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May 20, 2019 May 20, 2019/ Samuel Harries
METROPOLIS (Credit: ufa/parufamet)
By 1912, film was still commonly disputed as a legitimate artform within Germany, with many theatre professionals boycotting the industry entirely. Whether they genuinely considered it to be lowbrow entertainment or simply wanted to protect their own industry is unclear, but in either case the boycott ultimately failed. By 1913, this opinion had largely faded and many of the industry's naysayers were contracted by the very studios they had opposed. The concept of 'Autorenfilm' arose, by which a famous writer would become the selling point for a film's production - particularly if the writer had created the film's source material. Although Stellan Rye's The Student of Prague (1913) saw notable success through this technique, the concept of Autorenfilms soon lost the attention of the filmgoing audience and studios were once again looking for a way to capture people's imagination. Then came a blessing in disguise, at least from the studios' perspective.
In 1916, the German government had become dissatisfied with the popularity of foreign films, particularly those they believed to be attacking Germany. It was decided that all foreign films would be banned for the foreseeable future, allowing domestic studios to completely corner the market and produce considerably more films each year to greater success. By 1920, this increase in supply and demand had clearly led to a boom in the industry, allowing German Expressionist directors such as F. W. Murnau, Fritz Lang, Robert Wiene and Lupu Pick to develop unconventional storytelling for the masses.
These directors proved that, perhaps better than any other medium before it, film allows us to visually and existentially explore the dark corners of human psychology. With stories of despair, betrayal and the occasional sign of hope, the movement established staples of the horror genre - but its influence also stretches much further. From immediately recognizable designs in Star Wars to the character development for Batman's Joker, German Expressionists initiated the beginnings of many pop culture landmarks we see today. Below you'll find a brief timeline of the films that formed the movement from 1919 until 1931, along with the context in which they were created.
Nerves (1919) Nerven – by director Robert Reinert
NOSFERATU (credit: prana film)
Although Nosferatu is often regarded as one of the masterworks of German Expressionist cinema, this unauthorized adaptation was initially met with a lawsuit that resulted in a mass-burning of the film's prints. Despite this, a few copies of the film survived as they had already been distributed internationally. Despite taking most of its key components from Dracula, Nosferatu made a global impact on the horror genre and continues to develop vampire lore as we know it. For example, Dracula is only weakened by sunlight, while Count Orlok can be entirely destroyed by it, forcing him to sleep during the day and hide in the shadows; this trait is far more common in modern day vampire fiction than Stoker's original concept.
Nosferatu's legal troubles led to the bankruptcy of Pana Films after the release of just one title, but also made F. W. Murnau a famous director synonymous with the horror genre. As time has passed, Nosferatu has been lovingly remembered for its innovative ideas and masterful direction, rather than the story's conspicuous use of Stoker's intellectual property.
The Burning Soil (1922) Der brennende Acker – by director F.W. Murnau
Released only days after the premiere of Nosferatu, Murnau's next film focused on a young man consumed by greed. After the death of his father, Johannes leaves his family farm to work for Count Rudenberg. Despite seducing the Count's daughter, a revelation leads him to take new interest in the Count's second wife instead.
Phantom (1922) by director F.W. Murnau
The Hands of Orlac (Credit: Pan-Film)
A world-renowned musician tragically loses his hands in an accident, but is miraculously given a new pair. Unfortunately for the pianist, his new hands once belonged to a murderer, leading to severe consequences.
Orlacs Hände is based on Maurice Renard's Les Mains d'Orlac. The story was also adapted in 1935 by Karl Freund, and again in The Hands of Orlac (1960), featuring horror icon Christopher Lee as Nico the Magician. The story, along with Robert Wiene's adaptation, also inspired titles such as Oliver Stone's The Hand (1981) and Robert Florey's The Beast With Five Fingers (1946).
New Year's Eve (1924) Sylvester – by director Lupu Pick
Sylvester is a Klammerspiel film taking place on New Year's Eve. While celebrating with his family, a man must cope with the bitter rivalry between his mother and his wife. The film is celebrated for its entfesselte Kamera techniques, now known as 'unchained camera techniques', which gave much greater mobility to cinematographers and in turn gave filmmakers dynamic shooting possibilities.
Lupu Pick would go on to direct 7 more features and continue his work as an actor before passing away in 1931.
The Last Laugh (1924) Der letzte Mann – by director F. W. Murnau
When an aging doorman for a prestigious hotel is demoted, his shame leads him to conceal the truth from his friends and family. But when the truth is discovered, he is ridiculed by society. The Last Laugh is another Klammerspiel film exploring the lives of the lower middle class, and Murnau deliberately tried to avoid the use of title cards throughout the film.
Lupu Pick was originally signed on to direct the project, but left after a disagreement with writer Carl Mayer. Along with Pick's New Year's Eve, the production is also noteworthy thanks to innovative 'entefesslte Kamera' techniques by cinematography Karl Freund. This included techniques that are synonymous with shoe-string budget filmmaking nowdays, such as strapping a camera to Freund's chest and giving him a bicycle to ride while shooting. The cinematographer's efforts utilized camera movement as a powerful storytelling tool, and the production undoubtedly shows a stepping stone towards the filmmaking tools we see today, such as camera dollys and steadicams.
Die Nibelungen (1924) – by director Fritz Lang
Based on The Song of the Nibelungs (Nibelungenlied), a German poem from around 1200 AD, Die Nibelungen tells the story of Siegfried, the heir to King Sigmund and his adventures. Among his exploits include the slaying of a dragon, a hunt for treasure and the turmoils of love.
Die NIbelungen was adapted by Thea von Harbou, who was married to Lang at the time. It can also be classified as a series of two films, Die Nibelungen: Siegfried and Die Nibelungen: Kriemhild's Revenge.
Waxworks (1924) Das Wachsfigurenkabinett – by directors Leo Birinsky & Paul Leni
A waxwork museum hires a writer to create stories related to their sculptures, including the tales of Harun al-Rashid, Ivan the Terrible and Jack the Ripper. Waxworks would mark Paul Lini's final film in Germany, before moving to the United States in 1927 to work for Universal.
Faust (1926) Faust: Eine deutsche Volkssage – by director F. W. Murnau
Murnau's final German film is an adaptation of the legend inspired by astrologer Johann Georg Faust. In what may be one of Germany's most famous tales, Mephisto the demon wages a bet with an archangel. If Memphisto is able to successfully corrupt a righteous man, he wins control over the entire Earth.
Prior to Metropolis in 1927, Faust was undoubtedly the most ambitious production to be released by UFA. Although the film wasn't able to recuperate its budget at the box office, it is now celebrated for its use of early special effects and Murnau's influence on large-scale productions. After directing Faust, Murnau moved to the United States to work for the Fox Film Corporation on Sunrise: A Song of Two Humans.
The Student of Prague (1926) Der Student von Prag – by director Henrik Galeen
Remaking the 1913 title of the same name, which was loosely based on Edgar Allen Poe's William Wilson, The Student of Prague also takes inspiration from the Faust legend. It would be Henrik Galeen's most acclaimed film since The Golem's release in 1915, and is still arguably his greatest achievement.
Tartuffe (1926) Herr Tartüff – by director F. W. Murnau
Based on Molière's play of the same name, which is also known as The Imposter, the film is another team-up from Murnau, Freund and screenwriter Carl Mayer. The film's protagonist, Balduin, wishes to find love but is obstructed by his dire financial situation. He is offered the chance to obtain a fortune, but the deal comes with an unusual catch.
The Cat and the Canary (1927) – by director Paul Leni
On the 20th anniversary of a millionaire's death, his family finally meets in the old man's mansion for the reading of his will. This American production helmed by Paul Leni is a horror comedy based on John Willard's play of the same name. It is a blend of theatrical comedy and German Expressionist filmmaking, which influenced horror comedy for years to come. In fact, the film has also been cited by Alfred Hitchcock as an influence on his own work.
The Cat and the Canary was a critical success, particularly concerning the way Leni was able to juggle two seemingly opposing tones. It also serves as a clear example of how German Expressionism influenced the American film industry from the 1930s onwards.
Metropolis (1927) by director Fritz Lang
When German police officers fail to uncover the mysteries surrounding a child-murderer, the criminal underworld takes matters into their own hands. M is Fritz Lang's first sound film, and the director's personal favorite from his own filmography.
Before shooting began, Lang's controversial production faced a number of roadblocks. As well as receiving death threats for wanting to depict a child's murder on-screen, Lang was initially denied access to a studio because the Nazi party thought the original title, Mörder unter uns (Murderer Among Us), meant the film would serve as anti-Nazi propaganda.
Vampyr (1932) by director Carl Theodor Dreyer (as Carl Th. Dreyer)
Loosely based on J. Sheridan Le Fanu's In a Glass Darkly, Vampyr centers on Allen Gray, a man who uncovers the mysteries surrounding a supposed vampire who can force humans into submission.
Having just made the widely acclaimed The Passion of Joan of Arc, Vampyr was Carl Theodor Dreyer's first sound film. He was largely inspired to make Vampyr thanks to the success of the stage version of Dracula, which became popular in New York and London in 1927.
Nazi Germany and the End of German Expressionism:
By the 1930s, key figures of the German Expressionist movement had moved to the United States to work for large American studios, and technological advancements in sound design was forcing a seismic shift in the way filmmakers told stories. Similarly, many tools that had been utiiized throughout the German Expressionist movement, such as 'entefesslte Kamera' techniques, had progressed the industry far beyond what had been available prior to the Expressionist movement.
Politically, Germany had become radicalized and Adolf Hitler was appointed Chancellor of Germany in 1933. With the Nazi party now in power, Joseph Goebbels was appointed Head of the Reich Ministry of Public Enlightenment and Propaganda. Their mission was to seize control of all aspects of German culture, and a division was created to focus solely on the film industry. However, that didn't mean German Expressionist filmmakers were excluded from the industry by default. On the contrary, Goebbels believed he could manipulate Fritz Lang's talents as a director. Although his film The Testament of Dr. Mabuse was set to be banned in Germany, Goebbels asked Lang to become Head of UFA film studios. This, understandably, was the night Lang fled the country for France. Robert Wiene also lived in exile, residing in Budapest after receiving an offer to make One Night in Venice in Hungary. Prior to this, Wiene feared for his future after the Nazi party banned his 1933 film, Taifun. He would die of cancer in 1938, by which time Lang had joined Paul Leni and F.W. Murnau in the United States.
References
Fritz Lang: The Nature of the Beast
Silberman, Marc (1995). German Cinema.
Hall, Phil. "THE BOOTLEG FILES: "NOSFERATU"".
Wakeman, John. World Film Directors, Volume 1.
Hedges, Ines (2009). Framing Faust: Twentieth-Century Cultural Struggles.
Kauffman, Stanley. "The Mark of M". The Criterion Collection.
Jensen, Paul M.. The Cinema of Fritz Lang. New York: A. S. Barnes & Co.. 1969. SBN 498 07415 8. pp. 93
Havis, Allan (2008), Cult Films: Taboo and Transgression, University Press of America, Inc., page 10
Thomson, David (2012) The Big Screen: the story of the movies New York: Farrar, Straus and Giroux