Fritz Lang: The Father of the Cinematic Epic
Top image courtesy of Dissolve and artist Agata Marszałek.
When it comes to epic filmmaking, there are few directors who can match the visionary genius of Fritz Lang. From his groundbreaking use of special effects to his captivating compositions and violent realism, Lang’s work in the 1920s, 30s, and 40s set the standard for the cinematic epics of today. In this artist spotlight, we take a closer look at the life and career of one of the most innovative filmmakers of all time.
From Austria to Germany
Born in Austria in 1890, Lang initially studied engineering before switching to visual arts and studying painting and composition in Paris. After serving in World War I, Lang began writing ideas and scenes for films while recovering from injuries sustained in battle. He joined the German expressionism movement in 1918 and quickly made a name for himself as a director with films like Der Mude Tod (Destiny), Die Spinnen (The Spiders), and Dr. Mabuse: The Gambler.
Lang’s first film, Der Mude Tod, was particularly innovative for its use of groundbreaking special effects. It was a huge influence on Alfred Hitchcock and helped persuade him to pursue a career in film. Lang’s visual style continued to evolve with his next two films, Die Spinnen and Dr. Mabuse: The Gambler, which allowed him to experiment with cutting-edge visual effects and explore themes like consumption, greed, and manipulation.
Ushering the Epic
Lang’s desire to tell a detailed and expanded narrative led him to develop and direct an adaptation of the German epic poem The Song of the Nibelungs. The film used huge expansive sets, large scale puppets to portray the dragons, and amazing ghostly effects that still look impressive to this day. Because of these innovations, the film was a big hit with audiences worldwide.
But Lang was just getting started. In 1927, he directed one of his most famous films — Metropolis. The scale of Metropolis was incredible for its day, with Lang employing an army of extras while his crew crafted massive expanded sets and amazing special effects. The film went on to have a huge following worldwide and made Lang one of film history’s earliest stars.
Escaping Nazi Germany
After the successes of Die Nibelungen and Metropolis, Lang directed his classic film entitled M. This is considered by many, including the director himself, to be his great work. Again, much like Metropolis, M focused its narrative theme on social issues, shining a light on the fact that Germany had become a divided and dangerous place. M was also the first “talkie” in Lang’s career and garnered him praise. Today the film is constantly listed as one of the greatest films of all time, and it had a great impact on the genre of film noir.
By 1933, Lang had garnered worldwide attention and admiration from film audiences and critics. After the completion of The Testament of Dr. Mabuse, Lang was met with opposition from the Third Reich and the Ministry of Propaganda, due to the fact that the film could incite insurrection. In 1934, Lang was summoned to a meeting by Joseph Goebbels, the Reich Minister of Propaganda. The meeting was filled with tension for Lang, who is of partial Jewish decent. Regardless of Lang’s heritage, Goebbels and Hitler wanted him to become the head of the German Cinema. Lang quickly fled Germany and arrived in the United States.
An Unappreciated Legacy
Despite making over twenty films in Hollywood, Lang’s Hollywood films never could match the epic scope and attitude of his classic films. In fact, he became more critical and interested in the idea of violence in society after the war. Because of this, his American films like Fury, The Big Heat, While the City Sleeps, and Beyond a Reasonable Doubt were far less fanciful than the films like Metropolis and Der Nibelungen.
Despite his lackluster
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