Fritz LangFriedrich Anton Christian Lang (December 5, 1890 - August 2, 1976) was an Austrian film director, screenwriter and occasional film producer, one of the most famous emigrés from Germany's school of expressionism to work in Hollywood. Fritz LangAlthough 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. His most famous films are probably Metropolis and M, made before he moved to the United States. Lang was an artist and a painter who enlisted in the army and fought in World War I. While recovering from both injuries and shell shock, he joined Germany's Ufa studio just as the Expressionist movement was waxing. In this first phase of his career, Lang alternated between art films such as Der Müde Tod and populist thrillers such as Die Spinnen (a two-part film), combining popular genres with Expressionist techniques to create an unprecedented synthesis of popular entertainment with art cinema, culminating in his most famous silent works: Dr. Mabuse, der Spieler (1922), a crime epic (running four hours in two parts in its original version, recently restored by the Munich Filmmuseum) focusing on the psychological conflict between the master criminal Mabuse and detective Von Wenk; Die Nibelungen (1924), and his most famous film, Metropolis (1927). Legend has it that Metropolis greatly impressed the leaders of the growing Nazi movement, though Lang detested their philosophy and wrote anti-Nazi statements into his 1933 film Das Testament des Dr. Mabuse (The Testament of Dr. Mabuse). Mabuse was banned when the Nazis seized power, but Joseph Goebbels still respected Lang enough to offer him the head position of the German film industry. Rather than accept the position, Lang fled Germany. Thea von Harbou, his wife and long-time collaborator, had joined the Nazi party and remained behind. In 1931, between Metropolis 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 trial 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. Upon his arrival in Hollywood, Lang joined the MGM studio and directed the impressive crime drama Fury. 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 the equal of, if not superior to, his German films. During this period, his visual style simplified 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). Lang epitomized the stereotype of the tyrannical German director; he was known for being hard to work with. He wore a monocle that added to the stereotype (though film historians say this particular cliché began with Erich von Stroheim), and his image has been parodied in a number of media, including GWAR's long form video Phallus in Wonderland. During the 1950s, Lang found it harder to find congenial production conditions in Hollywood and, following a major disagreement with the producer of Beyond A Reasonable Doubt, he returned to Germany to make his last films. These works received mixed reviews, some condemning them as stylised and detached, while others praised them for the same qualities. Lang's eyesight steadily deteriorated throughout the 1950s and, after a final Dr. Mabuse film, Die 1000 Augen des Dr. Mabuse (1960), he returned to the United States. He continued collecting research material and drafting screenplays, but never made another film. He died in 1976 and was interred in the Forest Lawn-Hollywood Hills Cemetery in Los Angeles. Filmography
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He died in 1976 and was interred in the Forest Lawn-Hollywood Hills Cemetery in Los Angeles. About one year later, Lemmon, his old pal and frequent co-star, was also buried at the cemetery. He continued collecting research material and drafting screenplays, but never made another film. Matthau died of a massive heart attack in Santa Monica, California at the age of 79, and is interred in the Westwood Village Memorial Park Cemetery in Westwood, California. Mabuse (1960), he returned to the United States. Charles directed his father in the movie The Grass Harp (1995). Lang's eyesight steadily deteriorated throughout the 1950s and, after a final Dr. Mabuse film, Die 1000 Augen des Dr. Matthau had two children, Jennifer and David, by his first wife, Grace Geraldine Johnson, and a son, Charles, by his second wife and widow, Carol Marcus. These works received mixed reviews, some condemning them as stylised and detached, while others praised them for the same qualities. Matthau and Lemmon became lifelong friends afterwards and in an amazing act of teamwork made a total of ten films together, including the popular 1993 hit Grumpy Old Men. During the 1950s, Lang found it harder to find congenial production conditions in Hollywood and, following a major disagreement with the producer of Beyond A Reasonable Doubt, he returned to Germany to make his last films. He won an Academy Award for Best Supporting Actor. He wore a monocle that added to the stereotype (though film historians say this particular cliché began with Erich von Stroheim), and his image has been parodied in a number of media, including GWAR's long form video Phallus in Wonderland. In 1966, he again achieved glory as a shady lawyer opposite Jack Lemmon in The Fortune Cookie. Lang epitomized the stereotype of the tyrannical German director; he was known for being hard to work with. It was also during this time that Matthau nearly died of a heart attack. During this period, his visual style simplified 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). He was 45 when, in 1965, Neil Simon cast him in the hit play The Odd Couple. These films, often compared unfavourably by contemporary critics to Lang's earlier works, have since been reevaluated as the equal of, if not superior to, his German films. The sweet smell of success came late for Matthau. 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. Although he was constantly working, it seemed that the fact that he was not handsome in the traditional sense would keep him from being a top star. Upon his arrival in Hollywood, Lang joined the MGM studio and directed the impressive crime drama Fury. In addition to his busy movie and stage schedule, Matthau made many television appearances in live TV plays. 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. In 1962, Matthau won acclaim as a sympathetic sheriff in Lonely Are the Brave. 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 trial by Berlin's criminal underworld. Matthau also directed a low budget 1960 film called The Gangster Story. In 1931, between Metropolis and Das Testament des Dr. That same year he made a western called Ride A Crooked Trail with Audie Murphy. Thea von Harbou, his wife and long-time collaborator, had joined the Nazi party and remained behind. He appeared in many films after this as a villain such as the 1958 King Creole (where he is beaten up by Elvis Presley!). Rather than accept the position, Lang fled Germany. In 1955, he made his film debut as a whip-wielding bad guy in The Kentuckian opposite Kirk Douglas. Mabuse was banned when the Nazis seized power, but Joseph Goebbels still respected Lang enough to offer him the head position of the German film industry. One reviewer said, "The others just looked like actors in make-up, Walter Matthau really looks like a skid row bum!" Matthau was a respected stage actor for years in such fare as Will Success Spoil Rock Hunter? and A Shot In The Dark. Mabuse). He often joked that his best early review came in a play he did where he posed as a derelict. Mabuse (The Testament of Dr. He attained the rank of Staff Sergeant and became interested in acting. Legend has it that Metropolis greatly impressed the leaders of the growing Nazi movement, though Lang detested their philosophy and wrote anti-Nazi statements into his 1933 film Das Testament des Dr. Army Air Corps during World War II. Mabuse, der Spieler (1922), a crime epic (running four hours in two parts in its original version, recently restored by the Munich Filmmuseum) focusing on the psychological conflict between the master criminal Mabuse and detective Von Wenk; Die Nibelungen (1924), and his most famous film, Metropolis (1927). Matthau was born in New York City as Walter Matuschanskayasky and served with the U.S. In this first phase of his career, Lang alternated between art films such as Der Müde Tod and populist thrillers such as Die Spinnen (a two-part film), combining popular genres with Expressionist techniques to create an unprecedented synthesis of popular entertainment with art cinema, culminating in his most famous silent works: Dr. Walter Matthau (October 1, 1920 - July 1, 2000) was an American comedy actor possibly best known for his role as the gruff and less tidy member of The Odd Couple. While recovering from both injuries and shell shock, he joined Germany's Ufa studio just as the Expressionist movement was waxing. The Taking of Pelham One Two Three. Lang was an artist and a painter who enlisted in the army and fought in World War I. Grumpier Old Men. His most famous films are probably Metropolis and M, made before he moved to the United States. Grumpy Old Men. His work influenced filmmakers as disparate as Jacques Rivette and William Friedkin. Hopscotch. 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. Bad News Bears. Friedrich Anton Christian Lang (December 5, 1890 - August 2, 1976) was an Austrian film director, screenwriter and occasional film producer, one of the most famous emigrés from Germany's school of expressionism to work in Hollywood. The Odd Couple. Mabuse) (1960). The Fortune Cookie. Mabuse (The Thousand Eyes of Dr. Charade. Die 1000 Augen des Dr. King Creole. Das indische Grabmal (The Indian Tomb, or: Journey to the Lost City) (1959). Der Tiger von Eschnapur (The Tiger of Eschnapur, or: The Tiger of Bengal) (1959). Beyond a Reasonable Doubt (1957). While the City Sleeps (1956). Moonfleet (1955). Human Desire (1954). The Big Heat(1953). The Blue Gardenia (1953). Clash by Night (1952). Rancho Notorious (1952). American Guerrilla in the Philippines (1950). House by the River (1950). Secret Beyond the Door (1948). Cloak and Dagger (1946). Scarlet Street (1945). The Woman in the Window (1944). Ministry of Fear (1944). Hangmen Also Die (1943). Moontide (1942) (uncredited). Confirm or Deny (1941) (uncredited). Man Hunt (1941). Western Union (1941). The Return of Frank James (1940). You and Me (1938). You Only Live Once (1937). Fury (1936). Liliom (1934). Mabuse) (1933). Mabuse (The Testament of Dr. Das Testament des Dr. M (1931). Frau im Mond (Woman in the Moon) (1929). Spione (Spies) (1928). Metropolis (1927). Die Nibelungen: Kriemhilds Rache (Die Nibelungen: Kriemheld's Revenge) (1924). Die Nibelungen: Siegfried (Die Nibelungen: Siegfried) (1924). Mabuse, The Gambler) (1922). Mabuse, der Spieler (Dr. Dr. Vier um die Frau (Four Around a Woman) (1921). Der Müde Tod (Beyond the Wall) (1921). Das Wandernde Bild (The Wandering Image) (1920). Teil: Das Brillantenschiff (Spiders, Part 2: The Diamond Ship) (1920). Die Spinnen, 2. Der Herr der Liebe (Master of Love) (1919). Die Pest in Florenz (The Plague in Florence) (1919). Harakiri (Madame Butterfly) (1919). Teil: Der Goldene See (Spiders, Part 1: The Golden Lake)(1919). Die Spinnen, 1. Halbblut (The Half-Caste) (1919). |