Difference between revisions of "Ernő Metzner"
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Born 1892 in Szabadka, Hungary. Started as a graphic artist, but his path led to film quite early, in 1913, his drawings were published in magazines such as ''Mozi'' and ''Szinházi Élet''. He was active in Berlin between 1920 and 1933, and later worked in France, England, and the United States. He was the set designer for films by Feyder, Pabst, and René Clair, among others. He directed the following films: ''Man steigt nach'' (1927), ''Am Anfang war das Wort'' (In the Beginning was the Word, 1928), ''Freie Fahrt'' (Open Road, 1928), ''Uberfall'' (Attack, 1929), ''Achtung! Liebe! Lebensgefahrt Rivalen im Wemekord'' (1929-30). Moreover he worked with what we would nowadays call "special effects". His activity in this area is most frequently connected with two of Pabst's films: ''Kameradschaft'' (Comradeship) and ''Westfront 1918''. Died 1953 in Hollywood. | Born 1892 in Szabadka, Hungary. Started as a graphic artist, but his path led to film quite early, in 1913, his drawings were published in magazines such as ''Mozi'' and ''Szinházi Élet''. He was active in Berlin between 1920 and 1933, and later worked in France, England, and the United States. He was the set designer for films by Feyder, Pabst, and René Clair, among others. He directed the following films: ''Man steigt nach'' (1927), ''Am Anfang war das Wort'' (In the Beginning was the Word, 1928), ''Freie Fahrt'' (Open Road, 1928), ''Uberfall'' (Attack, 1929), ''Achtung! Liebe! Lebensgefahrt Rivalen im Wemekord'' (1929-30). Moreover he worked with what we would nowadays call "special effects". His activity in this area is most frequently connected with two of Pabst's films: ''Kameradschaft'' (Comradeship) and ''Westfront 1918''. Died 1953 in Hollywood. | ||
| − | Hans Casparius, one of the actors, who also did the film's stills, published reviews in his exhibition catalogue. ''Uberfall'' is regarded by all film historians and avant-garde film critics as significant for the epoch. Its theme slightly resembles that of another of his films, ''Abenteuer eines Zehnmarkscheins'' (The Adventures of a Ten-Mark Note), whose script was written by [[ | + | Hans Casparius, one of the actors, who also did the film's stills, published reviews in his exhibition catalogue. ''Uberfall'' is regarded by all film historians and avant-garde film critics as significant for the epoch. Its theme slightly resembles that of another of his films, ''Abenteuer eines Zehnmarkscheins'' (The Adventures of a Ten-Mark Note), whose script was written by [[Béla Balázs]]. |
Latest revision as of 20:43, 15 October 2011
Born 1892 in Szabadka, Hungary. Started as a graphic artist, but his path led to film quite early, in 1913, his drawings were published in magazines such as Mozi and Szinházi Élet. He was active in Berlin between 1920 and 1933, and later worked in France, England, and the United States. He was the set designer for films by Feyder, Pabst, and René Clair, among others. He directed the following films: Man steigt nach (1927), Am Anfang war das Wort (In the Beginning was the Word, 1928), Freie Fahrt (Open Road, 1928), Uberfall (Attack, 1929), Achtung! Liebe! Lebensgefahrt Rivalen im Wemekord (1929-30). Moreover he worked with what we would nowadays call "special effects". His activity in this area is most frequently connected with two of Pabst's films: Kameradschaft (Comradeship) and Westfront 1918. Died 1953 in Hollywood.
Hans Casparius, one of the actors, who also did the film's stills, published reviews in his exhibition catalogue. Uberfall is regarded by all film historians and avant-garde film critics as significant for the epoch. Its theme slightly resembles that of another of his films, Abenteuer eines Zehnmarkscheins (The Adventures of a Ten-Mark Note), whose script was written by Béla Balázs.
http://de.wikipedia.org/wiki/Ern%C5%91_Metzner
See also: Hungary#Avant-garde
