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Josef von Sternberg |
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Director / Screenwriter /
Editor / Producer |
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1894 - 1969 |
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Born May 29,
Vienna, Austria |
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Key
Production Country: USA |
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Key Genres: Drama,
Melodrama, Romance, Crime, Crime Drama |
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Key
Collaborators: Hans
Dreier (Production Designer), Marlene Dietrich (Leading Player), Jules
Furthman (Screenwriter), Bert Glennon
(Cinematographer), Lee Garmes (Cinematographer), S.K. Winston (Editor),
George Bancroft (Leading Player), Adolph Zukor (Producer), Gustav von Seyffertitz (Leading Character Player), Karl Hajos (Composer) |
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Highly
Recommended: Morocco
(1930)*, The Scarlet Empress (1934)* |
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Recommended:
Underworld (1927), The Docks of New York (1928)*, The
Last Command (1928), The Blue Angel (1930)*, Dishonored (1931), Shanghai Express
(1932)*, The Shanghai Gesture (1941)*#, Macao (1952)#, Anatahan (1953)* |
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Worth a Look: The
Salvation Hunters (1925), Thunderbolt (1929), An American Tragedy
(1931), Blonde Venus (1932), The Devil is a Woman (1935)* |
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* Listed in TSPDT's
1,000 Greatest Films
section; #
Listed in TSPDT's
250 Quintessential Noir Films
section. |
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Links:
[
Amazon
] [
IMDB ] [
TCMDB ] [
All-Movie
Guide ] [
Film Reference ]
[
Wikipedia ] [
Classic
Film and Television Page ] [
Derek
Malcolm's Century of Films: The Scarlet Empress ] [
Strictly
Film School ] [
Boston Phoenix Article (2004) ] [
Senses of Cinema Article (2002) ] [
The Criterion Collection: Three Silent Classics ] |
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Books:
[
Von Sternberg ] [
Josef von Sternberg: The Case of Lena Smith ]
In
the Realm of Pleasure: von Sternberg, Dietrich and the Masochistic
Aesthetic ] [
Josef
von Sternberg ] [
The
Idea of the Image: Josef von Sternberg's Dietrich Films ] |
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"There
is a sense in which Josef von Sternberg never grew up. In his
personality, the twin urges of the disturbed adolescent towards
self-advertisement and self-effacement fuse with a brilliant
visual imagination to create an artistic vision unparalleled in
the cinema... His films reflect a schoolboy's fascination with
sensuality and heroics. That they are sublime visual adventures
from an artist who contributed substantially to the sum of
cinema technique is one paradox to add to the stock that make up
his career." -
John Baxter (The St. James Film Directors Encyclopedia, 1998) |
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"Best known for
the exotic, ironic melodramas he made with Marlene Dietrich,
Jonas Sternberg was one of the most personal, ambitious and
imaginative of early film-makers. Uninterested in naturalism,
and fascinated by film's visual potential, he repeatedly
revealed his cynical, detached attitude to the world by
focusing attention on male-female obsession, humiliation and
cruel, casual betrayal, often by a contemptuous femme fatale." -
Geoff
Andrew (The Film Handbook, 1989) |
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"In
a sense, Sternberg entered the cinema through the camera rather
than the cutting room, and thus became a lyricist of light and
shadow rather than a master of montage. The control he achieved
over his studio surroundings encouraged him to concentrate on
the spatial integrity of his images rather than on their
metaphorical juxtaposition. Sternberg's cinema, for better or
worse, represents a distinctively Germanic camera movement
- from Murnau and Lang - in contrast to Eisenstein's fashionably
Marxist montage." -
Andrew
Sarris (The American Cinema, 1968) |
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"His films build dream worlds around the edges of society, and
then they shatter the illusion. He fills his work with
expressive lighting which illuminates the actors and with lush
imagery. Von Sternberg could make the most unbelievable plots
seem plausible." -
William R. Meyer (The Film Buff's Catalog, 1978) |
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Please
note that the rating given for this director (see top-right) is based
only on the films we have seen (listed above). Films by this director
that we haven't seen include Crime and Punishment (1935), The King Steps
Out (1936), Sergeant Madden (1939), and Jet Pilot (1957). |
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"Born
in Vienna, raised and educated in both Austria and the
United States, Josef von Sternberg was one of several
contract directors who brought a distinctly European
inflection to Paramount’s house style. In Sternberg’s case
the accent was notably Germanic. He fashioned a unique
Hollywood expressionism, with its play of light and shadow,
sensuous images and exotic production design, sexual
symbology and frank eroticism. Sternberg’s best films—all
made for Paramount between 1930 and 1935—often were set in
foreign locales and were populated by cynical, dissolute
outcasts; they generally were weak on plot but remarkably
strong on style and characterization. And they all starred
Marlene Dietrich, whose rapid rise in Hollywood coincided
with Sternberg’s, and whose screen persona was perhaps the
most essential component of his inimitable style."
-
Thomas Schatz, Schirmer Encyclopedia
of Film |
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●
Top 250 Directors |
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●
Pantheon Director |
| ●
100 Essential Directors (Pop
Matters) |
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●
Jean-Pierre Melville's 64 Favourite Pre-War
American Filmmakers
(Cahiers du Cinema, October 1961) |
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● The Wild Bunch... 50 of the Movies' Maddest Visionaries |
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●
501 Movie Directors: A
Comprehensive Guide to the Greatest Filmmakers |
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See Also |
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●
Frank Borzage |
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Frank Capra |
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E.A. Dupont |
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George Fitzmaurice (External Link) |
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Edmund Goulding |
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Rowland V. Lee |
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Rouben Mamoulian |
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F.W. Murnau |
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Max Ophüls |
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G.W. Pabst |
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Mauritz Stiller |
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Erich von Stroheim |
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