Joe May (1880–1954)

Joe May (1880-1954)

Filmography

This listing is taken from the Deutsche Film Portal. Currently all links are their's with the exception of Asphalt.  

	1933
	Tout pour l'amour Director
	1932/1933
	Ein Lied für Dich Director
	1932
	Hochzeitsreise zu Dritt Creative consultant
	1932
	Voyage de noces Creative consultant
	1931
	...und das ist die Hauptsache Director,Producer,Production manager
	1931/1932
	Zwei in einem Auto Production manager,Director,Producer
	1930
	Ihre Majestät die Liebe Production manager,Director,Producer
	1930
	Son altesse l'amour Creative consultant,Co-Producer
	1929/1930
	Der unsterbliche Lump Producer,Creative consultant
	1929/1930
	Die letzte Kompagnie Producer
	1928/1929
	Asphalt Director,Screenplay
	1928
	Heimkehr Director,Screenplay,Editing
	1928
	Ungarische Rhapsodie Screenplay
	1927/1928
	Die Durchgängerin Production manager,Producer
	1926
	Dagfin Director,Producer,Screenplay
	1926
	Derby. Ein Ausschnitt aus der Welt des Trabersports Producer,Creative consultant
	1926
	Staatsanwalt Jordan Producer
	1924/1925
	Der Farmer aus Texas Director,Producer,Screenplay
	1924
	Die Liebesbriefe der Baronin von S... Producer
	1923/1924
	Der geheime Agent Producer
	1922/1923
	Tragödie der Liebe [1-teilig] Producer,Director
	1922/1923
	Tragödie der Liebe. 1. Teil Producer,Director
	1922/1923
	Tragödie der Liebe. 2. Teil Producer,Director
	1922/1923
	Tragödie der Liebe. 3. Teil Producer,Director
	1922/1923
	Tragödie der Liebe. 4. Teil Producer,Director
	1921
	Am Webstuhl der Zeit. Dramatisches Zeitbild aus schweren Tagen in 6 Teilen Producer,Creative consultant
	1921
	Das indische Grabmal (2 Teile) Director,Producer
	1921
	Der Tiger von Eschnapur Director,Producer
	1921
	Die Erbin von Tordis Producer,Creative consultant
	1921
	Die Sendung des Yoghi Producer,Director
	1921
	Ilona Producer
	1921/1922
	Scheine des Todes Creative consultant,Producer
	1921
	Tobias Buntschuh Creative consultant,Producer
	1920
	Das wandernde Bild Producer,Creative consultant
	1920/1921
	Der Leidensweg der Inge Krafft Producer,Screenplay,Creative consultant
	1920-1921
	Die Frauen vom Gnadenstein Creative consultant,Producer,Screenplay
	1920
	Die Legende von der heiligen Simplicia Director,Producer
	1920
	Die Schuld der Lavinia Morland Producer,Director,Screenplay
	1920/1921
	Junge Mama. 5 lustige Akte Creative consultant,Producer,Screenplay
	1919
	Der Amönenhof Producer
	1919
	Der Henker von Sankt Marien Producer,Creative consultant
	1919
	Der blaue Drachen Producer,Creative consultant
	1919
	Die Herrin der Welt. 1. Teil: Die Freundin des gelben Mannes Producer,Director,Screenplay
	1919
	Die Herrin der Welt. 2. Teil: Die Geschichte der Maud Gregaards Producer,Director,Screenplay
	1919
	Die Herrin der Welt. 3. Teil: Der Rabbi von Kuan-Fu Director,Screenplay,Producer
	1919
	Die Herrin der Welt. 4. Teil: König Makombe Producer,Screenplay,Creative consultant
	1919/1920
	Die Herrin der Welt. 5. Teil: Ophir, die Stadt der Vergangenheit Screenplay,Producer,Creative consultant
	1919/1920
	Die Herrin der Welt. 6. Teil: Die Frau mit den Milliarden Producer,Screenplay,Creative consultant
	1919/1920
	Die Herrin der Welt. 7. Teil: Die Wohltäterin der Menschheit Producer,Screenplay,Creative consultant
	1919/1920
	Die Herrin der Welt. 8. Teil: Die Rache der Maud Fergusson Producer,Director,Screenplay
	1919
	Fräulein Zahnarzt Producer,Screenplay,Director
	1918
	Das Auge des Götzen Creative consultant,Producer
	1918
	Das Geheimnis der Cecilienhütte Creative consultant
	1918
	Das rollende Hotel Creative consultant,Producer
	1918/1919
	Der Muff Creative consultant,Producer
	1918
	Die Bettelgräfin Producer,Director,Screenplay
	1918
	Die Krone von Palma Creative consultant,Producer
	1918
	Die Ratte Producer,Creative consultant,Screenplay
	1918/1919
	Die närrische Fabrik Creative consultant,Producer,Screenplay
	1918
	Die platonische Ehe Producer,Screenplay
	1918
	Diplomaten Producer,Creative consultant
	1918
	Fünf Minuten zu spät Creative consultant,Producer,Screenplay
	1918
	Ihr großes Geheimnis Screenplay,Director,Producer
	1918
	Opfer Producer,Director,Screenplay
	1918/1919
	Veritas vincit (Die Wahrheit siegt!). Eine Filmtrilogie Producer,Director
	1918
	Wogen des Schicksals Producer,Director,Screenplay
	1917
	Das Klima von Vancourt Screenplay,Producer,Director
	1917
	Der Onyxknopf Director,Producer,Screenplay
	1917/1918
	Der lebendige Tote Creative consultant,Screenplay,Producer
	1917
	Der schwarze Chauffeur Director,Producer,Screenplay
	1917
	Die Hochzeit im Excentric-Club Producer,Director,Screenplay
	1917
	Die Kaukasierin Screenplay,Producer,Director
	1917
	Die Liebe der Hetty Raymond Producer,Director,Screenplay
	1917
	Ehre Producer,Director
	1917
	Ein Lichtstrahl im Dunkel Producer,Director,Screenplay
	1917
	Hilde Warren und der Tod Producer,Director
	1917
	Krähen fliegen um den Turm Screenplay,Director,Producer
	1917
	Sein bester Freund Producer,Screenplay,Creative consultant
	1916
	Arme Eva Maria Screenplay,Director,Producer
	1916
	Das rätselhafte Inserat Producer,Screenplay
	1916
	Der Floh-Zirkus Producer
	1916
	Des Vaters letzter Wille Producer,Director
	1916/1917
	Die Silhouette des Teufels Producer,Screenplay
	1916
	Die Stieftöchter Producer
	1916/1917
	Die leere Wasserflasche Producer,Screenplay,Director
	1916
	Ein Blatt Papier Director,Producer,Screenplay
	1916
	Ein einsam Grab Producer,Screenplay,Set design
	1916
	Nebel und Sonne Screenplay,Producer,Director
	1916
	Wie ich Detektiv wurde Producer,Screenplay,Director
	1915
	Charly, der Wunderaffe Director,Screenplay
	1915
	Das Gesetz der Mine Screenplay,Producer,Director
	1915
	Der Geheimsekretär Screenplay,Director,Producer
	1915
	Der ewige Friede. Ein Ausgestoßener. 2. Teil Screenplay
	1915
	Die Gespensteruhr Screenplay,Director,Producer
	1915
	Die Sünde der Helga Arndt Screenplay,Director,Producer
	1915
	In der Nacht... Producer,Screenplay
	1915
	Sein schwierigster Fall Screenplay,Producer,Director
	1915
	Violette Rosen Director
	1914
	Das Panzergewölbe Screenplay,Director,Producer
	1914
	Der Mann im Keller Director
	1914
	Der Spuk im Hause des Professors Director
	1914
	Der geheimnisvolle Nachtschatten Production manager
	1913/1914
	Das Fischermädchen von Manholm Screenplay,Director
	1913
	Das Werk Production manager
	1913
	Das verschleierte Bild von Groß-Kleindorf Production manager,Director
	1913
	Die Mona Lisa von Groß-Kleindorf Production manager,Director
	1913/1914
	Die geheimnisvolle Villa Director
	1913
	Die unheilbringende Perle Production manager,Screenplay,Director
	1913
	Ein Ausgestoßener. 1. Der junge Chef Screenplay,Director
	1913
	Entsagungen Director
	1913
	Geschwister Production manager
	1913
	Heimat und Fremde Screenplay,Director
	1913
	Verhängnis Production manager
	1912
	In der Tiefe des Schachtes Screenplay,Director
	1912
	Iwo der Bucklige. 1. EP: Vorgluten des Balkankrieges Cast,Director
	1912
	Vorgluten des Balkanbrandes Director,Screenplay
	1911
	Die Fahrt nach Hamburg Director

: 23 Mar 2008 18:54 |  Tags: European Film History German Cinema Joe May Joe May Filmography Weimar Cinema |  Comments (0) |  Close comments |  Report a problem

Asphalt(1927): Joe May

Sabine Hake (2002) places Asphalt firmly in the genre of the ‘street film’. Typically these films addressed urban issues such as poverty and unemployment. In films such as Tragedy of a Prostitute (1927) starring Asta Nielsen, liberated sexuality is linked to criminality. Hake goes on to suggest that Asphalt combined aspects of the sentimental melodramatic strain of street film with the more surface cynical attitude to modern sexuality represented in other aspects of the genre. Hake also comments that it was: …a final demonstration of the genre’s visual possibilities before the introduction of sound. (Hake 2002, p 41).

The current marketing of the recently released Eureka DVD and many of the weaker commentaries which litter the web emphasise the ‘expressionist’ nature of the film. There are clearly some elements of the shooting which echo what has come to be known as ‘German expressionist film’ however these are merely hints used where there is clearly a troubled soul torn between love and desire and duty casting a literal shadow over the character. Perhaps the most obvious one is the shot of the policeman returning home after the fight as he climbs the stairs.

Redolent of Nosferatu climbing the stairs this shot isn’t overdone in a horror style. Lotte Eisner makes reference to the geometric patterns in the shooting style of the workmen laying the asphalt and elsewhere the use of deep shadow makes use of common expressionist techniques but this doesn’t add up to an ‘expressionist film’.

The Conditions of Production

It is important to note that the film is one of the first made under the new UFA regime after it was bought up by Hugenberg and Kliztsch installed as its chief executive. Kliztsch had restructured UFA. Although Pommer had returned to the fold it was in the role of central producer following the contemporary Hollywood business model. No longer was there a director led model of filmmaking. Budgets and deadlines and scripting were coming under strict control.

Asphalt wasn’t to be made as an art based film based upon the old UFA split between artistic productions and genre popular based films. This film was given a well known director, a lead actor, Gustav Frolich, who had been a lead in Metropolis opposite Betty Amman an American actress who Pommer hoped would provide some international attraction for audiences. With the art director Kettlehut who had been one of the art directors on Metropolis and the cinematographer Gunther Rittau who had also worked on Metropolis the film had a gifted and talented team. It was important for UFA to maintain its, by now, well recognised brand look of quality for its flagship films whilst maintaining a firm grip on the budget.

The film was to be a well made multi-genre film which had the Hollywood standards of quality in terms of production values with popular appeal. It embraced the street film and involved various heists, but it was a straight forward romance with various narrative hurdles to be crossed before the lovers could be united. The narrative closure ends on a note of hope for the future as well as underpinning a message of redemption through true love which involves sacrifice. It is ultimately a moral tale for the urban sophisticate in which lust and sex turns into true love and the baddy is eliminated. The femme fatale is to be punished but this is not the exacting over-done retribution of the full blown American thriller (film-noir).

The film needs to appeal to a female audience and offers a path through the urban maze for the naïve provincial woman who might get caught up in the Berlin demi-monde. Frequently the stereotypes of the dutiful parents might be read by the audience in a tongue in cheek way which was entirely appropriate for the audience this film seems to have been aimed at. The seduction of the policeman had to have been played for laughs.

With a careful balance of cheap sets such as the parental home and an extravagant street set along with shots from a plane this film was carefully budgeted and very modern able to appeal to a more intellectual urban sophisticate as well as those more interested in popular culture. As such Asphalt is probably best seen as part of UFA emerging mass entertainments strategy for financial recovery.

A precursor of ‘film noir’?

Generically there are aspects of Asphalt which foreshadow those films dubbed as ‘film noir’ which themselves contained a strong Weimar visual imaginary. It is an urban thriller which explores the underside of the modern city. This is a film which is redemptive through and through and true love pushes aside the frills and fripperies which are the rewards of being on the margins of the underworld. Spirit triumphs over worldly possessions. This is all mediated by the mechanisms of justice and as such can be seen to underpin a state which is firm but fair.

Betty Amman bears witness to the outcome of the fight in a redemptive and self-sacrificing act to save her policeman lover. As an audience we know she hasn’t done anything very bad. She has shown she has moral courage when the chips are down and is unlikely to spend much time in jail.

Audience and reception

I have no current information on its full ratings at the box office, however it benefited from the full UFA treatment having a top team making it and premiering at UFAs top venue the Palast-am-Zoo in Berlin and would have received all the efforts of the formidable UFA publicity machine which was every bit the equal of the Hollywood one.

Some commentators try to see in the film some sort of foreshadowing of economic disaster to come after the Wall Street crash of 1929. This is more of a pathetic attempt to link the film into some expressionistic discourse rather than a comment based upon historical facts. No cinematic evidence of this is offered because there is none. If anything is foreshadowed it is Riefenstahl’s shots of Hitler arriving on a plane to Nuremburg however Aspahlt got it in first as another criminal arrives in Germany.

Until the Wall Street Crash in October of 1929 many months after the film was released there was a severe case of ‘irrational exuberance’ (Greenspan) amongst many in Germany as well as America. The German metropolis ‘had never had it so good’ (Harold Macmillan).

The war years were now a receding memory as were the bitter political polarisations which had followed. The film acts as both a celebration of developing consumer culture as car ownership, up-market fashion, jewellery and air travel are all celebrated. Both buyers and sellers beware there are always opportunists who wish to establish themselves by pickpocketing, deception or elaborate heists. The rule of law must stand firm within this bonanza is the message but there is no hint of the impoverished in this film. There are routes to success but they must be legitimate ones is a core preferred reading of the film.

: 30 Nov 2006 12:39 |  Tags: Asphalt Babelsberg Erich Pommer European Cinema German Cinema Joe May Ufa Weimar And Nazi Cinema Weimar Cinema |  Comments (0) |  Close comments |  Report a problem