All 3 entries tagged Erich Pommer
November 15, 2006
The history of the institutional aspects of cinema is interesting and the film studios in Babelsberg a suburb of Berlin which became so famous between the wars started in 1911 in a derelict factory surrounded by some wasteland by the nascent film company Bioscop who were to produce some famous films with Asta Nielsen the Danish Actress.
Babelsberg is still in use today after being taken over by DEFA after 1945.
The Goethe Institute is informative about today’s Babelsberg based German film industry.
Erich Pommer & Weimar Cinema
Erich Pommer was one of the most important people in Weimar cinema. Pommer first founded and was head of Decla responsible for the production. when Decla later merged with Ufa Pommer was head of production.
Pommer’s original start in film was with the
Once the war had started he became the co-founder of Decla-Filmgesellschaft, producing a range of serials in popular genres such as detectives and romances.
In 1920 Decla joins with Bioscop to form the second largest German film company after Ufa.
That Pommer was extremely important is evidenced by the description below found on the Deutsche film portal site:
With Die Spinnen and Das Cabinett des Dr. Caligari he made Decla the home for exceptionally gifted directors like Fritz Lang and Robert Wiene. To fulfil his aim of establishing a German film industry which could compete with Hollywood on an artistic, technical and commercial level, he continuously was on the look for new talent. His vision led to lasting creative relationships with maverick directors like Lang and Murnau, with whom Pommer shaped the face of Weimar Cinema as it is remembered and renowned today.
From 1919 he was familiar with Fritz Lang. Pommer produced Pest in Florenz Dir. Rippert, 1919 with a screenplay by Lang. Later that year he produced Harakiri and Halbblut both directed and with screenplay by Lang. He then produced the adventure series die Spinnen directed by Lang.
Pommer always had a twin-track approach to the films that were made. On the one hand UFA turned out the genre films of mass culture whilst on the other hand favoured directors were allowed to establish director led units making more artistic and experimental films for the more intellectual audiences of Weimar and for export. Directors with this favoured status included Fritz Lang and later F. W. Murnau.
Many classic films of the Weimar period followed including,
The Cabinet of Dr. Caligari (1919 / 20) directed by Wiene, Destiny, (1921) and the two parter Dr Mabuse directed by Lang (1921 / 22). He worked with Murnau firstly on Phantom (1922) and later on The Last Laugh (1924), . and then Tartuffe (1925). Tartuffe was seemingly an attempt to create a film with an appeal to the French market as this market opened up following rapprochement between the two countries as post-war enmities subsided. The film has not been considered as one of Murnau’s better works and the various attempts to create a successful unified market failed.
He worked with Lang on Metropolis (1925 / 26) which infamously overran its budget and was an attempt to create a blockbuster to bleak into the US Market. In the same year he worked again with Murnau on Faust.
In 1926 Pommer went to work in the USA. He returned to work for UFA which had by then been taken over by Hugenberg who had put Gustav Klitzsch in charge. UFA now worked on a central producer system with the producer keeping a very tight control on budgets and shooting schedules.
In 1928 and 1928 / 29 he worked with Joe May on Heimkehr and then Asphalt. All of these were still working for Ufa.
In 1929 / 30 Pommer produced von Sternberg’s The Blue Angel, yet another film classic, still working for Ufa. In 1930 he produced Robert Siodmak’s Der Mann, der seinen Morder sucht.
Pommer continued to work for Ufa despite the ownership of Hugenberg up until 1932 when he produced his last film for them. Pommer left Germany, going firstly to France, then to Britain and then on to Hollywood. He didn’t produce another film in Germany until 1951.
In Britain Alexander Korda had attracted a number of European filmmakers including Erich Pommer. Pommer formed a production company with Charles Laughton, Mayflower Pictures.
Pommer was undoubtedly an entrepreneurial spirit who also liked good films. Historically he is the only figure who has had enough concentrated power, skill and entrepreneurial skills to challenge the rise of Hollywood in the post first world war period. Circumstances were always against him. His attempts to create ‘Cinema Europe’ to both resist and challenge Hollywood fell on infertile ground.
Films Associated with Erich Pommer
May Joe: Heimkehr (1928)
Murnau F. W. : Phantom (1922)
Murnau F. W. : Tartuffe (1925)
Murnau F. W. : The Last Laugh (1924)
Lang Fritz: Dr Mabuse both parts (1921 / 22)
Rippert (Screenpalay Fritz Lang): Pest in Florenz 1919
Siodmak Robert : Der Mann, der seinen Morder sucht. (1930)
Wiene: The Cabinet of Dr. Caligari (1919 / 20)
A Useful Link To "German Department Resource at Dartmouth ":http://www.dartmouth.edu/~germ43/resources/biographies/pommer-e.html
November 14, 2006
Here are some interesting links on the Internet dealing with films not covered in this term’s program.
Academic Anton Kaes and a useful bibliography of a leading German film scholar
Article from leading German studies academic Miriam Hansen on modernism and vernacular cinema
Forthcoming New Books on German cinema from Berghan Press