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Fritz Lang

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Friedrich Christian Anton "Fritz" Lang (December 5, 1890August 2, 1976) was an Austrian-German-American filmmaker, screenwriter and occasional film producer. One of the best known émigrés from Germany's school of Expressionism, he was dubbed the "Master of Darkness" by the BFI.[1] His most famous films are the groundbreaking Metropolis (the world's most expensive silent film at the time of its release) and M, made before he moved to the United States, where he contributed greatly to film noir.

LifeEdit

Friedrich Lang was born in Vienna, in what was then Austria-Hungary, to Anton Lang, an architect and construction company manager, and Pauline "Paula" Schlesinger on December 5, 1890. He was the second of two sons (his brother Adolf was nearly seven years older). Both his father and his mother were practicing Roman Catholics, although his mother was Jewish and converted to Catholicism when Fritz was ten.[2] Lang himself was baptized at the Schottenkirche in Vienna.

After finishing high school, Lang briefly attended the Technical University of Vienna, where he studied civil engineering and eventually switched to art. In 1910 he left Vienna to see the world, traveling throughout Europe and Africa and later Asia and the Pacific area. In 1913, he studied painting in Paris, France. The next year, he returned home to Vienna at the outbreak of the First World War. In January 1914, he was drafted into service in the Austrian army and fought in Russia and Romania during World War I, where he was wounded three times.Template:Fact

CareerEdit

While recovering from his injuries and shell shock in 1916, he wrote some scenarios and ideas for films. He was discharged from the army with the rank of lieutenant in 1918 and did some acting in the Viennese theater circuit for a short time before being hired as a writer at Decla, Erich Pommer's Berlin-based production company. His writing stint was brief, as Lang soon started to work as a director at the German film studio Ufa, and later Nero-Film, just as the Expressionist movement was building. In this first phase of his career, Lang alternated between art films such as Der Müde Tod (Destiny, literally "Tired Death") and populist thrillers such as Die Spinnen (Spiders), combining popular genres with Expressionist techniques to create an unprecedented synthesis of popular entertainment with art cinema. In 1920, he met his future wife, the writer and actress Thea von Harbou. She and Lang co-wrote all of his movies from 1921 through 1933, including 1922's Dr. Mabuse, der Spieler (Dr. Mabuse the Gambler), which ran for four hours in two parts in the original version and was the first in the Dr. Mabuse trilogy, 1924's Die Nibelungen, the famed 1927 masterpiece Metropolis, and the 1931 classic, M, his first "talking" picture.

Although some consider Lang's work to be simple melodrama, he produced a coherent oeuvre that helped to establish the characteristics of film noir, with its recurring themes of psychological conflict, paranoia, fate and moral ambiguity. His work influenced filmmakers as disparate as Jacques Rivette and William Friedkin. In 1931, between Woman in the Moon and Das Testament des Dr. Mabuse, Lang directed what many film scholars consider to be his masterpiece: M, a disturbing story of a child murderer (Peter Lorre in his first starring role) who is hunted down and brought to rough justice by Berlin's criminal underworld. M remains a powerful work; it was remade in 1951 by Joseph Losey, but this version had little impact on audiences, and has become harder to see than the original film. Lang epitomized the stereotype of the tyrannical German film director such as Erich von Stroheim and Otto Preminger; he was known for being hard to work with. During the climactic final scene in M, he allegedly threw Peter Lorre down a flight of stairs in order to give more authenticity to Lorre's battered look. He even wore a monocle that added to the stereotype.

Upon his arrival in Hollywood, Lang joined the MGM studio and directed the crime drama Fury. He became a naturalized citizen of the United States in 1939. Lang made twenty-one features in the next twenty-one years, working in a variety of genres at every major studio in Hollywood, occasionally producing his films as an independent. These films, often compared unfavourably by contemporary critics to Lang's earlier works, have since been reevaluated as being integral to the emergence and evolution of American genre cinema, film noir in particular. During the 1950s, Lang found it harder to find congenial production conditions in Hollywood and his advancing age left him less inclined to grapple with American backers. The German producer, Artur Brauner, was expressing interest in remaking not only The Indian Tomb (a story that Lang had developed in the twenties that was ultimately taken from him by studio heads and directed instead by Joe May) but also Lang's earlier Doctor Mabuse pictures. Fearing that Brauner would proceed with or without his assent, Lang abandoned his plans for retirement and returned to Germany in order to make his Indian Epic, which is regarded as a masterpiece by a number of film scholars today. Following the production, Brauner was ready to proceed with his remake of Das Testament des Doctor Mabuse when Lang approached him with the idea of adding another original film to the series. The result was The Thousand Eyes of Dr. Mabuse (1960), made in a hurry and with a relatively small budget. It can be viewed as the marriage between the director's early experiences with expressionist techniques in Germany as well as the spartan style already visible in his late American work. Lang was approaching blindness during the production, making it his final project.

One of his most famous film noirs is the police drama The Big Heat (1953), noted for its uncompromising brutality, especially for a scene in which Lee Marvin throws scalding coffee on Gloria Grahame's face. During this period, his visual style simplified (owing in part to the constraints of the Hollywood studio system) and his worldview became increasingly pessimistic, culminating in the cold, geometric style of his last American films, While the City Sleeps (1956) and Beyond a Reasonable Doubt (1957).

Goebbels rumorEdit

Many of the rumors about Lang's life and career are hard to verify. The most famous rumor is that Joseph Goebbels called Lang to his offices for a meeting in which he gave Lang two pieces of news. The first was that his most recent film, Das Testament des Dr. Mabuse (The Testament of Dr. Mabuse, 1933) was being banned as an incitement to public disorder. The second was that he was nevertheless so impressed by Lang's abilities as a filmmaker, he was offering Lang a position as the head of German film studio UFA. Lang had been, unbeknown to Goebbels, already planning to leave Germany for Paris, but the meeting with Goebbels ran so long that the banks were closed by the time it finished, and Lang fled that night without his money, not to return until after the war.

The problem is that many portions of the story cannot be checked, and of those that can, most are contradicted by the evidence: Lang actually left Germany with most of his money, unlike most refugees, and made several return trips later in the same year. There were, of course, no witnesses to the meeting besides Goebbels and Lang, but Goebbels's appointment books, when they refer to the meeting, mention only the banning of Testament. No evidence has been discovered in any of Goebbels's writings to affirm the suggestion that he was planning to offer Lang any position. Jean-Luc Godard's film Contempt (1963), in which Lang appeared as himself, presents a bare outline of the story as fact.

Whatever the truth of this story, it is known that Lang did in fact leave Germany in 1934 and moved to Paris, where he filmed a version of Ferenc Molnar's Liliom, starring Charles Boyer. This was Lang's only film in French (not counting the French version of Testament). He then went to the United States. Lang's wife Thea von Harbou, who had started to sympathize with the Nazis in the early 1930s and joined the Nazi party (the NSDAP) in 1932, stayed behind. The two were divorced in 1933.

While his career had ended without fanfare, his American and later German works were championed by the critics of the Cahiers du Cinema. Lang died in 1976 and was interred in the Forest Lawn - Hollywood Hills Cemetery in Los Angeles.[3]

FilmographyEdit

Silent filmsEdit

Year
Title
Studio
Genre
Cast
Notes
Other Roles
1910's
1919 Halbblut
The Half-Breed
Decla-Bioscop Fantasy Ressel Orla, Carl de Vogt, Gilda Langer Lost film Writer
1919 Der Herr der Liebe
Master of Love
Helos Film Romance Carl de Vogt, Gilda Langer Partially lost film Actor
1919 Die Spinnen, 1. Teil: Der Goldene See
The Spiders, art 1: The Golden Lake
Decla-Bioscop Adventure Carl de Vogt, Ressel Orla, George John, Lil Dagover Writer
1919 Harakiri
Madame Butterfly
Decla-Bioscop Drama Lil Dagover
1920's
1920 Die Spinnen, 2. Teil: Das Brillantenschiff
The Spiders, Part 2: The Diamond Ship
Decla-Bioscop Adventure Carl de Vogt, Ressel Orla, George John, Lil Dagover Writer
1920 Das Wandernde Bild
The Wandering Image
May-Film Romance Mia May, Hans Marr Partially lost film Writer
1921 Vier um die Frau
Four Around a Woman
Decla-Bioscop Drama Carola Toelle, Rudolf Klein-Rogge Partially lost film Writer
1921 Der müde Tod
Destiny
Decla-Bioscop Fantasy Lil Dagover, Walter Janssen, Bernhard Goetzke, Rudolf Klein-Rogge Writer, Editor
1922 Dr. Mabuse der Spieler
Dr. Mabuse the Gambler
Uco-Film Thriller Rudolf Klein-Rogge Writer
1924 Die Nibelungen: Siegfried
Siegfried
Decla-Bioscop Fantasy Paul Richter, Margarete Schöen, Hanna Ralph, Theodor Loos Writer
1924 Die Nibelungen: Kriemhelds Rache
Kriemhild's Revenge
Decla-Bioscop Fantasy Margarete Schöen, Hans Adalbert Schlettow, Theodor Loos
1927 Metropolis UFA Film Science Fiction Alfred Abel, Brigitte Helm, Gustav Fröhlich, Rudolf Klein-Rogge Writer
1928 Spione
Spies
UFA Film Thriller Rudolf Klein-Rogge, Gerda Maurus, Willy Fritsch Writer
1929 Die Frau im Mond
The Woman in the Moon
UFA Film Science Fiction Willy Fritsch, Gerda Maurus, Klaus Pohl Writer, Producer

Sound filmsEdit

Year
Title
Studio
Genre
Cast
Notes
Other Roles
1930's
1931 M Nero-Film Thriller Peter Lorre Writer
1933 Das Testament des Dr. Mabuse
The Testament of Dr. Mabuse
Nero-Film Thriller Rudolf Klein-Rogge, Otto Wernicke Writer, Producer
1933 Le Testament du Dr. Mabuse Nero-Film Thriller Rudolf Klein-Rogge, Jim Gérald French version of Das Testament des Dr. Mabuse / Co-directed with René Sti Writer
1934 Liliom Fox Europa Fantasy Charles Boyer, Madeleine Ozeray Writer
1936 Fury MGM Drama Spencer Tracy, Sylvia Sidney Writer
1937 You Only Live Once Walter Wanger Productions Film-noir Sylvia Sidney, Henry Fonda
1938 You and Me Paramount Pictures Drama Sylvia Sidney, George Raft Producer
1940's
1940 The Return of Frank James 20th Century Fox Western Henry Fonda, Gene Tierney, Jackie Cooper Technicolor film
1941 Western Union 20th Century Fox Western Randolph Scott, Robert Young, Dean Jagger, Virginia Gilmore Technicolor film
1941 Man Hunt 20th Century Fox Thriller Walter Pidgeon, Joan Bennett, George Sanders
1942 Moontide 20th Century Fox Drama Jean Gabin, Ida Lupino, Thomas Mitchell, Claude Rains Replaced by Archie Mayo during filming
1943 Hangmen Also Die! Arnold Pressburger films War Drama Hans Heinrich von Twardowski, Brian Donlevy, Walter Brennan, Anna Lee Writer, Producer
1944 Ministry of Fear Paramount Pictures Film-noir Ray Milland, Marjorie Reynolds
1944 The Woman in the Window International Pictures Film-noir Edward G. Robinson, Joan Bennett, Raymond Massey
1945 Scarlet Street Fritz Lang Productions Film-noir Edward G. Robinson, Joan Bennett, Dan Duryea Producer
1946 Cloak and Dagger United States Pictures Drama Gary Cooper, Lilli Palmer
1948 Secret Beyond the Door Diana Production Company Thriller Joan Bennett, Michael Redgrave Producer
1950's
1950 House by the River Fidelity Pictures Film-noir Louis Hayward, Lee Bowman, Jane Wyatt
1950 [American Guerrilla in the Philippines 20th Century Fox War Drama Tyrone Power, Micheline Presie Technicolor film
1952 Rancho Notorious Fidelity Pictures Western Marlene Dietrich, Arthur Kennedy, Mel Ferrer Technicolor film
1952 Clash by Night Wald-Krasna Productions Film-noir Barbara Stanwyck, Robert Ryan, Paul Douglas, Marilyn Monroe
1953 The Blue Gardenia Blue Gardenia Productions Film-noir Anne Baxter, Richard Conte, Ann Sothern, Raymond Burr
1953 The Big Heat Columbia Pictures Film-noir Glenn Ford, Gloria Grahame, Lee Marvin, Jeanette Nolan
1954 [Human Desire Columbia Pictures Film-noir Glenn Ford, Gloria Grahame, Broderick Crawford
1955 Moonfleet MGM Adventure Stewart Granger, George Sanders, Joan Greenwood Color film
1956 While the City Sleeps Bert E. Friedlob Productions Film-noir Dana Andrews, Rhonda Fleming, George Sanders
1957 Beyond a Reasonable Doubt Bert E. Friedlob Productions Film-noir Dana Andrews, Rhonda Fleming, George Sanders
1959 Der Tiger von Eschnapur
The Tiger of Eschnapur
Central Cinema Company Film Adventure Debra Paget, Paul Hubschmid, Walter Reyer Technicolor film
1959 Das indische Grabmal
The Indian Tomb
Central Cinema Company Film Adventure Debra Paget, Paul Hubschmid, Walter Reyer Eastmancolor film Writer
1960's
1960 Die 1000 Augen des Dr. Mabuse
The Thousand Eyes of Dr. Mabuse
Central Cinema Company Film Thriller Dawn Addams, Peter van Eyck, Gert Fröbe Writer, Producer


ReferencesEdit

ReferencesEdit

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Further readingEdit

  • McGilligan, Patrick. Fritz Lang: The Nature of the Beast; New York: St. Martins Press, 1997; ISBN 0312132476
  • Friedrich, Otto. City of Nets: A Portrait of Hollywood in the 1940s; New York: Harper & Row, 1986; ISBN 0-06-015626-0 (See e.g. pp. 45–46 for anecdotes revealing Lang's arrogance.)
  • Schnauber, Cornelius. Fritz Lang in Hollywood; Wien: Europaverlag, c1986; ISBN 3203509539 (in German)
  • Template:Citation/core -- Contains interviews with Fritz Lang and a discussion of the making of the film M.

External linksEdit

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