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Edgar G. Ulmer is perhaps best known today for Detour, considered by many to be the epitome of a certain noir style that transcends its B-list origins. But in his lifetime he never achieved the celebrity of his fellow Austrian and German émigré directors—Billy Wilder, Otto Preminger, Fred Zinnemann, and Robert Siodmak. Despite early work with Max Reinhardt and F. W. Murnau, his auspicious debut with Siodmak on their celebrated Weimar classic People on Sunday, and the success of films like Detour and Ruthless, Ulmer spent most of his career as an itinerant filmmaker earning modest paychecks for films that have either been overlooked or forgotten. In this fascinating and well-researched account of a career spent on the margins of Hollywood, Noah Isenberg provides the little-known details of Ulmer’s personal life and a thorough analysis of his wide-ranging, eclectic films—features aimed at minority audiences, horror and sci-fi flicks, genre pictures made in the U.S. and abroad. Isenberg shows that Ulmer’s unconventional path was in many ways more typical than that of his more famous colleagues. As he follows the twists and turns of Ulmer’s fortunes, Isenberg also conveys a new understanding of low-budget filmmaking in the studio era and beyond.
Edgar G. Ulmer is perhaps best known today for Detour, considered by many to be the epitome of a certain noir style that transcends its B-list origins. But in his lifetime he never achieved the celebrity of his fellow Austrian and German émigré directors—Billy Wilder, Otto Preminger, Fred Zinnemann, and Robert Siodmak. Despite early work with Max Reinhardt and F. W. Murnau, his auspicious debut with Siodmak on their celebrated Weimar classic People on Sunday, and the success of films like Detour and Ruthless, Ulmer spent most of his career as an itinerant filmmaker earning modest paychecks for films that have either been overlooked or forgotten. In this fascinating and well-researched account of a career spent on the margins of Hollywood, Noah Isenberg provides the little-known details of Ulmer’s personal life and a thorough analysis of his wide-ranging, eclectic films—features aimed at minority audiences, horror and sci-fi flicks, genre pictures made in the U.S. and abroad. Isenberg shows that Ulmer’s unconventional path was in many ways more typical than that of his more famous colleagues. As he follows the twists and turns of Ulmer’s fortunes, Isenberg also conveys a new understanding of low-budget filmmaking in the studio era and beyond.
Edgar G. Ulmer: Detour on Poverty Row examines the full scope of the career of this often overlooked film auteur, with essays exploring individual films, groups of films (such as his important work in film noir), repetitive themes appearing across the spectrum of his work, and a case study of three essays analyzing The Black Cat (1934).
Austin’s thriving film culture, renowned for international events such as SXSW and the Austin Film Festival, extends back to the early 1970s when students in the Department of Radio-Television-Film at the University of Texas at Austin ran a film programming unit that screened movies for students and the public. Dubbed CinemaTexas, the program offered viewers a wide variety of films—old and new, mainstream, classic, and cult—at a time when finding and watching films after their first run was very difficult and prohibitively expensive. For each film, RTF graduate students wrote program notes that included production details, a sampling of critical reactions, and an original essay that placed the film and its director within context and explained the movie’s historical significance. Over time, CinemaTexas Program Notes became more ambitious and were distributed around the world, including to luminaries such as film critic Pauline Kael. This anthology gathers a sampling of CinemaTexas Program Notes, organized into four sections: “USA Film History,” “Hollywood Auteurs,” “Cinema-Fist: Renegade Talents,” and “America’s Shadow Cinema.” Many of the note writers have become prominent film studies scholars, as well as leading figures in the film, TV, music, and video game industries. As a collection, CinemaTexas Notes strongly contradicts the notion of an effortlessly formed American film canon, showing instead how local film cultures—whether in Austin, New York, or Europe—have forwarded the development of film studies as a discipline.
From the golden age of art movies and underground cinema to X-rated porn, splatter films, and midnight movies, this breathtaking thriller is a tour de force of cinematic fact and fantasy, full of metaphysical mysteries that will haunt the dreams of every moviegoer. Jonathan Gates could not have anticipated that his student studies would lead him to uncover the secret history of the movies--a tale of intrigue, deception, and death that stretches back to the 14th century. But he succumbs to what will be a lifelong obsession with the mysterious Max Castle, a nearly forgotten genius of the silent screen who later became the greatest director of horror films, only to vanish in the 1940s, at the height of his talent. Now, 20 years later, as Jonathan seeks the truth behind Castle's disappearance, the innocent entertainments of his youth--the sexy sirens, the screwball comedies, the high romance--take on a sinister appearance. His tortured quest takes him from Hollywood's Poverty Row into the shadowy lore of ancient religious heresies. He encounters a cast of exotic characters, including Orson Welles and John Huston, who teach him that there's more to film than meets the eye, and journeys through the dark side of nostalgia, where the Three Stooges and Shirley Temple join company with an alien god whose purposes are anything but entertainment.
Considered the 'King of Poverty Row,' Edgar G. Ulmer (1904-1972) was an auteur of B productions. A filmmaker with an individual voice, Ulmer made independent movies before that category even existed. From his early productions like The Black Cat (1934) and Yiddish cinema of the late 1930s to his final films of the late 1950s and early 1960s, Ulmer created enduring works within the confines of economic constraints. Almost forgotten, Ulmer was rediscovered first in the 1950s by the French critics of the Cahiers du Cinema and then in the early 1970s by young American directors, notably Peter Bogdanovich. But who was Edgar G. Ulmer? The essays in this anthology attempt to shed some light on the director and the films he created_films that are great possibly because of, rather than despite, the many restrictions Ulmer endured to make them. In The Films of Edgar G. Ulmer, Bernd Herzogenrath has assembled a collection of essays that pay tribute to Ulmer's work and focus not only on his well-known films, including Detour, but also on rare gems such as From Nine to Nine and Strange Illusion. In addition to in-depth analyses of Ulmer's work, this volume also features an interview with Ulmer's wife and an interview Ulmer gave in 1965, in which he comments on actors Bela Lugosi and Boris Karloff, as well as fellow directors Tod Browning and James Whale.
Hundreds of German-speaking film professionals took refuge in Hollywood during the 1930s and 1940s, making a lasting contribution to American cinema. Hailing from Austria, Hungary, Poland, Russia, and the Ukraine, as well as Germany, and including Ernst Lubitsch, Fred Zinnemann, Billy Wilder, and Fritz Lang, these multicultural, multilingual writers and directors betrayed distinct cultural sensibilities in their art. Gerd Gemünden focuses on Edgar G. Ulmer’s The Black Cat (1934), William Dieterle’s The Life of Emile Zola (1937), Ernst Lubitsch’s To Be or Not to Be (1942), Bertold Brecht and Fritz Lang’s Hangmen Also Die (1943), Fred Zinneman’s Act of Violence (1948), and Peter Lorre’s Der Verlorene (1951), engaging with issues of realism, auteurism, and genre while tracing the relationship between film and history, Hollywood politics and censorship, and exile and (re)migration.
“A must have for any film nut.”—Details Peter Bogdanovich, award-winning director, screenwriter, actor and critic, interviews 16 legendary directors over a 15-year period. Their richly illuminating conversations combine to make this a riveting chronicle of Hollywood and picture making. Join him in conversations with: Robert Aldrich • George Cukor • Allan Dwan • Howard Hanks • Alfred Hitchcock • Chuck Jones • Fritz Lang • Joseph H. Lewis • Sidney Lumet • Leo McCarey • Otto Preminger • Don Siegel • Josef von Sternberg • Frank Tashlin • Edgar G. Ulmer • Raoul Walsh NOTE: This edition does not include photographs. Praise for Who the Devil Made It “Illuminating . . . These were (and sometimes are: a few yet breathe) men rooted in history as much as in Hollywood. Their collected memories make the past look fearfully rich beside a present that is poverty-stricken in everything except money.”—The New Yorker “Bogdanovich is one of America’s finest writers on the cinema. . . . Thank goodness [his] Who the Devil Made It has come along to remind us that films and writing about film were, at one time, focused on the work and not strictly on the bottom line.”—The Boston Globe “A treasure trove on the craft of directing.”—Newsday “Monumental . . . The directors’ reminiscences about technique, working methods, sources of ideas, and relationships with actors and studios are thoroughly entertaining.”—Publishers Weekly “A fine achievement that helps illuminate the art and craft of some remarkable directors . . . There are plenty of revealing anecdotes.”—Kirkus Reviews
Dracula and Frankenstein's Monster are horror cinema icons, and the actors most deeply associated with the two roles also shared a unique friendship. Bela Lugosi and Boris Karloff starred in dozens of black-and-white horror films, and over the years managed to collaborate on and co-star in eight movies. Through dozens of interviews and extensive archival research, this greatly expanded new edition examines the Golden Age of Hollywood, the era in which both stars worked, recreates the shooting of Lugosi and Karloff's mutual films, examines their odd and moving personal relationship and analyzes their ongoing legacies. Features include a fully detailed filmography of the eight Karloff and Lugosi films, full summaries of both men's careers and more than 250 photographs, some in color.
• This study is an exciting and new look at and expansion of our sense of horror films. • Re-envisaging the First Age of Cinematic Horror covers horror films which have never been discussed before. • It includes an interesting and accessible discussions of Early and Silent Film.