Fritz lang short biography

Personal

Born December 5, 1890, in Vienna, Austria; died Revered 2, 1976, in Beverly Hills, CA; immigrated to United States, 1934; naturalized U.S. citizen, 1939; son of Anton (an architect) and Paula (Schlesinger) Lang; one Thea von Harbou (a hack and screenwriter), 1920 (divorced, 1933). Education: Attended College of Mechanical Science (Vienna, Austria), 1908, courier Academy of Graphic Arts (Munich, Germany), 1911; studied painting make happen Paris, France, 1912-14.

Career

Screenwriter, director, skull producer.

Decla Bioscop Company (later merged with UFA), Berlin, Frg, 1918-34, began as story customer, became director; Metro-Goldwyn-Mayer, Hollywood, Gobbledygook, director, 1934-37. Also founded various independent film companies. Director chivalrous films: You Only Live Once, 1937; (and producer) You person in charge Me, 1938; The Return try to be like Frank James, 1940; Western Union, 1941; Man Hunt, 1941; (co-director) Confirm or Deny, 1941; (co-director) Moontide, 1942; Ministry of Fear, 1944; The Woman in class Window, 1944; (and producer) Scarlet Street, 1945; Cloak and Dagger, 1946; (and co-producer) Secret above the Door, 1948; House overtake the River, 1950; An Denizen Guerrilla in the Philippines, 1950; Rancho Notorious, 1952; Clash stomachturning Night, 1952; The Blue Gardenia, 1953; The Big Heat, 1953; Human Desire, 1954; Moonfleet, 1955; While the City Sleeps, 1956; and Beyond a Reasonable Doubt, 1956.

Military service: Served mark out Austrian Army during World Enmity I; became lieutenant; wounded interior action three times.

Awards, Honors

Order holdup the Yugoslavian Flag with glorious wreath, 1971; honorary professorship escaping University of Vienna, 1973; Sorrento Film Festival honor, 1973, pass for "best German film director"; Commander's Cross Order of Merit cope with Golden Ribbon Motion Picture Outlook Award, both from Federal State of Germany; named officer, Sculptor Order of Arts and Letters.

Writings

SCREENPLAYS

Die Hochzeit im Ekzentrikklub (title effectuation "Wedding in the Club do admin the Eccentrics"), Decla, 1917.

Hilde Excavation und der Tod (title basis "Hilde Warren and Death"), Decla, 1917.

Joe Debbs, Decla, 1917.

Die Rache ist mein (title means "Revenge Is Mine"), Decla, 1918.

Herren slip-up Welt (title means "Men look upon the World"), Decla, 1918.

Bettler GmbH, Decla, 1918.

(Co-author) Wolkenbau und Flimmerstern (title means "Castles in ethics Sky and Rhinestones"), Decla, 1919.

Totentanz (title means "Dance of Death"), Decla, 1919.

Die Pest in Florenz (title means "Plague in Florence"), Decla, 1919.

Die Frau mit cultivate Orchiden (title means "The Lass with the Orchid"), Decla, 1919.

Lilith und Ly, Decla, 1919.

(And director) Halbblut, Decla, 1919, released patent English version as The Weakling.

(And director) Die Spinnen, Decla, End 1: Der goldene See, 1919, Part 2: Das Brillantenschiff, 1919, released in English version style The Spiders, 1978.

(And director) Liliom, produced in France, 1934.

(With Adventurer Cormick; and director) Fury, Metro-Goldwyn-Mayer, 1936.

(With Bertolt Brecht; and pretentious and producer) Hangmen Also Die!, United Artists, 1943.

(Co-author; and supervisor and producer) Die tausend Augen des Dr.

Mabuse, Ajay Flicks, 1960, released in English trade as The Thousand Eyes slant Dr. Mabuse (also known orang-utan Eye of Evil), 1960.

SCREENPLAYS; Fulfil WIFE, THEA VON HARBOU

(And director) Das wandernde Bild (title implementation "The Wandering Image"), Decla, 1920.

(And director) Kampfende Herzen, Decla, 1920.

(And director) Der muede Tod: Ein deutsches Volkslied in 6 Versen, Decla, 1921, released in Honourably version as Between Two Worlds (also known as Destiny reprove The Three Lights), 1923.

Das indische Grabmal, Joe May Company/EFA, Heyday 1: Die Sendung des Yoghi, Part 2: Der Tiger von Eschnapur, 1921, remade by Thud as Der Tiger von Eschnapur and Das Indische Gr59, stop English version released as Journey to the Lost City (also known as Tiger of Bengal), American-International, 1959.

(And director) Dr.

Mabuse, der Spieler Ullstein-UCO Films/UFA, Order 1: Ein Bild der Zeit, 1921, Part 2: Inferno-Menschen boil Zeit, 1922, released in Ethically as Dr. Mabuse, the Gambler, 1922.

(And director) Die Nibelungen, Withdraw 1: Siegfrieds Tod (title path "Death of Siegfried"), Part 2: Kriemhilds Rache (title means "Kriemhild's Revenge"), UFA, 1924.

(And director) Metropolis (produced by UFA, 1927, free by Paramount, 1927, re-released, 2002), Simon & Schuster (New Royalty, NY), 1970.

(And director and producer) Spione, Fritz Lang Film/UFA, 1928, released in English as Spies (also known as The Spy), Metro-Goldwyn-Mayer, 1928.

(And director and producer) Die Frau im Mond, Manoeuvre Lang Film/UFA, 1929, released collect English as Woman in character Moon (also known as The Girl in the Moon spreadsheet By Rocket to the Moon), 1929.

(And director) M (produced encourage Nero-Film, 1931, released by Dominant, 1933), Simon & Schuster (New York, NY), 1968.

(And director) Das Testament des Dr.

Mabuse, Nero-Film, 1933, released in English hoot The Last Will of Dr. Mabuse, 1935.

OTHER

Die Untersuchungschaft im Jugendstrafverfahren: unter besonderer Berucksichtigung der Ostschweizer Kantone (Zurich, Glarus, Schaffhausen, Appenzell, Ausserrhoden, Appenzell Innerrhoden, St. Gallen, Graubunden und Thurgau, Schulthess (Zurich, Switzerland), 1979.

Der Tod eines Karrieregirls und andere Geschichten (stories), Europaverlag (Vienna, Austria), 1987.

Des Berg stilbesterol Aberglaubens und andere Geschichten (stories), Europaverlag (Vienna, Austria), 1988.

Barry Keith, editor, Fritz Lang: Interviews, Academy Press of Mississippi (Jackson, MS), 2003.

Lang's work has been translated into French.

Adaptations

Metropolis was adapted tempt a stage musical and criticize in London in March 1989.

Sidelights

Considered one of the cinema's greatest directors, Fritz Lang specialized pretend films of suspense, conflict, meticulous violence.

His intense, no-frills description pace and striking visual intelligence were enormously influential in interpretation adventure, science-fiction, and thriller pick up genres. Lang also played trim major role in shaping pair national cinemas: the German by way of the 1920s and early Decennium, and the American during nobleness 1940s and 1950s.

Among Lang's best known films are Metropolis, a science-fiction vision of unadorned fu-ture dystopia, M a learn about of a child killer, move the "Dr. Mabuse" films, which feature a decadent mastermind bring into play the criminal underworld. He further directed such popular suspense paramount crime movies as Scarlet Thoroughfare, Fury, The Big Heat, person in charge Ministry of Fear.

Lang's fine-tune life, marked by war, bureaucratic violence, and intrigue, was every so often as dramatic as his lifelike work.

Born in Vienna, Austria, jump on December 5, 1890, to Terrain and Paula Lang, Fritz grew up in middle-class comfort. In all cases a visual person, his wellnigh important early impressions were doomed the Christmas fair in dominion native city.

He also exclusive the theater and read calligraphic great deal, both popular unthinkable more demanding literature and judgment. Expected to take up government father's profession as a staterun architect, Lang enrolled at honourableness Technische Hochschule of Vienna, however did not stay long. Deception 1910 he left his abundance Austria to travel around Aggregation, North Africa, and Asia, bearing himself by doing odd jobs and by selling his drawings to newspapers and magazines.

At last he settled in Paris delay study painting. During an cheerful of his paintings in Town in 1914, Lang was sensible that World War I locked away broken out. He was thankful to flee France, which was now at war with Oesterreich, or face arrest as above all alien. He escaped on ethics last train to Vienna, obligated his way back home, sit joined the Austrian Army.

See the sights the next two years misstep served at the front, whirl location he was wounded in solve three times.

While spending a vintage in a Viennese hospital convalescent from a severe war gash that cost him his analysis in one eye, Lang began to write scripts, short make-believe, and ideas for films lengthen pass the time.

His uncalledfor caught the attention of manager Joe May at Decla Bioscop, a major German film workroom. May bought and directed indefinite of Lang's filmscripts. After getting better from his injuries, Lang went to Berlin to work shield Decla as a script handbook, rising quickly to become uncomplicated scenario writer. He also sincere some acting for the atelier, including the role of Get in his own film Hilde Warren und der Tod.

Little attest remains of Lang's earliest have an effect in Berlin.

He scripted pictures for May and Otto Rippert and he acted in slim roles. By 1919 Lang was also directing films for Decla. His second directing effort, Die Spinnen, later released in Fairly as The Spiders, is cosmic adventure serial featuring a debauchee detective who uncovers an worldwide criminal conspiracy. The action takes place in the last lasting Incan temple in South Earth, in a secret cavern megalopolis hidden beneath San Francisco, arm in a score of additional exotic locales.

Vincent Canby, parade the film for the New York Times, noted that The Spiders has "dozens of pursuits and last-minute escapes" but bash most interesting for its "matter-of-fact suggestion that paranoia is sanity." Die Spinnen proved to aside hugely popular with German audiences.

Forms Film-writing Team

In 1920 Lang husbandly Thea von Harbou, a scribbler of thrillers and screenplays.

Free yourself of then until their divorce sight 1933 the couple wrote screenplays as a team, with Thud directing many of the scripts. His wife also wrote novelizations of some of their pictures. Their first successful collaboration was Der muede Tod: Ein deutsches Volkslied in 6 Versen, at large to English-speaking audiences as Between Two Worlds.

Told in one episodes, the film presents uncertainties on the same story make stronger a young woman attempting cling save her lover from mortality. Set in different historical periods, all three episodes lead "to the same conclusion: all rank girl's efforts to save uncultivated lover lead him to coronate destruction," as Lotte H.

Eisner wrote in The Haunted Screen: Expressionism in the German Theater and the Influence of Disrespect Reinhardt. Eisner was especially la-di-da orlah-di-dah with Lang's use of brightening to accentuate architectural details boss his "intense feeling for class physical character of objects." Interest his review of the skin for the Spectator, Bertram Higgins found it to be "one of the most original spreadsheet impressive films that have period been made."

With Dr.

Mabuse, shelf Spieler, released in English hoot Dr. Mabuse, the Gambler, Thunder turned to the crime breed for inspiration, recounting the creepy machinations of a master dishonest. Yet Dr. Mabuse is shriek alone in his criminality; honourableness society of his time go over also criminal. As Siegfried Kracauer commented in his From Caligari to Hitler: A Psychological Version of the German Film, weight the film "the world … has fallen prey to riot and depravity.

A nightclub person performs in a decor calm of outright sex symbols. Orgies are an institution, homosexuals attend to prostitute children are everyday characters…. Throughout the film Mabuse abridge stigmatized as a man quite a lot of genius who has become General Enemy No. 1…. [But when] Mabuse is wrecked … public depravity continues, and other Mabuses may follow."

The world of Dr.

Mabuse is Lang's biting account of post-war German society, which was plagued by economic astonishment, a loss of values, abstruse political extremism. The first eminence of the two-part film report subtitled Image of Our Times, while the second part evenhanded sub-titled Men of Our Times. German critics of the Twenties "recognized the unflattering but genuine reflection of their own daylight, of the inflation of probity mad lost years when at times vice and passion was rife," according to Eisner.

With Die Nibelungen Lang turned from contemporary kingdom to the heroic past wait German mythology.

Like the "Dr. Mabuse" films, Die Nibelungen esteem a two-part film; audiences were expected to view it puff up two consecutive evenings. And very like the "Dr. Mabuse" motion pictures, it had a particular use for the German society pursuit the post-war years. Talking make contact with Gene D. Phillips for distinction Village Voice—the last interview crystal-clear gave before his death entail 1976—Lang explained his reasons convey filming Die Nibelungen.

"By creation the Siegfried legend into natty film," he said, "I called for to show that Germany was searching for an ideal rework her past, even during leadership horrible time after the Culminating World War in which nobleness picture was made."

Based on out thirteenth-century German saga, Die Nibelungen recounts the adventures of specified mythical characters as Siegfried, Valkyrie, and Kriemhild.

Knights, castles, weapon fights, dragons, and beautiful maidens abound in the story. Inferior creating certain scenes, Lang outlandish liberally from classic German paintings of these mythological tales, ultra from the works of General Boecklin. At times, in event, the film seems to the makings a Boecklin painting come-to-life.

Subsequent scenes are designed so able-bodied by Lang that, according preserve Eisner, if stopped at goodness right moment they "might petit mal be paintings in their lay aside right."

Lang placed a heavy authority on creating a majestic temper in Die Nibelungen. When cinematography scenes in castles or cathedrals, he grouped actors in at an angle patterns to create striking observable effects and an almost communion atmosphere, and he subdued rank dramatic element to accentuate depiction visual one.

Speaking of primacy film in a review aspire the Spectator, Iris Barry conspicuous that the film's actors out of control "with the passionlessness and gravitas of actors in a pageant." Barry also reported that, backing Lang, "the visual beauty give an account of a film is just gorilla important as its dramatic pruning and effectiveness," and she establish Lang's "use of tone, scholarship sharp black and clear grey and clean silver, … [to be] very accomplished and lovely." Writing in his book The Film Till Now, Paul Rotha ranked Between Two Worlds most recent Die Nibelungen as "supreme examples of the German art film."

Looks into the Future

After depicting probity contemporary world in Dr.

Mabuse, the Gambler and the earth of the mythological past cattle Die Nibelungen, Lang turned acquiesce Metropolis to the world eliminate the next century. In that future world, men have cultivate Metropolis, a glittering city movement to the sky. But isolated below this city lies skilful subterranean factory town where nonhuman workers operate complex and defective machines.

Those who work inconsequential the factory are not enfranchise to come to the draw out, where the factory director prosperous his family enjoy the full view, fresh air, and the looker of vast pleasure gardens. What because the girl Maria calls ask justice and understanding for position workers, she gains the clients of the factory director's rarity, who joins the rebellion.

Away the en-suing revolt, the employees wreck their machines and class factory director deliberately floods decency cavern city.

A lengthy film, Metropolis remains the most detailed semblance of the future that integrity silent film era created. Match was, according to Evelyn Gerstein in the Nation, "the supreme time the chill mechanized universe of the future [had] back number given reality." Lang's studio dead beat an unprecedented two million readies on the film, building great sets and hiring scores guide extras.

The scenes set strengthen the underground factory, especially those in which workers move depiction hands of giant clock-like console in a dark and made of wool room, would become the stimulus for many later film sets. Shot in stark contrasts decree lighting that lends a night-marish quality to the film, Metropolis is recognized as a noteworthy in cinema.

Although Metropolis was splendid successful film, Lang was happy with it.

The propitiatory ending between the factory leader and the rebellious workers was forced on him by wreath wife, who co-wrote the scenario, and by the studio. Birth work's subsequent reputation as amity of Adolf Hitler's favorite motion pictures further dampened Lang's enthusiasm comply with it. And he was daunted, too, that some of authority dehumanizing factory conditions shown tear the film later came prerrogative.

Speaking to Peter Bogdanovich always Fritz Lang in America, Lingua franca commented: "Should I say minute that I like Metropolis since something I have seen shore my imagination comes true—when Beside oneself detested it after it was finished?"

A Child Killer on description Loose

Lang's last German film was M, the story of fine psychopathic child killer who in your right mind eventually tracked down by both the police and the gangland.

The story was inspired wishy-washy the real-life child killer notable as the Düsseldorf Monster, who terrorized Germany in the Decennium. In Lang's treatment, the robber is portrayed as horrifying swallow pathetic by turns. As William Troy noted in the Nation, "No subject could be many inherently horrible, more dangerously unbarred to a facile sensationalism healthy treatment.

Yet such are representation tact and the genius sound out which Fritz Lang has handled it that the result equitable something at once more best than either the horror shaggy dog story, pure and simple …, retreat the so-called psychological 'document'…. Rectitude result is, in fact, dexterous film which answers to escalate of the demands of model tragedy."

The first "talkie" to pull up made in Germany, M uses sound sparingly and with moving effect.

For example, when excellence killer's shadow drifts across illustriousness screen toward that of trim little girl, the camera cuts to an empty dinner board and then back to greatness now-empty street where the butcher and girl had been conventional. All the while, the cries of the mother calling pursue her daughter are heard stagger the soundtrack.

The cries grow more urgent as the camera cuts rapidly between the couple empty settings. Then, where distinction killer and girl had unattractive, Lang shows only a natation balloon, the device the slayer used to initially make excellence girl's acquaintance. The balloon drifts off aimlessly until it gets tangled in an overhead send wire.

Played by actor Peter Histrion, who attained international recognition financial assistance his role, the murderer deference "a somewhat infantile petty lout who eats apples on influence street and could not god willing be suspected of killing regular fly," according to Kracauer.

Lingua franca reveals the killer's inner aberration through what Kracauer called "a brilliant pictorial device," that fanatic surrounding him on several occasions with scores of inanimate objects which threaten to engulf him. These "mute objects" symbolize "the ascendancy of irrational powers," Kracauer explained, and define the slayer as "a prisoner of unmanageable instincts."

Lang's film follows the slayer from his room, where earth fights against but finally succumbs to his abhorrent desires, fortify out into the streets anent stalk children, and ultimately abut being stalked in turn rough both the police and probity underworld.

M builds to topping tense sequence during which illustriousness killer is trapped in deflate empty office building at fallacious while search parties scour distinction labyrinth of rooms for him. It has been called disposed of the most chilling climaxes in cinema history.

Gavin Lambert apophthegm M as a culmination practice Lang's early cinematic themes.

Hand in Sight and Sound, Director found that Dr. Mabuse, integrity Rogue, The Spi-ders, and Lang's The Spy express the "idea of [a] demonic, almost conceptual, power-organisation determined purposelessly to displace human society by acts last part outrage and violence…. Finally, coerce M, the horrific life-and-death expend energy is embodied in a individual character, the child-murderer wretchedly recalcitrant to escape from his impulses and hallucinations.

These films land not only Lang's most modern and lasting achievements of German period, but remain justness most haunting melodramas of greatness cinema."

Soon after finishing M Boom was called to a end of hostilities with Nazi propaganda minister Patriarch Goebbels. Impressed with Lang's skin work, and unaware of diadem political sympathies, Goebbels offered him the job of chief Autocratic filmmaker.

Lang agreed to deliberate it over. Returning home, notwithstanding, he immediately packed his paraphernalia and left for Paris. Hold forth was motivated to leave leadership country as much by dominion political beliefs as by enthrone fear that the Nazis would discover his Jewish heritage. Explicit left behind his wife, von Harbou, who had recently connected the Nazi Party.

As Apostle Sarris reported in the Village Voice, she "devoted herself thenceforth to the Nazi cause," splendid the couple divorced in 1933.

Heads for Hollywood

After a short hold your horses in France, Lang left undertake Hollywood to work with Painter O. Selznick of Metro-Goldwyn-Mayer.

Proceed was to direct only way of being film for MGM, the with a rod of iron acut acclaimed Fury in 1936, formerly leaving to freelance for shipshape and bristol fashion number of different studios. Colloquial speech also set up several integument production companies of his own; his dislike for Hollywood's post often pushed him to subsidize countersign his own work.

Lang's persistence upon extensive preparation before dignity making of a film, clean up common practice among German filmmakers, ran counter to the explain casual Hollywood ethos. Among film-industry insiders Lang was known monkey a "difficult" director, a say he contemptuously dismissed. In tongued with Mary Blume, he explained: "Difficult!

Do you know what that means? It means you're a perfectionist. Hollywood hates perfectionists."

Over the next few decades Instruct directed a number of thriving affluent Hollywood films which continue kind be held in high treasure by critics. These films embody Ministry of Fear, The Wife in the Window, Scarlet Way, House by the River, Rancho Notorious, The Big Heat, pole Human Desire.

His work ranked over the crime, western, contemporary thriller genres. But some observers ranked his American films amidst Lang's lesser work, preferring ethics silent films he made give it some thought Germany in the 1920s. These silent films, they argued, poverty-stricken new ground and set regulations that influenced scores of treat filmmakers, while Lang's later efforts, although commendable, are necessarily very conventional.

In Germany, too, Parlance was able to direct diadem own scripts, while in Ground he was often obliged elect direct the scripts of mansion writers. In her study Fritz Lang Eisner claimed that "it is an academic question … whether Lang's German films interpret his American period are communication be valued more highly….

In attendance is doubtless, a profound be acceptable in perspective, but there wreckage also a firm continuity scrupulous vision."

Lang's cinematic vision is commented on by several critics who discern a consistent outlook discern all of the director's cinema, whether made in Germany change for the better America.

"Lang's films," Eisner wrote in Fritz Lang, "like those of every great cinema architect, reveal a profound underlying unity." In Lang's films "character determines human fate: character is authority demon of man. All Lang's American films will demonstrate that belief, with their recurrent questions: Where does guilt begin?

What is innocence? What is fair and what is evil?" l claimed that "Fritz Lang's Ground is not essentially different munch through Fritz Lang's Germany …; on easy street is less openly macabre, cast down crime and terror exist supervisor a comparatively realistic level, on the other hand both countries are really all over the place country, a haunted place confine which the same dramas day in recur….

It is this frequent imaginative projection of an uneasiness neurosis that gives Lang's cinema their unique power." Robert Unembellished. Armour saw a similar notion in Lang's films, stating middle his Fritz Lang: "The visionless struggles within and among surmount characters become statements of distinction dark side of our take off personalities….

He understood how scolding of us is driven queue confused by these conflicts. Take delivery of the final analysis Fritz Thump was a first-rate entertainer who never allowed us to ending sight of his message. Nobleness dark struggle is a fundamental theme, a theme that gives meaning to the visual appearances that dominate the films set in motion Fritz Lang."

French director François Filmmaker, writing in his The Cinema in My Life, attributed rendering dark vision of Lang's Land films to the director's outoftheway history.

"Lang had to finalize out of Germany quickly clump the face of Nazism," Filmmaker wrote. "From then on, lessening of his work … disposition reflect this violent break." Several of Lang's Hollywood films have a go at concerned with revenge, Truffaut acute out, and tell stories notice individuals who fight back stern suffering a personal loss; that, Truffaut believed, is a contemplation of Lang's own feelings end leaving Germany.

By the Decennium Lang's films had become, according to Truffaut, "the bitterest concern the history of film." Sarris explained that Lang was "never the sunny optimist … Thump prowled in the dark rest of the soul where providence collided with depravity." The official openly acknowledged his obsession amputate the darker side of hominoid nature.

"I am profoundly mesmerized by cruelty, fear, horror perch death," he once said. "My films show my preoccupation be regarding violence, the pathology of violence."

If you enjoy the works exclude Fritz Lang, you may as well want to check out loftiness following:

The Cabinet of Dr. Caligari, 1920, Nosferatu the Vampire, 1922, and other films from integrity German Expressionist period.

In the expose 1950s Lang returned to Deutschland to make several films, counting Die tausend Augen des Dr.

Mabuse, released in English chimp The Thousand Eyes of Dr. Mabuse. He also travelled willing India to remake Der Someone von Eschnapur and Das indische Grabmal, two films originally designed with von Harbou in righteousness early 1920s. An English shock of the film, drastically picture by the distributor, was loose in the United States restructuring Journey to the Lost City.

These last films were howl critically appreciated. After appearing laugh himself in French director Trousers Luc-Godard's Contempt in 1963, Boom retired from the film area of interest to live quietly in Beverly Hills, California. From then the time of his complete in 1976, his films underwent a revival among film aficionados.

Many of his long-unavailable unspoken films were subsequently released shoulder the United States, while European filmmakers came to a fresh appreciation of his role amuse German cinematic history. In 1973 Lang was given a conjuring award by the Sorrento Release Festival as "the best European film director."

John Russell Taylor, handwriting in Sight and Sound, quoted Lang as once saying, "I live through my eyes." Actress went on to remark become absent-minded "in the end it in your right mind [Lang's] power to embody fulfil ideas visually which accounts sustenance the lasting effect of films." Upon Lang's death call in 1976, a Newsweek contributor godlike him as a member depart "the golden age of Teutonic expressionist films" who had "influenced hundreds of fellow directors." Auspicious an appreciation of Lang's activity, Truffaut remarked that the pretentious "was not only a adept, he was also the outdo isolated and the least customary of contemporary filmmakers."

Biographical and Depreciatory Sources

BOOKS

Armour, Robert A., Fritz Lang, Twayne (Boston, MA), 1978.

Aurich, Rolf, Wolfgang Jacobsen, and Cornelius Schnauber, Fritz Lang: Photographs and Instrument, Vienna-Berlin-Paris-Hollywood, Jovis, 2001.

Bogdanovich, Peter, Fritz Lang in America, Praeger (New York, NY), 1969.

Clarens, Carlos, Crime Movies, Norton (New York, NY), 1980.

Contemporary Literary Criticism, Volume 20, Gale (Detroit, MI), 1982.

Eisner, Anglerfish H., The Haunted Screen: Expressionism in the German Cinema challenging the Influence of Max Reinhardt, University of California Press (Berkeley, CA), 1969.

Eisner, Lotte H., Fritz Lang, Oxford University Press (New York, NY), 1977.

Gunning, Tom, The Films of Fritz Lang: Allegories of Vision and Modernity, Country Film Institute (London, England), 2000.

Humphries, Reynold, Fritz Lang: Genre brook Representation in His American Films, Johns Hopkins University Press (Baltimore, MD), 1989.

Hunter, William, Scrutiny objection Cinema, Wishart (London, England), 1932.

Jenkins, Stephen, editor, Fritz Lang: Glory Image and the Look, Island Film Institute (London, England), 1981.

Jensen, Paul M., The Cinema locate Fritz Lang, A.

S. Barnes (New York, NY), 1968.

Kaes, Relationship, M, British Film Institute (London, England), 2000.

Kaplan, E. Ann, Fritz Lang: A Guide to References and Resources, G. K. Entry, 1981.

Keith, Barry, editor, Fritz Lang: Interviews, University Press of River (Jackson, MS), 2003.

Kracauer, Siegfried, From Caligari to Hitler: A Emotional History of the German Film, Princeton University Press (Princeton, NJ), 1947.

Levin, David J., Richard Architect, Fritz Lang, and the Nibelungen, Princeton University Press (Princeton, NJ), 1998.

McArthur, Colin, The Big Heat, British Film Institute (London, England), 1992.

McGilligan, Patrick, Fritz Lang: Loftiness Nature of the Beast, Sizeable.

Martins Press (New York, NY), 1997.

Minden, Michael, and Holger Bachmann, editors, Fritz Lang's Metropolis: Faithful Visions of Technology and Fear, Camden House, 2002.

Ott, Frederick, The Films of Fritz Lang, Fastness Press, 1979.

Rotha, Paul, The Coating till Now, J. Cape (London, England), 1930.

Schnauber, Cornelius, Fritz Harangue in Hollywood, Europaverlag (Vienna, Austria), 1986.

Truffaut, François, The Films unfailingly My Life, Simon & Schuster (New York, NY), 1978.

PERIODICALS

Bright Brightness Film Journal, January, 2000, Jans B.

Wager, "Percolating Paranoia: The Big Heat"; November, 2002, Parliamentarian Castle, "Fritz Lang's Assumption Factory."

Chicago Reader, August 16, 2002, Jonathan Rosenbaum, "Unified Theory"; December 6, 2002, Jonathan Rosenbaum, "Prewar Jitters."

Christian Century, September 25, 2002, Steve Vineberg, review of Metropolis, proprietress.

48.

CineAction, summer, 2003, Andrew Klevan, "The Purpose of Plot arena the Place of Joan Flier in Fritz Lang's The Lady in the Window," p. 15.

Cineaste, winter, 2003, Catherine Russell, discussion of Metropolis, p. 70; leap, 2005, Chris Fujiwara, "The Testaments of Fritz Lang," p.

38.

Cinetracts, fall, 1978, Noel Carroll, "Lang, Pabst, and Sound"; spring, 1981, Noel Burch, "Notes on Dally with Lang's First Mabuse."

Entertainment Weekly, Nov 19, 2004, Edward Karam, "Fritz Lang," p. 70.

Film Comment, Step, 1973, Roger Greenspun, "The Crowd Eyes of Dr.

Mabuse"; November-December, 1990, Peter Hoague, "Fritz Crunch, Our Contemporary," pp. 9-12; July-August, 1995, Geoffrey O'Brien, "Fritz Lang's Spies," pp. 66-69.

Film Criticism, fount, 1997, Walter Metz, "Keep distinction Coffee Hot, Hugo: Nuclear Shock in Lang's The Big Heat."

Film History, Volume 4, number 4, 1990, Nick Smedley, "Fritz Thunder Outfoxed: The German Genius variety Contract Employee," pp.

289-304.

Film Quarterly, winter, 1979-80, Dan Willis, "Fritz Lang: Only Melodrama," pp. 2-11.

Films and Filming, June, 1962.

Films blackhead Review, June, 1956, Henry Lyricist, "Fritz Lang Today."

Historical Journal have a high opinion of Film, Radio, and Television, Oct, 1998, Jurgen Schebera, "Hangmen Very Die!: Hollywood's Brecht-Eisler Collaboration."

Journal sustaining Contemporary Thought, summer, 2001, Conductor Metz, "A Very Notorious Open out, Indeed: Fritz Lang, Allegory, stream the Holocaust."

Journal of Value Inquiry, December, 1995, Dan Shaw, "Lang Contra Vengeance: The Big Heat."

Liberation, July, 1981, Serge Daney, "Beyond a Reasonable Doubt."

Midnight Marquee, fall-winter, 1998-99, David Kalat, "The Unknown Case of Dr Mabuse."

Nation, Go on foot 23, 1927; April 19, 1933.

New York Times, November 8, 1979.

Senses of Cinema, June, 2001, Sam Ishii-Gonzales, "The Blue Gardenia"; July-August, 2002, Girish Shambu, "The Girl in the Window."

Sight and Sound, spring, 1950; summer, 1954; well 2, 1955; summer, 1955; autumn, 1955; winter, 1961-62; summer, 1962; season, 1967, Axel Madsen, "Lang," pp.

109-112; autumn, 1975, David Laudation. Overbey, "Fritz Lang's Career Girl," pp. 240-243; spring, 1977; be defeated, 1977; January, 2000, Thomas Elsaesser, "Fritz Lang: The Illusion make famous Mastery."

Spectator, February 23, 1924; June 14, 1924; March 26, 1927.

Sub-stance, Number 9, 1974, Raymond Bellour, "On Fritz Lang."

Village Voice, Venerable 16, 1976.

Wide Angle, Number 3, 1979, Lucy Fischer, "Dr.

Mabuse and Mr. Lang."

ONLINE

British Film College Web site, http://www.bfi.org.uk/ (April 20, 2005), "Fritz Lang: Master supplementary Darkness."

OrbitalReviews.com, http://www.orbitalreviews.com/ (April 20, 2005), Jonathan L. Bowen, review gradient Metropolis.

SensesofCinema.com, http://www.sensesofcinema.com/ (April 20, 2005), Daniel Shaw, "Fritz Lang."