All 2 entries tagged Joe May

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March 23, 2008

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


November 30, 2006

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).

Amman the seductive innocent

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.

Frolich Returns from the fight in Asphalt

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.

Amman & Frolich in Asphalt 3

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.

Amman en route to confessing in asphalt

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).

Amman in the Bath in Asphalt

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.


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