WDR 3 Kultur am Mittag. Min.. Verfügbar bis WDR 3. Fritz Langs Filme sind düstere Meisterwerke - ob "Metropolis" oder "M. Preisvergleich für Fritz Lang Collection ✓ Produktinfo ⇒ Bestehend aus: Dr. Mabuse Teil 1: Der große Spieler - Ein Bild der Zeit, Dr. Mabuse Teil 2: Inferno, ein. Februar | 19 Uhr | Alte Schmelz St. Ingbert Stummfilm von Fritz Lang von in der restaurierten vollständigen Fassung von
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Fritz Lang's highly influential career as a film director began in post World War I Germany, where he was a leading figure in the German Expressionist film movement, and ended in the United States in with the production of The Big Heat, a film noir classic.
Perhaps his greatest film, M Germany, forms an historical bridge between expressionism and film noir. Like the former it uses strange and disturbing compositions of light and dark in order to symbolize the inner workings of the human mind; like the latter it more realistically sets its story in a modern urban setting and blends in sociological issues along with the psychological and moral ones.
Even though M was Lang's and Germany's first sound film, many historians cite it as the initial masterpiece of cinema to appear following the introduction of sound into films in the late 's.
While most early "talkies" return films to their static, visually monotonous, stage- imitative beginnings and thus limit rather than expand the artistic possibilities of the medium, M avoids the failing by skillfully balancing asynchronous, off-screen sounds with the more limiting use of synchronous dialogue.
The film's editing, particularly its elaborate use of parallel cutting, also contributes kinetic energy and fluidity to the storytelling.
Of course, many of the film's sound effects are also imaginative and memorable, none more so than the compulsive whistling of the film's central character, the stalker and serial killer of little girls Hans Beckert magnificently played by Peter Lorre.
Sound is also an important contributor to M's rich and influential use of off screen space. One famous example is the scene that introduces Beckert as a shadow against his own Wanted poster, creepily intoning to his next victim, Elsie Beckmann, "You have a very pretty ball.
Another example of Lang's use of off-screen space is the montage of shots whose common denominator is Elsie's absence from them: an empty chair at the Beckmann dinner table, the vertiginous stairwell down which Elsie's mother searches compulsively and futilely for signs of her daughter's arrival, the attic play area that awaits Elsie's return from school.
Most memorable of all - and most often alluded to visually in other films - is the series of shots that indirectly record Beckert's assault and murder of the innocent child, representing these off screen events metonymically via the entry of Elsie's ball from bushes along on the right edge of the frame and the release of her balloon from telephone wires and off the left edge of the frame.
Never in the history of cinema has something so terrible been communicated through such powerfully understated images.
Beyond its technical brilliance, the keys to M's lasting impact are its psychologically convincing portrait of Hans Beckert's twisted compulsion and the still relevant ambivalence of his capture and "trial.
Nor is the issue of how society should deal with him at all clear-cut. To be sure, the gut-reaction of most film audiences is to root on the underworld mobsters and petty thieves who, beating the established authorities to their mutual quarry, capture Beckert and bring him to a mock- formal trial whose conclusion is foregone.
Like many in America today, Beckert's accusers are disinclined to listen to insanity pleas and would just as soon be rid of the "monster" in the surest way possible: a summary death penalty with as little fretting about legal rights as possible.
Yet M is by no means an endorsement of vigilantism - quite the contrary. Through the unlikely rhetorical persuasions of Beckert's unkempt "court appointed" defense attorney and Beckert's own impassioned monologue, Lang strongly implies that impatience with democratic judicial procedure and a paranoid eagerness to scapegoat others guilty or not in the name of order are symptomatic of the social hysteria breeding Nazism in s Germany.
That the ruthless killer who heads the underworld looks, dresses, and gestures like a Gestapo officer is no accident. Moreover, the letter "M" chalked on Beckert's back by one of his pursuers not only stands for "murderer" but also alludes to God's marking of Cain.
While the popular misconception holds that the mark of Cain symbolizes his evil, it in fact represents God's warning to Cain's flawed fellow creatures not to mete out wrathful vengeance, but to leave justice in God's hands.
Translated into secular terms and literally entering the shot from the top of the frame , God's hands in M belong to the legitimate authorities that intervene at the last moment to arrest and try Hans Beckert "in the name of the Law.
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This doesn't necessarily mean that I despised the film, but clearly I felt there was no compelling reason to stick around.
An entry beginning with "INC" in lieu of a numeral indicates that I was unable to finish watching the film for reasons beyond my control, e.
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Sign In. Fritz Lang I — Director Writer Producer. Up this week. Fritz Lang was born in Vienna, Austria, in His father managed a construction company.
His mother, Pauline Schlesinger, was Jewish but converted to Catholicism when Lang was ten. After high school, he enrolled briefly at the Technische Hochschule Wien and then started to train as a painter.
From to , he traveled in Europe, and he Born: December 5 , in Vienna, Austria-Hungary [now Austria]. Later, they go to Reed's home, but an unexpected visit from her rich clandestine lover Claude Mazard, known to Reed initially only as Frank Howard, leads to a fight in which Wanley kills Mazard.
Wanley and Reed conspire to cover up the murder, and Wanley disposes of Mazard's body in the country. However, Wanley leaves many clues, and there are a number of witnesses.
One of Wanley's friends from the club, district attorney Frank Lalor, has knowledge of the investigation, and Wanley is invited back to the crime scene, as Lalor's friend, but not as a suspect.
There are several comic dialogues in which Wanley appears to know more about the murder than he should. As the police gather more evidence, Reed is blackmailed by Heidt, a crooked ex-cop who was Mazard's bodyguard.
Reed attempts to poison Heidt with a prescription overdose when he returns the next day, but Heidt is suspicious and takes the money without drinking the drugs.
Reed tells Wanley, who overdoses on the remaining prescription medicine. Heidt is killed in a shootout immediately after leaving Reed's home, and police believe Heidt is Mazard's murderer.
Reed, seeing that the police have killed Heidt, races to her home to call Wanley, who is slumped over in his chair, and apparently he dies.
In an impossible match on action , Wanley awakens in his chair at his club, and he realizes the entire adventure was a dream in which employees from the club were main characters.
As he steps out on the street in front of the painting, a woman asks Wanley for a light. He adamantly refuses and runs down the street.
As in Lang's Scarlet Street , released a year later, Robinson plays the lonely middle-aged man and Duryea and Bennett co-star as the criminal elements.
The two films also share the same cinematographer Milton R. Krasner and several supporting actors. In the final scene, Robinson wore a tear-away suit with his original suit underneath.
Lang frequently had Catholic-influenced themes in his films. After finishing school, Lang briefly attended the Technical University of Vienna , where he studied civil engineering and eventually switched to art.
He left Vienna in in order to see the world, traveling throughout Europe and Africa, and later Asia and the Pacific area. In , he studied painting in Paris.
At the outbreak of World War I , Lang returned to Vienna and volunteered for military service in the Austrian army and fought in Russia and Romania , where he was wounded four times and lost sight in his right eye,  the first of many vision issues he would face in his lifetime.
While recovering from his injuries and shell shock in , he wrote some scenarios and ideas for films. He was discharged from the army with the rank of lieutenant in and did some acting in the Viennese theater circuit for a short time before being hired as a writer at Decla Film , Erich Pommer 's Berlin-based production company.
In , he married for the first time to Lisa Rosenthal, a Jewish girl; in , she died under mysterious circumstances, dying of a single gunshot wound deemed to have been fired by a sidearm weapon from World War I.
Lang's writing stint was brief, as he 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 films such as Der Müde Tod "The Weary Death" and popular thrillers such as Die Spinnen "The Spiders" , combining popular genres with Expressionist techniques to create an unprecedented synthesis of popular entertainment with art cinema.
In , Lang met his future wife, the writer Thea von Harbou. She and Lang co-wrote all of his movies from through , including Dr. Mabuse, der Spieler "Dr.
Mabuse the Gambler"; , which ran for over four hours in two parts in the original version and was the first in the Dr. Mabuse trilogy, the five-hour Die Nibelungen , the dystopian film Metropolis , and the science fiction film Woman in the Moon Metropolis went far over budget and nearly destroyed UFA, which was bought by right-wing businessman and politician Alfred Hugenberg.
It was a financial flop, as were his last silent films Spies and Woman in the Moon , produced by Lang's own company. In , independent producer Seymour Nebenzahl hired Lang to direct M for Nero-Film.
His first "talking" picture , considered by many film scholars to be a masterpiece of the early sound era, M is 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 by Joseph Losey , but this version had little impact on audiences, and has become harder to see than the original film.
During the climactic final scene in M , Lang allegedly threw Peter Lorre down a flight of stairs in order to give more authenticity to Lorre's battered look.
Lang, who was known for being hard to work with, epitomized the stereotype of the tyrannical Germanic film director, a type embodied also by Erich von Stroheim and Otto Preminger ; Lang wore a monocle adding to the stereotype.
In the films of his German period, Lang produced a coherent oeuvre that established the characteristics later attributed to film noir , with its recurring themes of psychological conflict, paranoia, fate and moral ambiguity.
At the end of , Lang started filming The Testament of Dr. Adolf Hitler came to power in January , and by March 30, the new regime banned it as an incitement to public disorder.
Testament is sometimes deemed an anti-Nazi film, as Lang had put phrases used by the Nazis into the mouth of the title character.
A screening of the film was cancelled by Joseph Goebbels , and it was later banned by the Reich Ministry of Public Enlightenment and Propaganda.
Lang was worried about the advent of the Nazi regime, partly because of his Jewish heritage,  whereas his wife and co-screenwriter Thea von Harbou had started to sympathize with the Nazis in the early s and, in , joined the NSDAP.
Lang's fears would be realized following his departure from Austria, as under the Nuremberg Laws he would be identified as a part-Jew even though his mother was a converted Roman Catholic, and he was raised as such.
According to Lang, propaganda minister Joseph Goebbels called Lang to his offices to inform him — apologetically — that The Testament of Dr Mabuse was being banned but, nevertheless, he was so impressed by Lang's abilities as a filmmaker especially Metropolis , that he offered Lang the position of head of German film studio UFA.Fritz & Lang, Paris, France. likes. For booking (Live, DJ) and press requests - [email protected]: A ranking of the films directed by Fritz Lang that I have seen, presented in order of best to worst. Refine See titles to watch instantly, titles you haven't rated, etc Instant Watch Options. Teenage Emotions (, Frederic Da) 21 Jan. M (, Fritz Lang) 21 Jan. w One Night in Miami (, Regina King) 22 Jan. The President's Analyst (, Theodore J. Flicker) 23 Jan. The Ruling Class (, Peter Medak) 24 Jan. Penguin Bloom (, Glendyn Ivin) 25 Jan. WolfWalkers (, Tomm Moore & Ross Stewart. Century of Sevens Directors Hall of Fame. Olivia Wilde X Men 4 Zoe Lister-Jones interview each other about their Sundance film How It Ends. Main article: Fritz Lang Thomas Gottschalk. The Sickness is the System Richard Wolff.
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