more work for them.
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