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Book Title: Metropolis by Thea Von Harbou, Science Fiction|
The author of the book: Thea von Harbou
ISBN 13: 9781592249787
Format files: PDF
The size of the: 718 KB
Edition: Wildside Press
Date of issue: September 1st 2003
Read full description of the books Metropolis by Thea Von Harbou, Science Fiction:This is Metropolis, the novel that the film's screenwriter -- Thea von Harbou, who was director Fritz Lang's wife, and a collaborator in the creation of the film -- this is the novel that Harbou wrote from her own notes. It contains bits of the story that got lost on the cutting-room floor; in a very real way it is the only way to understand the film. Michael Joseph of The Bookman wrote about the novel: "It is a remarkable piece of work, skilfully reproducing the atmosphere one has come to associate with the most ambitious German film productions. Suggestive in many respects of the dramatic work of Karel Capek and of the earlier fantastic romances of H. G. Wells, in treatment it is an interesting example of expressionist literature. ... Metropolis is one of the most powerful novels I have read and one which may capture a large public both in America and England if it does not prove too bewildering to the plain reader."
Read information about the authorThea Gabriele von Harbou was a prolific German author and screenwriter, best known today for writing the screenplay of the silent film epic Metropolis (1927). She published over forty books, including novels, children’s books, and collections of short stories, essays, poems, and novellas.
For the German film industry, she wrote or collaborated on more than seventy screenplays in the silent and sound era. At one time, she was the highest-paid screenwriter in Germany.
She married three times: first to actor Rudolph Klein-Rogge, who played leading roles in many of her films, second to film director Fritz Lang, and third to Indian journalist and patriot Ayi Tendulkar. She had no children of her own.
In spite of her extraordinary success in the male-dominated film industry, she was no feminist. Her biographer Reinhold Keiner confirms, “She herself was 'a pretty explicit opponent of that flow, in which the women open up areas in which they . . . do not belong, and they close the areas where they could be queens.'” However, she lived the life of a career woman, and the women in her novels and films are usually strong-willed, self-sacrificing women called upon to rescue and redeem the men in their lives.
Thea showed an interest in writing from an early age and sold her first short story at the age of nine and her first novel at the age of fifteen.
Against her family’s wishes, she enrolled in the School of Performing Arts at the Düsseldorf Playhouse when she was seventeen, and for the next six years she pursued a successful career as a stage actor while she continued to publish stories and novels. Her last repertory season was at the State Theatre in Aachen, where Rudolph-Klein Rogge was the leading man and director. In August 1914, they married, and she turned her attention full-time to writing.
In 1919, director-producer Joe May hired her to collaborate on the screenplay of her story “The Legend of St. Simplicity” as a vehicle for his actor wife Mia May. That film’s success then led May to hire her to collaborate with Fritz Lang on an epic adaptation of her 1918 novel The Indian Tomb, which May directed. That collaboration with Lang initiated a thirteen-year creative partnership that produced some of the best-known films of the Weimar cinema, including Dr. Mabuse, The Nibelungen, Metropolis, Woman in the Moon, and the early sound film M—Murderers Among Us.
She and Lang divorced in 1933, but she continued to work in the German film industry. Some of her noteworthy sound films include her superb 1937 adaptation of von Kleist’s comedy The Broken Jug (Der zerbrochene Krug), the 1938 suspense film Covered Tracks (Verwehte Spuren), and the 1941 sentimental drama Annelie.
In 1941, she joined the Nazi party to gain political leverage to aid the cause of Indians working to overturn British rule in India. After the war, the British then interned her in the Staumül prison camp, where she was “de-Nazified” and cleared of any anti-Semitic activities. She was allowed to return to the film industry in 1948.
Following her appearance as a guest speaker at a Berlin film festival in 1954, she was injured in a fall and died two days later.
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