Theodor Loos Movies

This film was also released as Die Letzten Tag von dem Welt-brand (The Last Days Before the War). Director Richard Oswald and screenwriters Heinz Goldberg and Frtiz Wendhausen tackle the near-impossible task of establishing who exactly was responsible for the outbreak of WWI. The answer seems to be "everyone and no one," though the Russians are taken to task for their war-mongering instincts. The huge and stellar cast (including Albert Basserman, Reinhold Schunzel, Alfred Abel and Oskar Homolka) seem awe-struck by the famous characters they're called upon to play; as a result, they come off more as wax effigies than human beings. The American release version of 1914 was outfitted with a prologue and epilogue spoken in English by a renowned military historian. Coincidentally, the incredibly prolific Richard Oswald began his directorial career in 1914. ~ Hal Erickson, All Movie Guide

Ariane was Hungarian director Paul Czinner's first talking picture. Starring in the title role is Czinner's charming wife, Elizabeth Bergner, likewise making her talkie debut. Young, naive Ariane sets herself for an emotional fall when she falls in love with Konstantin (Rudolf Forster), a much older and very married businessman. For his part, Konstantin regards the girl as just another harmless fling -- until he realizes a shade too late that he's really in love with her after all. Filmed in German, Ariane was simultaneously lensed in an English-language version, The Loves of Ariane. ~ Hal Erickson, All Movie Guide

The "gipfelsturmer" ("mountain conqueror") of the title is Franzl, played by Olympic mountain-climbing champion Franz Schmid. Since Schmid's climbing prowess is the film's sole raison d'etre, there isn't very much of a plot. This hardly mattered, since audiences were enthralled by the seemingly authentic footage of Schmid performing his high-and-dizzy specialty somewhere in the Alps. Only on second and third viewings is one aware that some of the close shots were re-created within the safe environs of a film studio. Oddly, Der Gipfelsturmer ends with Schmid reaching the top of the mountain, leaving the audience to scratch its collective head in wonderment as to how he's going to get down. ~ Hal Erickson, All Movie Guide

The "great yearning" of the title refers to the desire of heroine Camilla Horn to become a famous movie star. Fortunately, director Theodor Loos happens to be combing the countryside, searching for "something new" to put before the cameras. He discovers Horn, and the rest can be filled in by the audience blindfolded. The charm of this picture lies not in its corny plotline, but in its handling by young director Stefan Szekely, who refuses to sugar-coat his depiction of movie-studio life but instead offers something very close to the truth. Die Grosse Sehnsucht features cameo appearances by such German film faves as Lil Dagover, Liane Haid, Anny Ondra, Fritz Kortner, Franz Lederer, Luis Trenker, Conrad Veidt, and many, many more. ~ Hal Erickson, All Movie Guide

This lushly produced UFA production from Fritz Lang was adapted from the Norse sagas, and also from the Wagner operas Siegfried, Gotterdaemmerung, and Lohengrin. There is also a sequel -- Kremhilde's Revenge (Kriemhild's Rache). Siegfried (Paul Richter), son of King Siegmund, masters the art of forging a sword at the shop of Mime (George John). On his journey home, he hears tales of Kriemhild, the princess of Bergundy (Margarete Schoen). En route to Bergundy, Siegfried slays the dragon Fafnir, and bathes in his blood. This mades him invulnerable to attack -- except for one spot on his shoulder blade which he has missed. After finding the treasure of the dwarfs, Siegfried arrives in Bergundy. He meets the beautiful Kriemhild and accompanies King Gunther (Theodor Loos) to Iceland. The king wins the powerful Brunhilde (Hanna Ralph) as his wife, and Siegfried weds Kriemhild. Brunhilde plots to have Siegfried killed and makes up lies about him to the King. Gunther's uncle, Hagen Tronje (Hans Schlettow), finds Siegfried's weak spot and pierces it with a spear. After confessing that she made up stories about Siegfried, Brunhilde kills herself. An interesting side note: Adolf Hitler and Josef Goebbels both claimed this film as one of their favorites. ~ Janiss Garza, All Movie Guide

Originally Gruene Ist Die Heide, this German romantic drama was based on a novel by Hermann Loens. The story centers upon a romance between a handsome young forest ranger and his lady friend. Having spent several years trying to track down a mysterious poacher, our hero is taken aback when he discovers that the man he's looking for is the heroine's father. Rather than run off to parts unknown, the poacher elects to make amends to those he's wronged. Ironically, the old man is killed while trying to prevent another poacher from stealing a prize doe. ~ Hal Erickson, All Movie Guide

Allegedly based on a true story, Im Geheimdienst (Secret Service) takes place during WWI. German spy Willy Fritsch, posing as an American violinist, manages to move within the uppermost circles of Russian society with impunity. He inveigles Brigitte Helm, the wife of Russian general Oscar Homolka, into stealing a cache of secret documents. Facing death at every turn, Helm accomplishes her task, and together with her new lover Fritsch escapes to Sweden. This was considered to be a happy ending, but of course no one asked the poor general. Some sources indicate that Willy Fritsch did his own violin-playing in Im Geheimdienst, but this may not have been the case. ~ Hal Erickson, All Movie Guide

Fritz Lang's classic early talkie crime melodrama is set in 1931 Berlin. The police are anxious to capture an elusive child murderer (Peter Lorre), and they begin rounding up every criminal in town. The underworld leaders decide to take the heat off their activities by catching the child killer themselves. Once the killer is fingered, he is marked with the letter "M" chalked on his back. He is tracked down and captured by the combined forces of the Berlin criminal community, who put him on trial for his life in a kangaroo court. The killer pleads for mercy, whining that he can't control his homicidal instincts. The police close in and rescue the killer from the underworld so that he can stand trial again in "respectable" circumstances. Some prints of the film end with a caution to the audience to watch after their children more carefully. Filmed in Germany, M was the film that solidified Fritz Lang's reputation with American audiences, and it also made a star out of Peter Lorre (previously a specialist in comedy roles!). M was remade by Hollywood in 1951, with David Wayne giving a serviceable performance as the killer. ~ Hal Erickson, All Movie Guide

The biggest-budgeted movie ever produced at Germany's UFA, Fritz Lang's gargantuan Metropolis consumed resources that would have yielded upwards of 20 conventional features, more than half the studio's entire annual production budget. And if it didn't make a profit at the time -- indeed, it nearly bankrupted the studio -- the film added an indelible array of images and ideas to cinema, and has endured across the many decades since its release. Metropolis had many sources of inspiration, including a novel by the director's wife, Thea von Harbou -- who drew on numerous existing science fiction and speculative fiction sources -- and Lang's own reaction to seeing the Manhattan skyline at night for the very first time. There are some obvious debts to H.G. Wells (who felt it "the silliest of films"), but the array of ideas and images can truly be credited to Lang and von Harbou.

In the somewhat distant future (some editions say the year 2000, others place it in 2026, and, still others -- including the original Paramount U.S. release -- in 3000 A.D.) the city of Metropolis, with its huge towers and vast wealth, is a playground to a ruling class living in luxury and decadence. They, and the city, are sustained by a much larger population of workers who labor as virtual slaves in the machine halls, moving from their miserable, tenement-like homes to their grim, back-breaking ten-hour shifts and back again. The hero, Freder (Gustav Froehlich) -- the son of Joh Fredersen (Alfred Abel), the master of Metropolis -- is oblivious to the plight of the workers, or any aspect of their lives, until one day when a a beautiful subterranean dweller named Maria (Brigitte Helm) visits the Eternal Gardens, where he spends his time cavorting with various ladies, with a small group of children from the workers' city far below. They are sad, hungry, and wretched looking, and he is haunted by their needy eyes -- something Freder has never seen or known among the elite of the city -- and by this strange and beautiful woman who tells all who hear her, workers' children and ruler's offspring, that they are all brothers. He follows her back down to the depths of the city and witnesses a horrible accident and explosion in the machine halls where the men toil in misery. Haunted by what he has seen, he tries to confront his father, only to find that the man he loves and respects believes that it is right for the workers to live the way they do, while he and his elite frolic in luxury.

Freder decides to do something about it, but he must first learn more, and also locate Maria. With help from Josaphat (Theodor Loos), Fredersen's recently dismissed office manager, he goes below again and takes over the job of one of the workers, in order to find Maria. Meanwhile, Fredersen is concerned about the rumblings of unrest among the workers, and his son's sudden interest in their plight; he assigns "Slim" (Fritz Rasp), his investigator, to follow Freder. Meanwhile, he goes for advice to an old acquaintance, the inventor C.A. Rotwang (Rudolf Klein-Rogge). Rotwang once was a rival to Fredersen for the love of the woman Hel, who married Fredersen and died bearing his son, Freder. Rotwang still feels the loss, but he is a cunning and practical man, and is willing to help his old "friend," but not before showing off his latest creation -- a robot that he has modeled in the image of his beloved Hel, that he may have her again. Rotwang answers Fredersen's question by taking him to the catacombs below the modern city, where they see Maria preaching the gospel and counseling patience, in the hope that a "Mediator" -- who will be able to reconcile the "head" and "hands" of society (i.e. the ruling and working classes) -- will come among them.

Fredersen will hear none of it, and sees the need to break the workers' resistance and destroy Maria's influence among them. He arranges with Rotwang to make his robot creation into a duplicate Maria (which requires his kidnapping her), and to send her out among the workers to incite them to violence, so that Fredersen can use force against them. But he doesn't reckon with Rotwang, who despises Fredersen and his ruling class, and has commanded the robot to obey his orders and follow a plan that will destroy the city, both above and below ground. Fredersen also doesn't reckon with his own son Freder, who not only believes in what Maria is preaching but is beginning to see himself as the "Mediator," and is right in the midst of the conflagration when the workers' uprising starts. Soon, fires and floods spread, threatening to doom the children of the workers, abandoned in their parents' frenzied attack on the machines, and the city of Metropolis faces an impending disaster of biblical proportions. Meanwhile, the now-mad Rotwang tries to reclaim his lost Hel, and Maria and her evil robot twin are both stalked by crowds of workers driven to a murderous rage.

When it was premiered in Germany in January 1927, Metropolis ran 153 minutes when projected at 24 frames per second. That complete version was heavily cut for release in America, removing a quarter of the movie -- this included the personal conflict between Fredersen and Rotwang; a subplot involving double-dealing, espionage, and the mysterious "Slim"; a section taking place in the "red-light" district of the city; a good deal of the symbolism in the movie's original dialogue; and a large chunk of the chase at the end. In Germany in the spring of 1927, an edited version modeled roughly on the American edition, though running slightly longer, was prepared and released, and that became the "standard" version of the movie, for both domestic (i.e. German) distribution and export. In subsequent years, other editions were circulated and still others were found deposited in various archives; in a surprising number of instances -- including that of a source stored at the Museum of Modern Art in New York -- there were tiny fragments to be found of the lost, longer version of Metropolis.

The movie's reputation was further compromised with the lapsing of its American copyright in 1953, after which countless copies and duplicates, in every format from 8 mm to 35 mm (and, later, VHS tape and DVD) came to be distributed in the U.S. by anyone who could lay their hands on a print, of whatever quality and with whatever music track they chose (or didn't choose) to put on it. While several versions of the movie from these sources -- each with plot elements missing -- circulated, various restorations of the movie were attempted over the decades by responsible parties, as well. The BBC did a very effective one in the mid-'70s that was a hit on public television in America, utilizing an electronic music track that sometimes mimicked some of the industrial images on the screen. Also, there was the Giorgio Moroder version from 1984, heavily tinted and re-edited, with a rock score grafted onto it, which introduced the movie to a whole new generation of fans and turned it into a modern pop-culture fixture. The copyright was re-established in 1998 by the F.W. Murnau Foundation, and a restoration in 2002 brought the movie back to a 127 minute running time, in addition to utilizing a full orchestral score based on Gottfried Huppertz's original 1927 music. In 2008, it was reported that a significant part of the "lost" footage from the 1927 153-minute version of Metrpolis had been found in Argentina. The newest restoration of the complete Metropolis was on-going as of 2009, and a theatrical premiere was anticipated for 2010. ~ Bruce Eder, All Movie Guide