Fritz Lang Quotes

Greg Broadmore's fertile and twisted imagination has conjoined multiple genres, memories, and a sharp sense of pulp, colonialist nostalgia/parody in this lavish, fully realized, imaginative tour-de-force. It's Jules Verne meets Fritz Lang meets Tintin. It's beyond Steampunk. It's clearly an insatiable passion for the talismans of a bygone civilization and it's slavish addiction to the early industrial age in all it's filigreed, ignorant glory. Greg has raised the bar.

கவுன்ட் - டவுன் முறை எப்படி, யாரால் தொடங்கப்பட்டது? உலகப் புகழ்பெற்ற ஜெர்மானியத் திரைப்பட இயக்குநர் ஃப்ரிட்ஸ் லேங் (Fritz Lang) 1929-ல் ‘சந்திரனில் ஒரு பெண்’ என்று ஒரு படம் எடுத்தார். அதில் ராக்கெட் கிளம்புகிற காட்சியில், ‘10, 9, 8, ... 3, 2, 1, 0’ என்று எண்ணிய பிறகு, அது மேலே கிளம்பும். சினிமா இயக்குநரின் அந்தக் கற்பனைதான் இன்று உலகெங்கும் பயன்படுத்தப்பட்டு வருகிறது. அதற்கு முன் ‘ரெடி... ஸ்டெடி... கோ!’தான்.

Who owns the land adjoinig the cemetery?' 'That is reserved for the expansion of the cemetery.

With an evermore increase of industrialisation machine stops being merely a tool, develops a life of its own and imposes its rhythm onto human. Operating it he moves mechanically, becomes part of the machine.

Mit zunehmender Industrialisierung hört die Maschine auf, bloßes Werkzeug zu sein, beginnt ein Eigenleben, zwingt dem Menschen ihren Rhythmus auf. Er bewegt sich, sie bedienend, mechanisch, wird zum Teil der Maschine.

Fritz Lang's 1927 film Metropolis is commonly regarded as one of the classics of cinema, and at the time it was probably the most expensive film ever made. Only in light of recent restoration work, though, can we see how explicitly it draws on apocalyptic themes in its prophetic depiction of modern society. Partly, Metropolis reflects the ideas of Oswald Spengler, whose sensationally popular book The Decline of the West appeared in 1918. Spengler presented nightmare forecasts of the vast megalopolis, ruled by the superrich, with politics reduced to demagoguery and Caesarism, and religion marked by strange oriental cults. Lang borrowed that model but added explicit references to the Bible, and particularly Revelation. In the future world of Metropolis, the ruling classes dwell in their own Tower of Babel, while the industrial working class is literally enslaved to Moloch.

With an evermore increase of industrialisation the machine stops being merely a tool, develops a life of its own and imposes its rhythm onto human. Operating it he moves mechanically, becomes part of the machine.

In The New Biographical Dictionary of Film, David Thomson argues that Brennan should have won awards for even better performances in To Have and Have Not (1944), My Darling Clementine (1946), Red River (1948), The Far Country (1955), and Rio Bravo (1959). Thomson counts no less than twenty-eight high caliber Brennan performances in still more films, including These Three (1936), Fury (1936), Meet John Doe (1941), and Bad Day At Black Rock (1955). Brennan worked with Hollywood’s greatest directors—John Ford, Howard Hawks, William Wyler, King Vidor, and Fritz Lang—while also starring in Jean Renoir’s Hollywood directorial debut, Swamp Water (1941). To discuss Brennan’s greatest performances is also to comment on the work of Gary Cooper, Henry Fonda, Dana Andrews, Spencer Tracy, John Wayne, Humphrey Bogart, Lauren Bacall, Anne Baxter, Barbara Stanwyck, Lana Turner, Linda Darnell, Ginger Rogers, Loretta Young, and many other stars.

Brennan’s best small role is in Fritz Lang’s Fury (May 29, 1936), another MGM production. Brennan plays “Bugs” Meyers, a deputy who locks up Joe Wilson (Spencer Tracy), falsely accused of murder, and is almost lynched. Brennan’s portrayal goes way beyond the scope of what is actually in the film’s script. He plays a new modern type, an ordinary man suddenly elevated to importance because he plays a small but highly visible part in a widely publicized crime story. In short scenes, Bugs’s ego expands as he becomes recognized as an “authority” on what happened. Brennan’s conception of the character is profoundly original. Bugs becomes a creation of publicity—and, suddenly, a figure of significance to himself—and his enjoyment of his new, expanded role, is palpable in the joy that suffuses Bugs’s face with the excitement of being—or rather acting like—he is in the know.

Brennan exuded a strength of purpose and possessed a command of character that permitted him to play virtually any nationality in any setting. In Hangmen Also Die! (April 15, 1943), Fritz Lang’s film about the assassination of Hitler’s henchman, Reinhard Heydrich, Brennan jettisons his avuncular and rustic persona for a powerful performance as a Czech professor.

In Fritz Lang’s Metropolis, society is divided into two groups: one of planners and thinkers living in luxury high above the Earth, and another of workers, dwelling and toiling underground to run the machine that sustains the wealthy. The film is about the workers’ revolt, but the broader point is clear. Abundance comes at a cost: scarcity elsewhere.

24/7 não apenas incita no indivíduo um foco exclusivo em adquirir, ter, ganhar, desejar ardentemente, desperdiçar e menosprezar, mas está totalmente entremeado a mecanismos de controle que tornam supérfluo e impotente o sujeito de suas demandas. A transformação do indivíduo em objeto de escrutínio e regulação ininterruptos é uma constante essencial da organização do terror estatal, bem como do paradigma militar-policial da dominância total.” “Esse ritmo constante de consumo tecnológico, na forma em que se desenvolveu nas últimas duas ou três décadas, impede a passagem de um período significativo de tempo no qual o uso de determinado produto, ou combinação de produtos, poderia se tornar familiar o suficiente a ponto de simplesmente integrar o pano de fundo de objetos em nossas vidas. As capacidades operacionais e de desempenho viram prioridades que ultrapassam a importância de qualquer coisa que possa ser considerada “conteúdo”. Em vez de ser um meio para um conjunto maior de fins, o aparelho é um fim em si mesmo.” capítulo dois “O sono é a única barreira restante, a única “condição natural” persistente que o capitalismo não pode eliminar.” capítulo três “Como o trabalho contemporâneo de Alain Resnais (Hiroshima meu amor), Jacques Rivette (Paris nos pertence), Joseph Losey (Malditos), Fritz Lang (Os mil olhos do dr. Mabuse), Jacques Tourneur (The Fearmakers) e muitos outros, o filme quer perguntar: como permanecer humano diante de um mundo desolador, quando os laços que nos conectam foram desfeitos e as formas malévolas de racionalidade estão em pleno funcionamento?” “A persistência anormal do sono deve ser entendida em relação à destruição contínua dos processos que possibilitam a existência no planeta. Dado que o capitalismo não pode impor limites a si mesmo, a noção de preservação ou conservação é uma impossibilidade sistêmica. Nesse contexto, a inércia restauradora do sono se coloca contra a letalidade de toda a acumulação, a financeirização e o desperdício que devastaram tudo aquilo que costumava ser de domínio comum.” capítulo quatro

The scene which met my eyes was at once compelling and repelling. The original sweatshop has been preserved for posterity at Levy Pants. If only the Smithsonian Institution, that grab bag of our nation’s refuse, could somehow vacuum-seal the Levy Pants factory and transport it to the capital of the United States of America, each worker frozen in an attitude of labor, the visitors to that questionable museum would defecate into their garish tourist outfits. It is a scene which combines the worst of Uncle Tom’s Cabin and Fritz Lang’s Metropolis; it is mechanized Negro slavery; it represents the progress which the Negro has made from picking cotton to tailoring it. (Were they in the picking stage of their evolution, they would at least be in the healthful outdoors singing and eating watermelons [as they are, I believe, supposed to do when in groups alfresco].) My intense and deeply felt convictions concerning social injustice were aroused. My valve threw in a hearty response.

OW: Sam Fuller. Peter gets furious with me for not expressing enthusiasm for Fuller. Fritz Lang, you know? He thinks is great. Lang, whose mother was Jewish, told me that Goebbels, who was trying to get him to head up the Nazi movie industry, offered to make him an honorary Aryan, of which there were only a handful. Lang said, “But I’m Jewish,” and Goebbels replied, “I decide who is Jewish!

The screenplay was written by pacifists Hans Janowitz and Carl Mayer, whose World War I experiences left them with a profound distrust of authority. Caligari can be read as a pointed attack on the dangers of unquestioning obedience. Fritz Lang (Metropolis) was originally slated to direct before backing out at the last moment. Prior to his departure, Lang modified a framing story already present in the script, implementing the now-familiar “it-was-all-a-dream” twist that neuters the film’s anti-authoritarian thrust. (This trick is found as long ago as 1910 at the end of prolific Danish director August Blom’s Dr. Jekyll and Mr. Hyde.)

Bennie, as in the Jets, was based on the Maschinenmensch in Fritz Lang’s Metropolis, and “All the Girls Love Alice” was inspired by the 1968 black comedy The Killing of Sister George.

The most widely held theory was not actually that religion began with mana but that it started with animism. This theory was defended forcefully by E. B. Tylor and his disciples, such as Andrew Lang. But as Lang was surveying the many anthropological reports about local cultures, specifically those coming out of Australia, he realized that while many tribes lived on an animistic level, there were some who held a belief in a single god, which could not have evolved out of animism.[18] Thus he stipulated that there could be two ways that religion could originate, either with animism, in line with Tylor’s theory, or, as he had just discovered, directly with monotheism. Lang conceded that he could not judge which of these two possibilities might have occurred earlier in time. He was able to show that the monotheism of these cultures was not the result of influence from, say, Christian or Muslim missionaries, and that it was intrinsic to the cultures, but he could not demonstrate that it was the starting point for all of religion, though he was strongly inclined that way. It was at this point that Wilhelm Schmidt put the theory of original monotheism on sound footing. He refined a method called culture-history, which had already been used by other scholars, such as Fritz Graebner (who also did not share Lang’s conclusion). The purpose of culture-history was to identify a chronological sequence among prehistorical cultures, truly an ambitious undertaking, but not an impossible one.

It is a scene which combines the worst of Uncle Tom’s Cabin and Fritz Lang’s Metropolis; it is mechanized Negro slavery; it represents the progress which the Negro has made from picking cotton to tailoring it. (Were they in the picking stage of their evolution, they would at least be in the healthful outdoors singing and eating watermelons [as they are, I believe, supposed to do when in groups alfresco].) My intense and deeply felt convictions concerning social injustice were aroused. My valve threw in a hearty response. (In connection with the watermelons, I must say, lest some professional civil rights organization be offended, that I have never been an observer of American folk customs. I may be wrong. I would imagine that today people grasp for the cotton with one hand while the other hand presses a transistor radio to the sides of their heads so that it can spew bulletins about used cars and Sofstyle Hair Relaxer and Royal Crown Hair Dressing and Gallo wine about their eardrums, a filtered menthol cigarette dangling from their lips and threatening to set the entire cotton field ablaze. Although residing along the Mississippi River [This river is famed in atrocious song and verse; the most prevalent motif is one which attempts to make of the river an ersatz father figure. Actually, the Mississippi River is a

Alchemy is the name of this temple of images. Here a towering wall of video flashes glamorous vamps and alien androgynes over the heads of the crowd; the black cupid’s bow of Louise Brooks’ lips, the arch of David Bowie’s eyebrow, the Art Deco planes of Fritz Lang’s subversive female android. The demigods of the modern world, as glimpsed through shattered glass. She comes because she wants to believe in magic. Not the bunny-out-of-a-hat kind; the Alistair Crowley kind. This is a ritual.