Lang, Fritz

Metropolis (Restored Authorized Edition)

Fritz Lang's Metropolis belongs to legend as much as to cinema. It's a milestone of sci-fi and German expressionism. Yet the story makes minimal sense, and the "theme" belongs in a fortune cookie; to experience the film's pagan power, you have to see the movie. But for decades we couldn't, not really--not with so many versions, all incomplete, often in public-domain prints like smudged photocopies. This Murnau Foundation restoration changes all that. Some shots, scenes, and subplots may be lost forever, but intertitles indicate how they fit into the original continuity and the characters' individual trajectories. Most crucially, the images are crisp, vibrant, and three-dimensional instead of murky and flattened. The composite sequences (the Tower of Babel, a sea of lusting eyes) have been restored to their hallucinatory ferocity. And there's one moment when you can see a bead of sweat roll down a man's cheek--in medium long-shot. --Richard T. Jameson

The Return of Frank James

Fabled Missouri outlaw Frank James brother of the legendary Jesse James straps on his six-shooters and rides out for revenge in director Fritz Lang's The Return of Frank James the thrilling 1940 sequel to the Western classic Jesse James. From the green Missouri hills to the rugged Rockies their steps are dogged by Frank James riding hard on the vengeance trail in the wild and woolly era when there was no law for folks except at the end of a gun.System Requirements:Running Time: 92 minutesFormat: DVD MOVIE Genre: WESTERN/MISC. UPC: 024543247869 Manufacturer No: 2234786

Henry King's 1939 Jesse James sidestepped history to embrace folklore's version of the outlaw as a populist hero. This sequel is pure dime-novel fiction, with Jesse's brother (Henry Fonda) getting even, albeit reluctantly, with Bob Ford (John Carradine), "the dirty little coward" who back-shot his leader to win amnesty. The revenge theme would seem tailor-made for 20th Century-Fox's newly signed directorial talent, Fritz Lang, to whip up a fine Teutonic frenzy. However, the maestro of Die Nibelungen treated the material straight, like the good, impersonal Hollywood craftsman he was eager to be taken for, at that point in his career. Besides, Lang loved the West and Western lore, and was happy working in the Western genre. (Check out his next Fox assignment, Western Union, for a richer confirmation of this.) The Technicolor is vivid, nowhere more so than in the red lips of Gene Tierney in her screen debut. --Richard T. Jameson

M - 2 Disc Special Edition - Criterion Collection

Behind every great suspense thriller lurks the shadow of "M." In this Fritz Lang's first sound film Peter Lorre delivers a haunting performance as the cinema's first serial killer; a whistling pedophile hunted by the police and brought to trial by the forces of the Berlin underworld. Greig's "Peer Gynt Suite" will never sound the same.Special Features:Audio commentary by German film scholar Eric Rentschler author of The Ministry of Illusion: Nazi Cinema and Its Afterlife and Anton Kaes author of the BFI Film Classics volume on M; Conversation with Fritz Lang an interview film by William Friedkin; Claude Chabrol#s M le Maudit a short film inspired by M; Classroom tapes of M editor Paul Falkenberg discussing the film and its history; Interview with Harold Nebenzal the son of M producer Seymour Nebenzal; A physical history of M; Stills gallery with behind-the-scenes photos and production sketches by art director Emil Hasler; New and improved English subtitle translation; Plus: a booklet featuring an essay by film critic Stanley Kauffmann a 1963 interview with Lang and the script for a missing scene.System Requirements: Running Time 110 MinFormat: DVD MOVIE Genre: MYSTERY/SUSPENSE Rating: NR UPC: 037429197820 Manufacturer No: MMM030DVD

Peter Lorre made film history with his startling performance as a psychotic murderer of children. Too elusive for the Berlin police, the killer is sought and marked by underworld criminals who are feeling the official fallout for his crimes. This riveting, 1931 German drama by Fritz Lang--an early talkie--unfolds against a breathtakingly expressionistic backdrop of shadows and clutter, an atmosphere of predestination that seems to be closing in on Lorre's terrified villain. M is an important piece of cinema's past along with a number of Lang's early German works, including Metropolis and Spies. (Lang eventually brought his influence directly to the American cinema in such films as Fury, They Clash by Night, and The Big Heat.) M shouldn't be missed. This original 111-minute version is a little different from what most people have seen in theaters. --Tom Keogh

The Big Heat

There's a satisfying sense of closure to the definitive noir kick achieved in The Big Heat: its director, Fritz Lang, had forged early links from German expressionism to the emergence of film noir, so it's entirely logical that the expatriate director would help codify the genre with this brutal 1953 film. Visually, his scenes exemplify the bold contrasts, deep shadows, and heightened compositions that define the look of noir, and he matches that success with the darkly pessimistic themes of this revenge melodrama.

The story coheres around the suicide of a crooked cop, and the subsequent struggle of an honest detective, Dave Bannion (Glenn Ford), to navigate between a corrupt city government and a ruthless mobster to uncover the truth. Initially, the violence here seems almost timid by comparison to the more explicit carnage now commonplace in films, yet the story accelerates as its plot arcs toward Bannion's showdown with kingpin Lagana (Alexander Scourby) and his psychotic henchman, the sadistic Vince Stone, given an indelible nastiness by Lee Marvin. When Bannion's wife is killed by a car bomb intended for the detective, both the hero and the story go ballistic: suspended from the force, he embarks on a crusade of revenge that suggests a template for Charles Bronson's Death Wish films, each step pushing Lagana and Stone toward a showdown. Bodies drop, dominoes tumbled by the escalating war between the obsessed Bannion and his increasingly vicious adversaries.

Lang's disciplined visual design and the performances (especially those of Ford, Marvin, Jeanette Nolan as the dead cop's scheming widow, and Gloria Grahame as Marvin's girlfriend) enable the film to transcend formula, as do several memorable action scenes--when an enraged Marvin hurls scalding coffee at the feisty Debby (Grahame), we're both shattered by the violence of his attack, and aware that he's shifted the balance of power. --Sam Sutherland

The Blue Gardenia

Fritz Lang's scathing critique of fifties America's hunger for bloodshed and scandal. Classic Hollywood film noir with a feminine twist "The Blue Gardenia" stars Anne Baxter (All About Eve) as Norah Larkin a working girl who wakes up a murderess after passing out in the apartment of brutish playboy Harry Prebble (Raymond Burr). Branded "The Blue Gardenia" by a sensational columnist (Richard Conte) Norah dodges dragnets informants and the cruel hand of fate as she struggles to conceal her involvement with Prebble and to remember the details of her ill fated night. As her hopes for justice fade she decides to gamble her future on the journalist who transformed her into such a notorious public figure. Enhancing the melancholy mood of the film is the haunting theme song arranged by Nelson Riddle and performed to perfection by Nat "King" Cole.System Requirements:Running Time 88 MinFormat: DVD VIDEO Genre: DRAMA Rating: NR UPC: 014381904222 Manufacturer No: ID9042AQDVD

With its title inspired by the notorious Black Dahlia murder case, The Blue Gardenia throws a twist into the story by making the mystery woman not the victim but the suspect in a lurid murder case. Anne Baxter, playing a virginal blonde with almost breathless innocence, impulsively accepts a blind date after receiving a "Dear Jane" letter from her boyfriend in Korea. Raymond Burr oozes slime as the lothario who plots his seduction with cynical calculation ("For drinks, Polynesian Pearl Divers, and don't spare the rum!") and the naive Baxter is easy prey, until she fights back against his advances with a fireplace poker and stumbles home. Waking up the next morning with the past evening a veritable blank, she discovers herself the prime suspect in a murder case trumpeted into a sensationalistic headline story by calculating columnist Richard Conte. Fritz Lang transforms the rather conventional low-budget thriller into a paranoid nightmare, his cheap sets and flat backdrops creating a tawdry world peopled by cynics and opportunists preying on the guileless, and Baxter makes every guilt-ridden moment palpable. Like in many film noir thrillers, the pat conclusion seems wholly arbitrary, the product of the Hollywood happy-ending machine. However, Lang's film isn't about the mystery, but the experience of an innocent whose single, desperate transgression turns her world upside down. --Sean Axmaker

Film Noir Classic Collection, Vol. 2 (Born to Kill / Clash by Night / Crossfire / Dillinger (1945) / The Narrow Margin (1952))

Hollywood's legendary tough guys and femme fatales collide again in The Film Noir Classic Collection Volume Two. The Collection includes five smoldering classics all new to DVD and all digitally remastered: Born to Kill Clash By Night Crossfire Dillinger and The Narrow Margin. The movies star film noir icons Robert Mitchum Barbara Stanwyck Robert Ryan Lawrence Tierney and Claire Trevor among others and feature commentaries from film historians and directors including Robert Wise on Born To Kill Peter Bogdanovich with archival contributions from Fritz Lang on Clash By Night; John Milius on Dillinger and William Friedkin and Richard Fleischer on The Narrow Margin.Format: DVD MOVIE Genre: TELEVISION/CLASSIC UPC: 012569713314

Film noir is such a rich cinematic zone that second-tier specimens compel nearly as much fascination as the classics. At a glance, Volume 2 of Warner Bros.' (ever-expanding, we hope) Film Noir Collection is a distinct step down from Volume 1--inevitable when you've launched your series with five landmark titles, including three outright noir masterpieces (The Asphalt Jungle, Gun Crazy, Out of the Past). But linger beyond that first glance, because the second set is a flavorful mix of sleazoid iconography (two vehicles for B-movie bad boy Lawrence Tierney), an offbeat outing for a major director (Fritz Lang in his Howard Hughes RKO period), Poverty Row production circumstances that encourage aggressively peculiar, verging-on-radical filmmaking (the strange mélange that is Monogram's Dillinger), and two pressure-cooker suspense pictures that are landmark films in their own right (Crossfire and The Narrow Margin).

Jean-Luc Godard dedicated Breathless to Monogram Pictures, and Dillinger (1945) was probably the main reason why. With an Oscar-nominated script credited to Philip Yordan (abetted by his friend William Castle, director of Monogram's excellent When Strangers Marry), Max Nosseck's 60some-minute account of the Depression-era outlaw's brashly improvisatory career is a hypnotic mix of bargain-basement filmmaking (lotsa stock footage and minimalist sets), astute ripoff (the rain-and-gas-bomb robbery sequence from Lang's You Only Live Once), and Brechtian bravura. The major Hollywood studios had taken a vow of chastity when it came to glorifying gangsterism; Monogram ignored the embargo and barreled ahead to unaccustomed popular and critical success. The storyline actually scants the ultraviolence (no Bohemia Lodge shootout) and all-star supporting cast (no Pretty Boy Floyd, no Baby Face Nelson) of Dillinger's real life--likely a matter of cost-cutting rather than abstemiousness. Newcomer Lawrence Tierney nails the guy's coldblooded freakiness and animal magnetism, and the supporting cast includes such éminences noirs as Marc Lawrence, Eduardo Ciannelli, and Elisha Cook Jr. Producers Maurice and Frank King would make Gun Crazy four years later.

Born to Kill (1947) is the second helping of Tierney, playing a psychotic drifter who's irresistible to women ("His eyes run up and down ya like a searchlight!" breathes housemaid Ellen Colby, just about the only female he doesn't bother targeting). A number of people end up dead by his hand, but the kicker is that he crosses paths with a woman--socialite-divorcee Claire Trevor--just as heartless as he, and even more treacherous. The script makes less sense with each passing reel, but there are ripe character turns by Walter Slezak, as a philosophical private eye who operates out of a diner; Elisha Cook Jr., as Tierney's more level-headed partner; and Esther Howard, as a hard-bitten old bat who flirts with Cook in a nightmarish nocturnal wasteland outside San Francisco.

Three Roberts--Young, Mitchum, and Ryan--costar in Crossfire (1947), one of only a handful of noirs to be sanctified with Academy Award nominations: best picture, director Edward Dmytryk, screenwriter John Paxton, and supporting players Ryan and Gloria Grahame. The film unreels during a single sweaty, post-WWII night when one among a squad of GIs on leave in Washington, D.C., murders a nice Jewish man (Sam Levene) because he doesn't like "his kind." The audience knows who's guilty before the cops do, and Ryan's portrayal of the bigot will make the hair on your neck rise. Police detective Robert Young plays with his pipe too much and makes one speech too many, but the atmosphere is memorably taut and surreal.

Robert Ryan may be even scarier in Fritz Lang's Clash by Night (1952), a rare noir without any criminal aspect: all its bitterness and savagery is emotional, psychological, and--preeminently--sexual. Barbara Stanwyck, slightly past her stellar peak but in her prime as an actress, plays a married woman in a New England fishing town who knows what a bad idea it is but falls anyway for a vicious, misogynistic movie projectionist. Sample Clifford Odets dialogue, Stanwyck to Ryan: "What do you want to do to me? Put your teeth in me? Hurt me?" Clinching ensues. (All this and Marilyn Monroe, too.)

We've saved the best for last. Narrow Margin (1952) is the kind of trim, beautifully paced movie people have in mind when asking, "Why don't they make 'em like that anymore?" Two cops have to guard a gangster's widow against assassination as she rides the Golden West Limited sleeper train from Chicago to give evidence in L.A. Soon there's only one cop (gravel-voiced Charles McGraw, usually a villain), and he's finding the sharp-tongued widow (Marie Windsor) as obnoxious as she is endangered. Nothing goes quite as you'd expect in this exemplary train thriller, which rattles and rocks toward its destination without a music track or a wasted moment. --Richard T. Jameson

Scarlet Street (Remastered Edition)

Kino Video's remastered edition of Scarlet Street finally does justice to one of the best film noir classics of the 1940s. Less than a year after scoring a critical and popular success with The Woman in the Window, director Fritz Lang reunited with stars Edward G. Robinson, Joan Bennett, and Dan Duryea for this fatalistic New York City tale of a meek, middle-aged cashier and aspiring artist named Christopher Cross (Robinson) who unwittingly falls into a trap set by a pair of Greenwich Village con artists (Bennett, Duryea) who plot to sell his paintings and make off with the profits. In addition to Lang's masterful use of studio backlot locations and cinematographer Milton Krasner's exquisite control of light and shadow, the film draws its primary strength from the atypical performance by Robinson (typically so good at playing heavies, and a knowledgeable art collector off-screen) as a hen-pecked husband and self-professed failure whose withered ego makes him especially vulnerable to the false charms of Bennett, a femme fatale as heartless as she is ultimately doomed. Her scandalous behavior on screen and off (Bennett was the wife of producer Walter Wanger and Lang's mistress) and Duryea's pimpish amorality made Scarlet Street both immensely popular and scandalous enough to be banned in three states when the film was released in late 1945, but in Lang's dark vision of corrupted souls and avenging angels, nobody goes unpunished. The ending of Scarlet Street is as unforgiving as it is unforgettable, and in the hands of Fritz Lang, it's the purest essence of film noir at its finest. Kino's DVD release offers a high-definition digital transfer from a 35-millimeter negative preserved by the Library of Congress (in other words, it puts every previous video release to shame), and there's an astute, scholarly commentary by Lang expert David Kalat that puts Scarlet Street into critical perspective with Lang's career and film noir in general. For fans of the genre, this is a must-own DVD. --Jeff Shannon

A box-office hit in its day (despite being banned in three states), Scarlet Street is perhaps legendary director Fritz Lang's (M, Metropolis) finest American film. But for decades, Scarlet Street has languished on poor quality VHS tape and in colorized versions. Kino's immaculate new HD transfer, from a 35mm Library of Congress vault negative, restores Lang's extravagantly fatalistic vision to its original B&W glory. When middle-aged milquetoast Chris Cross (Edward G. Robinson -- Double Indemnity, Little Caesar) rescues street-walking bad girl Kitty (Joan Bennett -- The Reckless Moment) from the rain slicked gutters of an eerily artificial backlot Greenwich Village, he plunges headlong into a whirlpool of lust, larceny and revenge. As Chris' obsession with the irresistibly vulgar Kitty grows, the meek cashier is seduced, corrupted, humiliated and transformed into an avenging monster before implacable fate and perverse justice triumph in the most satisfyingly downbeat denouement in the history of American film. Both Scarlet Street producer Walter Wanger's wife and director Lang's mistress, Joan Bennett created a femme fatale icon as the unapologetically erotic and ruthless Kitty. Robinson breathes subtle, fragile humanity into Chris Cross while film noir super-heavy Dan Duryea, as Kitty's pimp boyfriend Johnny, skillfully molds "a vicious and serpentine creature out of a cheap, chiseling tin horn." (The New York Times). Packed with hairpin plot twists from screenwriter Dudley Nichols (Stagecoach) and "bristling with fine directorial touches and expert acting" (Time), Scarlet Street is a dark gem of film noir and golden age Hollywood filmmaking at its finest.

M (Enhanced Edition) - 1931

Another production from Triad Productions LLC & Triad Film Noir.

M is a 1931 German film directed by Fritz Lang and written by Lang and his wife Thea von Harbou. It was Lang's first sound film, although he had directed over a dozen films previously including Metropolis. Over the years the film has become a defining classic that rivals Lang's other works for the title of magnum opus. Lang himself maintained that this film was his finest work. The lead, Peter Lorre, was typecast for years after the film's release as a villain for his portrayal of a child murderer. M also pioneered the use of leitmotif to give the film score a more intense feel.

A psychotic child murderer stalks a city, and despite an exhaustive investigation fueled by public hysteria and outcry, the police have been unable to find him. But the police crackdown does have one side-affect, it makes it nearly impossible for the organized criminal underground to operate. So they decide that the only way to get the police off their backs is to catch the murderer themselves. Besides, he is giving them a bad name.

Now able to track the killer, the criminals pursue him and, after a lengthy search of an office building, finally catch him, bringing him before a kangaroo court. There, Beckert delivers an impassioned monologue, saying that he doesn't want to commit these crimes, and that he should not be punished for being insane. The monologue ends with the line (delivered by Lorre in a near scream) "Who knows what it's like to be me?"

As the criminals are on the point of killing Beckert, the police arrive, snatching him from their grip.

The final image of the film is that of five judges about to give Beckert his sentence. Before the sentence is announced, the shot cuts to three of the victim's mothers crying, with Elsie's mother delivering the moral of the film: that killing the murderer will do no good, and that parents must watch their children more closely.

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Die Nibelungen

Destiny (1921) aka Der müde Tod

This beautiful gothic fantasy was inspired by a childhood dream of its writer/director, Fritz Lang, who first gained world recognition with this film's triumph. "Destiny" is the story of a young man taken by Death just as he is to be married. His lover makes a deal with the Death figure--if she can save one of three possible lives, her fiance will be returned to her. Otherworldly atmosphere is created by extraordinary, bizarre sets, gothic lighting, and eccentric characters combined with spectacle and camera trickery astonishing for its time. With its many magical and haunting images, "Destiny" still possesses real power to impress the imagination!