Ad
related to: metropolis fritz lang summary biography summary pdfGet Deals and Low Prices On fritz lang biography At Amazon. A Wide Range Of Books Available In Different Languages For All Age Groups.
Search results
Metropolis study guide contains a biography of Fritz Lang, literature essays, quiz questions, major themes, characters, and a full summary and analysis. Best summary PDF, themes, and quotes. More books than SparkNotes.
- Part 1: Metropolis
Metropolis study guide contains a biography of Fritz Lang,...
- Character List
Metropolis study guide contains a biography of Fritz Lang,...
- Part 1: Metropolis
What were Lang’s predictions for the future of Germany? Were they hopeful? Or pessimistic? Explain your answer. What do you think may have inspired Lang’s futuristic vision? Strike! The uprising of the workers conveys a very significant and important political message about inequality in society and the future of modern capitalism ...
People also ask
When did Fritz Lang create Metropolis?
What are Metropolis Literature Essays?
When was Metropolis made?
What is a good summary of Metropolis?
Metropolis study guide contains a biography of Fritz Lang, literature essays, quiz questions, major themes, characters, and a full summary and analysis. Best summary PDF, themes, and quotes. More books than SparkNotes.
- Overview
- Early life and German films
Fritz Lang (born December 5, 1890, Vienna, Austria-Hungary—died August 2, 1976, Los Angeles, California, U.S.) Austrian-born American motion-picture director whose films, dealing with fate and people’s inevitable working out of their destinies, are considered masterpieces of visual composition and expressionistic suspense. Lang had already created ...
Lang’s father was a Baumeister (designer-contractor) and, as such, did not quite enjoy the status of an architect, which Lang later claimed was his father’s occupation. His mother, who may well have converted from Judaism to Roman Catholicism in response to growing anti-Semitism in Austria, raised her children in the Roman Catholic faith. Lang briefly studied civil engineering in Vienna but soon became enamoured of café life and painting (especially the works of Egon Schiele and Gustav Klimt). For several years he traveled in North Africa, Asia, and the South Seas and throughout Europe, studying painting in Munich and Paris. An exhibition of his paintings opened in Paris in 1914, just before he returned to Austria and was conscripted into the Austrian army for service in World War I. He was wounded four times (losing vision in his right eye), ultimately requiring a year’s convalescence in a Vienna army hospital, where he tried his hand at writing screenplays. After his discharge he began acting on the Vienna stage. In Berlin he wrote screenplays for producer Joe May, and in 1919 he was given the opportunity to write and direct his first movie, Halbblut (The Half-Caste), the theme of which foreshadowed such triumphs from his Hollywood period as The Woman in the Window (1944) and Scarlet Street (1945). In 1920 he began working for producer Erich Pommer at Decla Biscop Studio, which became part of the German filmmaking giant UFA.
Through the 1920s Lang made evermore ambitious films, some of them so long and dense that they were exhibited in two parts. Among the best known are Der müde Tod (1921; Destiny), an allegorical melodrama; Dr. Mabuse, der Spieler - Ein Bild der Zeit (1922; Dr. Mabuse: The Gambler), a crime thriller; and Die Nibelungen: Siegfried (1924; Siegfried) and Die Nibelungen: Kriemhilds Rache (1924; Kriemhild’s Revenge), both of which were based on a 13th-century epic saga. In 1920 Lang married novelist Thea von Harbou, with whom he had been collaborating on screenplays and would continue to do so through 1932. In 1924 he traveled to the United States for the first time, to observe moviemaking techniques in New York City and Hollywood.
Lang’s first project upon his return to Germany was the futuristic masterpiece Metropolis (1927), which he spent most of 1925 and 1926 shooting for UFA, nearly exhausting the considerable resources of the studio. The film’s plot, about a repressive society divided into exploited workers, indolent rulers, and emotionless robots, may have owed something to H.G. Wells, but the breathtaking visual scheme was like nothing ever attempted on screen. Lang planned and executed his films in exquisite visual detail, and his placement of people, places, and things within the frame (mise-en-scène) and his expressive use of lighting were calculated, exacting, and evocative. With Metropolis he was aided not just by the renowned cinematographer Karl Freund but also by special-effects innovator Eugen Schüfftan, who employed a camera process of his own invention that made it possible to blend shots of miniatures with live action by using a specially designed mirror. After self-producing the crime film Spione (Spies) in 1928, Lang returned to science fiction for the silent production Frau im Mond (1929; Woman in the Moon; also known as By Rocket to the Moon), which was released without even a score.
His first sound film, M (1931), a horrifying account of a child murderer (based on a true story), was Lang’s greatest international success and, ultimately, his own personal favourite among his films. Anchored by Peter Lorre’s chilling performance as the unhinged killer of young girls who is finally hunted down by the Berlin underworld, M is one of the cinema’s enduring early talkies and a landmark of German Expressionism, the national artistic movement that employed distortion and exaggeration to depict subjective emotions and responses rather than objective reality and that was suffused in alienation and pessimism. Expressionism’s cinematic development was bookended by Robert Wiene’s The Cabinet of Dr. Caligari (1920) and M.
Less compelling was Das Testament des Dr. Mabuse (1933; The Testament of Dr. Mabuse), a crime thriller that was overtly the sequel to Dr. Mabuse: The Gambler; covertly, it was intended by Lang as an anti-Nazi statement that equated the state and German dictator Adolph Hitler with criminality. Joseph Goebbels, Hitler’s minister of propaganda, banned the film but summoned Lang to a meeting in which he informed the filmmaker of Hitler’s admiration for M and offered him the post of artistic director of UFA, the leading position in the German film industry. Wanting no part of that and fearful of what might ultimately happen to him as result of his half-Jewish background, Lang fled to Paris (though he would return to Germany again briefly on a couple of occasions). He left behind his bank accounts, personal belongings, and wife, van Harbou, who was already a member of the Nazi Party; she divorced Lang and became one of the Third Reich’s most-accomplished writers and directors of propaganda films.
Are you a student? Get Britannica Premium for only 24.95 - a 67% discount!
- Michael Barson
Metropolis, German silent film, released in 1927, featuring director Fritz Lang’s vision of a grim futuristic society and containing some of the most impressive images in film history. (Read Lillian Gish’s 1929 Britannica essay on silent film.)
Metropolis. Metropolis came from a visit to Manhattan in 1924. Actually Ufa had been planning the film for some time to follow in the wake of Lang’s previous success, Die Niebelungen. Years later, Lang confided in a letter that the script had been finished six months before he showed up in New York. Metropolis was one of the last
