Fritz Lang Poster


Jump to: Overview (4) | Mini Bio (2) | Spouse (3) | Trade Mark (4) | Trivia (35) | Personal Quotes (9)

Overview (4)

Date of Birth 5 December 1890Vienna, Austria-Hungary [now Austria]
Date of Death 2 August 1976Beverly Hills, Los Angeles, California, USA
Birth NameFriedrich Christian Anton Lang
Height 5' 11" (1.8 m)

Mini Bio (2)

Fritz Lang was born in Vienna, Austria, in 1890. 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 1910 to 1914, he traveled in Europe, and he would later claim, also in Asia and North Africa. He studied painting in Paris from 1913-14. At the start of World War I, he returned to Vienna, enlisting in the army in January 1915. Severely wounded in June 1916, he wrote some scenarios for films while convalescing. In early 1918, he was sent home shell-shocked and acted briefly in Viennese theater before accepting a job as a writer at Erich Pommer's production company in Berlin, Decla. In Berlin, Lang worked briefly as a writer and then as a director, at Ufa and then for Nero-Film, owned by the American Seymour Nebenzal. In 1920, he began a relationship with actress and writer Thea von Harbou (1889-1954), who wrote with him the scripts for his most celebrated films: Dr. Mabuse: The Gambler (1922), Die Nibelungen: Siegfried (1924), Metropolis (1927) and M (1931) (credited to von Harbou alone). They married in 1922 and divorced in 1933. In that year, Nazi propaganda minister Joseph Goebbels offered Lang the job of head of the German Cinema Institute. Lang--who was an anti-Nazi mainly because of his Catholic background--did not accept the position (it was later offered to and accepted by filmmaker Leni Riefenstahl) and, after secretly sending most of his money out of the country, fled Germany to Paris. After about a year in Paris, Lang moved to the United States in mid-1934, initially under contract to MGM. Over the next 20 years, he directed numerous American films. In the 1950s, in part because the film industry was in economic decline and also because of Lang's long-standing reputation for being difficult with, and abusive to, actors, he found it increasingly hard to get work. At the end of the 1950s, he traveled to Germany and made what turned out to be his final three films there, none of which were well received.

In 1964, nearly blind, he was chosen to be president of the jury at the Cannes Film Festival. He was an avid collector of primitive art and habitually wore a monocle, an affectation he picked up during his early days in Vienna. After his divorce from von Harbou, he had relationships with many other women, but from about 1931 to his death in 1976, he was close to Lily Latte, who helped him in many ways.

- IMDb Mini Biography By: A. Nonymous

He studied at the College of Technical Sciences of Vienna's Academy of Graphic Arts but unhappy with the career path chosen for him by his parents, he ran away to study art in Munich and Paris. He then spent many years travelling the world including Asia. In 1913, he returned to Paris to paint. When World War I began, he was drafted into the Austrian army. After the war, he became a story editor, then screenwriter and actor.

- IMDb Mini Biography By: L.H. Wong

Spouse (3)

Lily Latte (1971 - 2 August 1976) (his death)
Thea von Harbou (26 August 1922 - 26 April 1933) (divorced)
Lisa Rosenthal (1919 - 1921) (her death)

Trade Mark (4)

All his films feature a shot of his hand
Usually wore a monocle, and probably only for dramatic effect
His protagonists are frequently hateful, violent but ultimately sympathetic figures
His films are dark (both visually and in tone)

Trivia (35)

Dorothy Parker once remarked, in reference to Lang's wife's "campaigning" for his career, "There's a man who got where he is by the sweat of his Frau."
According to Lang himself, on 25 March 1933, two days after The Testament of Dr. Mabuse (1933) had been banned, he was summoned to the Nazi Ministry of Propaganda to meet with Joseph Goebbels himself. Goebbels explained the reason for the ban (the Nazi party slogans are fed into the mouth of the villain at the film's conclusion) and apologized to Lang. He then shocked Lang by offering him the position of production supervisor at the UFA studios, where his first film would be a biography of Wilhelm Tell. Lang claims he suspected a trap and attempted to throw off Goebbels by telling him, "My mother had Jewish parents," to which Goebbels responded, "We'll decide who's Jewish!" Lang then expressed interest in the position and said he needed some time to think it over. He describes how he looked at a clock and how during the entire meeting all he could think about was leaving as soon as possible so he could get to the bank and flee with all of his money. Lang says he didn't get there in time so he sold his wife's jewelry, boarded a train to Paris that same evening, leaving most of his money and personal possessions behind, along with his wife, Thea von Harbou, who divorced him later that year and went on to write and direct films for the Nazi propaganda machine. This story is possibly exaggerated by Lang for dramatic effect because there is evidence he left weeks after that.
Interred at Forest Lawn (Hollywood Hills), Los Angeles, California, USA, in the Enduring Faith section, just to the right of plot #3818, two in from the curb.
Before his death in 1976, he planned to make a film about the hippie culture.
As a soldier in the Austro-Hungarian army during World War I--Lang was an Austrian, not German as is commonly believed--he fought in Russia and Rumania, where he was wounded three times.
Both in Germany and the United States, he was one of the most personally disliked directors around, a fact that hurt him at times in Hollywood because some actresses and actors would refuse to work with him.
Was voted the 30th Greatest Director of all time by Entertainment Weekly.
Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890-1945." Pages 609-624. New York: The H.W. Wilson Company, 1987.
His first wife, Lisa Rosenthal, committed suicide by shooting herself in the chest. It was rumoured that she did this after finding her husband in a compromising situation with Thea von Harbou.
President of the jury at the Cannes Film Festival in 1964.
An animated version of Lang appeared in the Japanese animated movie "Full Metal Alchemist: Conquerors of Shamballa" (Fullmetal Alchemist the Movie: Conqueror of Shamballa (2005)). Originally mistaken by Edward Elric as being one of the Homonculi from his own world, this animated Lang aided Edward in his quest to return home. He was voiced by Hidekatsu Shibata.
Second son of Anton Lang, an architect, and Pauline Schlesinger.
Collected primitive art.
Was nearly blind at the time of his death.
His films, particularly his earlier work, were hugely influential and he was cited as influencing the work of directors such as Alfred Hitchcock, Luis Buñuel and Orson Welles.
His second wife, Thea von Harbou, divorced after finding some evidence of her husband's intimate relationship with Lily Latte, who was his contact in Paris during his visits, and then his stay in France. Lilly was also married, and also divorced shortly after, having lived with Lang, and serving as his personal assistant, from 1931 to 1971, when they were married.
Learned to speak French and English as an adult in addition to his native German.
An extensive interview with Peter Bogdanovich resulted in a book, "Fritz Lang in America" published by Praesger in 1967.
Lang was drafted into the Austro-Hungarian Imperial Army during WW I in 1915. As a lieutenant in Italy he was wounded in the shoulder, for which he was decorated.
Producer Erich Pommer offered Lang The Cabinet of Dr. Caligari (1920), but the director felt the film's expressionistic style would not be understood by audiences. Instead he did Die Spinnen, 2. Teil - Das Brillantenschiff (1920), the last part of "The Spiders".
Lang dubbed Peter Lorre's whistling in M (1931). He felt his off-key whistling was right for the character.
When Lang decided to leave Germany in 1933, his wife Thea von Hardou divorced him. She remained in Germany and made propaganda films for the Nazis.
He claims to invent 'the countdown' for dramatic purposes in his film Woman in the Moon (1929). His usage of countdown is the first ever recorded, inspiring real life rocket launch sequences.
After the outbreak of World War I he volunteered in Austria and was appointed to the front of Russia, Romania and Italy where he was wounded several times. He got different decorations and bravery medals. During his time in the military hospital he wrote his first scripts and one of them was very probably realized for the Stuart-Webbs serial of director Joe May. Since 1917 Joe May adapted several scripts of the young Fritz Lang for the follow-up serial Joe Deebs as well as melodramas like "Hilde Warren und der Tod" (1917).
In 1933 Propaganda-Minister Joseph Goebbels invited Fritz Lang for a talk. Goebbels offered him the leadership of the German movie business. Lang delayed his answer and went to Paris at the same evening.
After a journey to America Fritz Lang shooted his probably most famous work "Metropolis" in 1925/1926. As in his earlier movies he turned out to be an extreme strict director who demanded everything from his actors. Several repetitions of different scenes happened often. Fritz Lang soon "relished" the reputation of a tyrant. But in order to realize such pictures as he did, it was a necessity to lead with a resolute hand.
Fritz Lang realised only few movies in the 20s comparing with other directors but his movies stand out for big quality and most of those filmings went down in film history.
Because of his figure and his narrations he was considered as a winning companion. But his employees also knew the other side of Fritz Lang, that one who stood in the studio at 7 a.m. and worked till 11 p.m., sometimes later.
Lang was reputed in Berlin as a man of world, the monocle seemed to be a fixed component of his face.
The rise of the sound film offered Fritz Lang new possibilities to express himself in his movies. But he thought about his next movie very carefully. So his first talky only appeared in 1931 with the simple title "M" (1931) and became a smash hit, the leading actor Peter Lorre became a star. The film encountered additional interest because Germany was especially sensitive to this subject on account of the cases of the mass murderers Kürten and Haarmann.
He was deadly unhappy when a scene didn't get out exactly the way he imagined, correspondingly he urged on the actors to a top performance and precision.
In France Fritz Lang shot several pictures and then went via London to the USA. There he founded together with other people the Anti-Nazi-League.
In 1918 Lang met the great film producer Erich Pommer who engaged him to Berlin. There he wrote more scripts and played as an actor.
One of the most important exponents of the German silent movie was undoubtedly director Fritz Lang. His artistic talent became visible very early. He visited the Academy of Graphic Art in Vienna and lived as an artist in Paris in 1913/1914.

Personal Quotes (9)

[about CinemaScope] It's only good for funerals and snakes.
Each picture has some sort of rhythm which only the director can give it. He has to be like the captain of a ship.
There was a time when all I looked for was a good story, but nowadays everything has to look like the size of Mount Rushmore, and the actors in close- up look as though they belong there.
I do not like producers.
[on Erich von Stroheim] In my opinion, there were only two directors in Hollywood who made films without regard to box-office success: Von Stroheim and myself.
[on Edward G. Robinson] Each part he plays, he enriches with deep and warm understanding of human frailties and compels us to pity rather than condemnation, always adding vivid color to the intricate mosaic of motion picture reality.
In America sex is preached, in France it is done.
[Asked in a 1975 interview if he ever met Raoul Walsh] I never traveled around meeting other directors. I wasn't haughty in this respect. It is just that all my life I have been so involved in my work that I guess one could say in general that, whenever I had to balance my private life and my profession, my profession always won out.
To begin with I should say that I am a visual person. I experience with my eyes and never, or only rarely, with my ears - to my constant regret.

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