By Bernd Herzogenrath
Thought of the "King of Poverty Row," Edgar G. Ulmer (1904-1972) was once an auteur of B productions. A filmmaker with somebody voice, Ulmer made autonomous videos prior to that type even existed. From his early productions like The Black Cat (1934) and Yiddish cinema of the overdue Thirties to his ultimate motion pictures of the overdue Nineteen Fifties and early Sixties, Ulmer created enduring works in the confines of monetary constraints.
Almost forgotten, Ulmer was once rediscovered first within the Fifties through the French critics of the Cahiers du Cinema after which within the early Seventies through younger American administrators, significantly Peter Bogdanovich. yet who was once Edgar G. Ulmer? The essays during this anthology try and shed a few gentle at the director and the movies he created—films which are nice in all probability because of, instead of regardless of, the various regulations Ulmer persevered to make them.
In The motion pictures of Edgar G. Ulmer, Bernd Herzogenrath has assembled a suite of essays that pay tribute to Ulmer's paintings and concentration not just on his famous movies, together with Detour, but in addition on infrequent gem stones akin to From 9 to Nine and Strange Illusion. as well as in-depth analyses of Ulmer's paintings, this quantity additionally good points an interview with Ulmer's spouse and an interview Ulmer gave in 1965, during which he reviews on actors Bela Lugosi and Boris Karloff, in addition to fellow administrators Tod Browning and James Whale.
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Additional resources for The Films of Edgar G. Ulmer
Courtesy of Jerry Ohlinger’s Movie Material Store, Inc. and Beethoven); and a high-modernist aesthetic that informs the overall design of the film. The clean lines, luminous interiors, and sleek, minimalist decor all replicate the taste of 1920s Berlin, Vienna, Paris, and Amsterdam. As Ulmer claims, somewhat boastfully, in his interview with Bogdanovich, the film was “very much out of my Bauhaus period” (Bogdanovich 576). Once again, in an effort to have his name associated with some of the most venerable artistic figures, movements, and institutions, Ulmer’s inflated appraisal should be considered a bold indicator of the highly self-conscious approach to making a film which would deliberately evoke the style of a period in which Ulmer had little part.
Instead, he often took on unconventional projects—both out of necessity and by choice—that kept him from the spotlight of American and European cinema. 1 In what follows, I wish to examine the life and career path of Ulmer, in an effort to widen the scope of analysis in the research on exiled artists and filmmakers. Despite Ulmer’s enigmatic career, the story that emerges here is one that may shed further light onto some of the received wisdom concerning German exiles and that may, in turn, complicate our understanding not only of Ulmer but of the vicissitudes of exile and émigré culture in general.
Viertel, Salka. The Kindness of Strangers: A Theatrical Life; Vienna, Berlin, Hollywood (New York: Holt, Rinehart and Winston, 1969). Young, Stark. “The Miracle,” New York Times, November 9, 1924. 2 The Search for Community John Belton In “Reification and Utopia in Mass Culture,” Fredric Jameson describes social life within late capitalism as “reified” and “atomized,” lacking the cohesiveness of “authentic collective life” (140). The status of the individual within mass culture is one of fragmentation and alienation.