Fritz Lang, and check out Fritz Lang on Wikipedia, Youtube, Google News, Google Books, and Twitter on Digplanet.
His most famous films include the groundbreaking Metropolis (1927) a€“ which was the world's most expensive film up to that point a€“ and M (1931), a film noir precursor that was made before he moved to the United States.
After finishing school, Lang briefly attended the Technical University of Vienna, where he studied civil engineering and eventually switched to art.
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 three times. 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. Considered by many film scholars to be his masterpiece, 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. 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. 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. Lang was worried about the advent of the Nazi regime, partly because of his Jewish heritage,[8] whereas his wife and screen writer Thea von Harbou had started to sympathize with the Nazis in the early 1930s and joined the NSDAP in 1940. One of his most famous films noir is the police drama The Big Heat (1953), noted for its uncompromising brutality, especially for a scene in which Lee Marvin throws scalding coffee on Gloria Grahame's face. Finding it difficult to find congenial production conditions and backers in Hollywood, particularly as his health declined with age, Lang contemplated retirement. Twilight Time has issued a new Blu-ray edition of Fritz Lang's classic 1953 film noir The Big Heat as a limited edition (3,000 units). Two of German director Fritz Lang's films have been released to DVD and blu ray by Kino Lorber. Burg: Fritz Lang grA¤bt sich ja im Film immer weiter in diesen Fall, in diesen Mordfall hinein.
Er hat Filmgeschichte geschrieben: der deutsch-A¶sterreichisch-amerikanische Regisseur Fritz Lang.
Tom O'Horgan, and check out Tom O'Horgan on Wikipedia, Youtube, Google News, Google Books, and Twitter on Digplanet.
Tom O'Horgan (May 3, 1924 a€“ January 11, 2009) was an American theatre and film director, composer, actor and musician.
Born in Chicago, Illinois, O'Horgan was introduced to theater by his father, a newspaper owner and sometimes actor, who took him to shows and built him footlights and a wind machine.
O'Horgan received his degree from DePaul University where he learned to play dozens of musical instruments.[1] After graduating he worked in Chicago as a harpist and also performed with the Second City, the Chicago improvisational theater company.
O'Horgan thought of his work as "kinetic sculpture"[1] and said that his goal was to be "able to blend all aspects of the theatre without letting any part become secondary to the others."[2] Of contemporary commercial theater, he believed that people are "hung up on chandeliers because they insist that the one-dimensional, verbal Ibsenite theater is the only theater. O'Horgan said that an element of his artistic gratification is "just getting the vicarious joy of turning people on, making them respond, turning them on to their own sensual powers that are buried under layers of cement. In November 1974, he conceived and directed a stage adaptation of The Beatles' classic recording Sgt. O'Horgan made his Broadway directorial debut in 1968 with the ground-breaking musical, 'Hair (musical). Hair underwent a massive overhaul from its downtown version to its Broadway opening in April 1968.


O'Horgan said that the experience gave him the opportunity to help create "a theater form whose demeanor, language, clothing, dance, and even its name accurately reflect a social epoch in full explosion."[18] He believed that the actors in Hair, some from "right off the street", made an important contribution to Broadway theater. The next Broadway project for O'Horgan was to direct the Julian Barry play Lenny, with Cliff Gorman as controversial comedian-satirist Lenny Bruce. That same year O'Horgan would also direct the 1971 Andrew Lloyd Webber musical Jesus Christ Superstar that became popular with audiences and that, like Hair, would later be made into a movie. O'Horgan directed and composed the score for the screen adaptation of Futz with Frederic Forrest, Sally Kirkland, and Jennifer O'Neill, and directed the film version of EugA?ne Ionesco's Rhinoceros starring Zero Mostel, Gene Wilder, and Karen Black (and which featured a score by Hair composer Galt MacDermot). O'Horgan won three Drama Desk Awards for his direction of Lenny and off-Broadway plays Futz! In 2006 Ben Vereen presented O'Horgan with the Artistic Achievement Award from the New York Innovative Theatre Awards. O'Horgan lived in a 3,000-square-foot (280 m2) loft in Manhattan at 840 Broadway (at 13th Street) that was famous for parties and events attended by artistic figures like Norman Mailer and Beverly Sills. His parents (his mother, Jewish born, converted to Roman Catholic) took their religion seriously and were dedicated to raising Fritz as a Catholic.
In 1910 he left Vienna to see the world, traveling throughout Europe and Africa and later Asia and the Pacific area.
While recovering from his injuries and shell shock in 1916, he wrote some scenarios and ideas for films. In this first phase of his career, Lang alternated between films such as Der MA?de 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. 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. Lang, who was known for being hard to work with, epitomized the stereotype of the tyrannical German film director, a type embodied also by Erich von Stroheim and Otto Preminger. According to Lang, propaganda minister Joseph Goebbels called Lang to his offices to inform him that The Testament of Dr Mabuse was being banned but that he was nevertheless so impressed by Lang's abilities as a filmmaker (especially Metropolis), he was offering Lang a position as the head of German film studio UFA. His first American film was the crime drama Fury, which starred Spencer Tracy as a man who is wrongly accused of a crime and nearly killed when a lynch mob sets fire to the jail where he is awaiting trial. As Lang's visual style simplified, in part due to the constraints of the Hollywood studio system, 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 (1956).
The German producer Artur Brauner had expressed interest in remaking The Indian Tomb (a story that Lang had developed in the 1920s which had ultimately been directed by Joe May).[14] So Lang returned to Germany,[15] to make his "Indian Epic" (consisting of The Tiger of Eschnapur and The Indian Tomb). The movie ranks among the top films in the noir genre and time has only increased its appeal. Im Grunde genommen wird der KA?nstler auch so ein bisschen als wahnsinniges Genie dargestellt.
Fast das ganze Programm steht auf die ein oder andere Weise im Zeichen des Themas a€zGrenzena€?. He is best known for his Broadway work as director of the hit musicals Hair and Jesus Christ Superstar.
When you see how people in the streets will run to see a fire or an accident or a fight, hoping against hope to see something really happen, something that will prove that the people walking beside them are more than mere mannequins, you realize how much they want to break out of all their emotional rigidity."[3] Though he would become well known for his Broadway work, he was more comfortable in the Off-Broadway world.
He first directed the play off-off-Broadway for La MaMa in March 1967 and later took it to the Edinburgh Festival and then to New York's Theater de Lys, an off-Broadway venue in June 1968.[8] O'Horgan also directed a film version of Futz! He said that "the kids are talking their own language, they're expressing their real sex attitudes and they're laying it on the line about race and miscegenation.


Lenny opened at the Brooks Atkinson Theatre in May 1971, across the street from the Biltmore Theater where Hair was still running. Superstar was notable for the performance of Ben Vereen as Judas Iscariot.[21]- whom O'Horgan directed previously on Broadway in the role of Hud in Hair. O'Horgan composed the score for Paul Mazursky's Alex in Wonderland starring Donald Sutherland and Ellen Burstyn. He was discharged from the army with the rank of lieutenant in 1918 and did some acting in the Viennese theater circuit for a short time before being hired as a writer at Decla, Erich Pommer's Berlin-based production company. Adolf Hitler came to power in January 1933, and by March 30, the new regime banned it as an incitement to public disorder.
Lang's fears would be realized following his departure from Austria, as under the Nuremberg Laws he would be identified as a Jew even though his mother was a converted Roman Catholic, and he was raised as such. Lang had stated that it was during this meeting that he had decided to leave for Paris a€“ but that the banks had closed by the time the meeting was over. As he told Lester in 1968, "Sure, I've been sent scripts from Broadway offices, but so far I haven't seen anything that I could possibly be interested in. Many of these improvisations were incorporated into the Broadway script.[15] He prepared actors by having them undress in slow motion, praying to God and Buddha and jostling one another. In addition, he is credited with "stage production conceived and adapted by" for the 1978 Sgt. There was also an alcove of gongs, including the one used in Jesus Christ Superstar.[citation needed] He and his friends rang in many a New Year there, where at midnight everyone would take an instrument off the wall, or find a drum or a gong, and celebrate with an abandon and joy that O'Horgan so often set the stage for (both personally and professionally). Mabuse the Gambler; 1922), which ran for over four hours in two parts in the original version and was the first in the Dr. Testament is sometimes deemed an anti-Nazi film as Lang had put phrases used by the Nazis into the mouth of the title character.
He made twenty-three features in his 20-year American career, working in a variety of genres at every major studio in Hollywood, and occasionally producing his films as an independent.
Pepper's Lonely Hearts Club Band on the Road, played at the Beacon Theater concert venue on Manhattan's Upper West Side. Mabuse trilogy, the five-hour Die Nibelungen (1924), the famous 1927 film Metropolis, the science fiction film Woman in the Moon (1929), and the 1931 classic, M, his first "talking" picture. Lang's American films were often compared unfavorably to his earlier works by contemporary critics, but the restrained Expressionism of these films is now seen as integral to the emergence and evolution of American genre cinema, film noir in particular.
The production, developed in collaboration with Hair set designer Robin Wagner, featured 34 actors performing 29 Beatles songs with elaborate scenery, special effects and colorful costumes. Mabuse (1960), whose success led to a series of new Mabuse films, which were produced by Brauner (including the remake of The Testament of Dr. Mabuse can be viewed as the marriage between the director's early experiences with expressionist techniques in Germany with the spartan style already visible in his late American work.[citation needed] Lang was approaching blindness during the production,[16] and it was his final project as director.
He sends his actors mugging and careening across the stage in great joyous surges of energy."[8] Hair authors James Rado and Gerome Ragni attended the La MaMa production of Futz!



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