“My style is cinema verite. I make films about unfolding dramas. This is not an anti-oil film. It’s anti-corporate irresponsibility. You don’t pump toxins into these people’s world. There’s just no moral justification for that.” [on the making of Crude]
Joseph “Joe” Berlinger (born October 30, 1961) is an American documentary film-maker who, in collaboration with Bruce Sinofsky, has created such films as Paradise Lost about the West Memphis 3, Brother’s Keeper, Some Kind of Monster, and Crude.
In collaboration with journalist Greg Milner, Berlinger has also written a book called Metallica: This Monster Lives, which is about his journey from making the poorly received Blair Witch 2 to creating Some Kind of Monster with Metallica, one of the world’s most famous metal bands.
Berlinger has also worked in TV series such as Homicide: Life on the Street, D.C. and FanClub.
The first movie Berlinger directed, in 1992, was the documentary My Brother’s Keeper, which tells the story of Delbart Ward, an elderly man in Munnsville, New York, who was charged with second-degree murder following the death of his brother William. Chicago Tribune film critic Roger Ebert, in his review of the movie, called it “an extraordinary documentary about what happened next, as a town banded together to stop what folks saw as a miscarriage of justice.”
He graduated from Colgate University in 1983. He lives with his wife and daughters in New York. —wiki
“With my film work, audiences are given the time to look and the critical distance from traditional documentary to appreciate some of the grace of daily life.”
Sharon Lockhart is an American photographer and filmmaker born 1964, Norwood, Massachusetts. She studied at Art Center College of Design, Pasadena, CA, M.F.A. and San Francisco Art Institute, CA, B.F.A.
The work of the Los Angeles-based avant-garde filmmaker, bears a rare potential – that of bringing the riches of experimental cinema to a broad film-going public without sacrificing any of its rigor, mystery or inquiry. Whilst she sees herself as strongly influenced by the structuralist-film tradition, Lockhart’s films have the potential to reach a broader audience by virtue of their humanism and anthropological explorations.
Pre-dating her rapidly ascending reputation as an experimental filmmaker is Lockhart’s international renown as a photographer. Her approach to film is not unlike that of photography: careful composition, rigorous planning of the frame, scrupulous attention to visual detail and regular use of a stationary camera. Conversely, her photography projects often smack of the filmic: a laborious casting and auditioning process, the employment of successions of frames, serial ordering of images, and a resulting cumulative effect that emerges from repetitions and subtle variations from one image to the next.
Sharon Lockhart’s cinema suspends the audience on a pendulum as it swings between two poles: the source ingredients that are derived from reality (based in fact), and the authorially imposed frame of performance (that yields fiction). The truth, we discover, lies not in privileging any one polar extreme over the other but in recognizing that every point in the continuum simultaneously allows access to the truth while prompting us to question it. By extension, her films offer us a way to look not merely at films but at the everyday, embracing at once what we feel in our hearts to be. —senses of cinema
Can we stop with the actor or director debate? It’s amazing that everyone involved in this “argument” is so enraged by such a simple classification. This is not black or white. Valeria Bruni Tedeschi has directed two features, won a handful of awards for them, but yes she is better recognized as an actress (she’s also the lead in both films she directed). Dimitris argues that people should be listed by the position they’re most recognized in; the others like seeing actors-turned-directors like Bruni Tedeschi in their “Favorite Auteurs” section. The only viable solution to this madness is either making a rule (such as Director cancels out Cast if the person has directed more than 3 features or something like that) or rethinking the whole “Favorite Auteurs” section altogether. Then the question is, is this a priority? Or should we continue working harder on improving other aspects of the site? Thank you.
“(such as Director cancels out Cast if the person has directed more than 3 features or something like that)”
Iciar Bollain HAS that right because she has established herself as a directorial figure in the cinematic universe we live in, 100 times more than her scarce acting persona.
Valeria Bruni Tedeschi however is NOT to be considered an established directorial figure for the simplest of reasons she’s acclaimed as AN ACTRESS more than her directorial output, as small as it is, Bollain’s is a bit larger, ha.
It’s NOT something picky, there IS a difference when discussing ACTOR / ACTRESS and their director status, it would be INSULTING to place Charles Laughton’s status as a director instead of an actor because 1 film doesn’t make anyone a “legend”. But I can easily name 5, 10, 15 films mister Laughton’s legendary presence deserves accolades and remembrance. No, I doubt more people remember Laughton as a director. I doubt more people prefer mister Wilder as a director, same goes for fucking Sylvester Stallone but that guy is an idiot anyhow, so I won’t bother anyone on that matter.
Let’s be serious, how many really want Harold Lloyd to be a director when his IMDB film directions are 5 times less than his acting presence??? How many really want to see Forest Whittaker as a fucking director? Who are we kidding here?
Personally I’m all for giving Director status to people that had more than one shot at directing.
But I don’t want to throw gasoline on the matter again so let’s just go with crediting people for what they are best known for now (with exceptions made where they apply)
It would be great if we could give more than one Status to people (a.i. Direct/Producer, Composer/Actor etc) if this is a possibility in the future.
“It’s amazing that everyone involved in this “argument” is so enraged by such a simple classification.”
Don’t be amazed. cinephiles are just naturally enraged and confused whenever someone drags us away from our screens. Read up on the Allegory of the Cave.
can ching siu tung be given his auteur status please
I am all for double classification
but directing one film makes you a director, common sense
Same film here and here
Some stills for:
Pays de Cocagne
Tant qu’on a la santé
and new still for:
Alternative stills for Hausu :
There are two links for Busby Berkeley’s DAMES:
A correct still for Pass the Gravy (the current one is from a Fatty Arbuckle-Buster Keaton short).
There are two links for Georg Wilhelm Pabst’s DONQUIXOTE:
The width of this graphic should be 192, not 190
Thomas Mauch (born April 4, 1937 in Heidenheim an der Brenz) is a German cinematographer, screenwriter, film director and producer.
Mauch attended the Waldorf School in 1954, studying photography. In 1957 he worked in Munich as a volunteer at the Society for Visual Films, which had a specific focus on industrial and documentary films.
In Munich he met the director Edgar Reitz, and worked as his assistant from 1959 to 1963. In 1963 he became a freelance cameraman and lecturer at the Institute of Filmmaking at the School of Design in Ulm. Since1967 he has worked primarily with Werner Herzog.
In addition to his camera work and teaching, Mauch has also worked as a screenwriter and director, mostly on the series “Das Kliene Fernsehspiel” for ZDF television. In 1987 he shot his first feature film, Adrian and the Romans, with co-director Klaus Bueb.
Mauch has received the Federal Award three times for his camera work: in 1973 for Aguirre, the Wrath of God, in 1979 for The Kingdom of Naples, and in 1989 for Waller’s Last Trip. —Wikipedia
Picture and Biography for Erkan Can
Erkan Can (born November 1, 1958 in Bursa, Turkey) is a Turkish film and theatre actor, who has won the Golden Orange for Best Actor twice for his roles in “On Board” and “Takva: A Man’s Fear of God”, and the Asia Pacific Screen Award for Best Performance by an Actor for “Takva: A Man’s Fear of God”.
He began acting in 1974 at the age of 16 with the local Bursa State Theater and took acting classes at the Industrial Vocational High School. From 1982-1984 he undertook his compulsory military service. In 1985 he entered the theatre department of the Istanbul State Conservatory and made his first screen appearance, alongside Kemal Sunal, in “Davacı” (1986) directed by Zeki Ökten before graduating in 1990.
From 1991-92 he performed with the Bakirkoy Municipal Theatre. He had his first major roles in the television series “Mahallenin Muhtarlari” (1992) and “Yalancı” (1993) for TRT. He had a minor appearance in “Sokaktaki Adam” (1995), directed by Biket İlhan, and a featured role in the short “Bana Old and Wise’ı Çal” (1998), directed by Çağan Irmak before achieving success with “On Board” (1998), directed by Serdar Akar, for which he won best actor awards at film festivals in Antalya and Ankara as well as the Orhan Anzac Award.
A series of film a television roles followed, including appearances in “Vizontele” (2001), directed by Yılmaz Erdoğan and Ömer Faruk Sorak, and “Istanbul Tales” (2005), directed by Ümit Ünal et al. Appearances in “Destiny” (2006), directed by Zeki Demirkubuz, and “The Edge of Heaven” (2006), directed by Fatih Akın, were followed by the leading role in “Takva: A Man’s Fear of God” (2007), directed by Özer Kızıltan, for which he won best actor awards at film festivals in Antalya and Nuremberg as well as the Asia Pacific Screen Award. —Wikipedia
Picture and Biography for Şener Şen.
Şener Şen (born Ali Haydar Şen on 26 December 1941 in Adana, Turkey) is a Turkish film and theatre actor, who has won the Golden Orange for Best Actor twice for his roles in “Mr. Muhsin” (1985) and “Lovelorn” (2005), the Golden Orange for Best Supporting Actor for “Çöpçüler Krali” (1977) and a Golden Orange Lifetime Achievement Award.
He began acting in 1958 at the age of 17 as an amateur at the Yeşil Sahne Theater in Amasya. From 1964 to 1966 he taught in elementary schools in the villages of eastern Anatolia. In 1966 he returned to the stage at the City Theater in Istanbul. He made his film debut with a small role in the drama film “So-Called Girls” (1967), directed by Nejat Saydam.
He maintained a prolific output throughout the 70’s as a supporting cast member in a number of films by popular Turkish comedy actor Kemal Sunal, most significantly as Body Ekrem in the “Hababam Sınıfı” film series, and in 1978 he received the Golden Orange for Best Supporting Actor for “Çöpçüler Krali” (1977), directed by Zeki Ökten.
From 1980 to 1982 he continued his theater work in Germany. His first leading film role was alonside Müjde Ar in the comedy “The Shalvar Trouser Trial” (1983), directed by Kartal Tibet, for which he was named Best Film Actor by a number of film and stage publications, and he won the Golden Orange for Best Actor for his role in “Mr. Muhsin” (1985), written and directed by Yavuz Turgul.
He starred in the award-winning “The Bandit” (1996), written and directed by Yavuz Turgul, for which he was also the executive producer. In 2004 he received a Golden Orange Lifetime Achievement Award and he won the Golden Orange for Best Actor a second time for his role in “Lovelorn” (2005), also written and directed by Yavuz Turgul.
He is the son of Turkish actor Ali Şen and was married to Turkish actress Şermin Hürmeriç from 1989 until their divorce in 1997. —Wikipedia
“Every movie is like a newborn baby coming into the world.”
Jörg Schmidt-Reitwein is the son of the painter Karl Schmidt-Reitwein. Jörg spent the first years of his life in Lübeck near the Baltic Sea. There he attended the Waldorf School and afterward studied Physics for a few semesters. Then he switched to Film and went for that in 1959 to Berlin.
He completed several practica in various film management areas such as film laboratory and sound studio. Suddenly his career structure broke up, as he was captured on the East German side after the building of the Berlin Wall in 1961, when he tried to help his girlfriend travel to the west. In a whirlwind political sham trial he was sentenced to 5 years imprisonment as an accused human trafficker and bounty hunter. After spending more than 3 years in a maximum-security penitentiary, the West German government struck a back-room deal exchanging 84,000DM worth of butter for his freedom.
After his release in 1964, Schmidt-Reitwein started his professional career again from the very beginning as a camera assistant in Munich. In 1969 Werner Herzog gave him his greatest chance by inviting him to be the Director of Photography in a Docu-Feature film for the first time. Out of this collaboration emerged “Fata Morgana” to critical acclaim. Thereafter he worked with Werner Herzog on 17 more movies and documentary films.
Jörg Schmidt-Reitwein continued his career as Director of Photography with a number of well-known and outstanding directors such as Alexander Kluge, Herbert Achternbusch, Sepp Bierbechler, H. C. Blumenberg, Werner Schroeter, Alan Greenberg, Markus Fischer, Douglas Wolfsperger, and André Heller, among others. He won 2 German Film Prizes in Gold* for Outstanding Individual Achievement for his light specialty on his films with Werner Herzog, “Heart of Glass” and “Where the Green Ants Dream.” For the camera work in his latest feature film, MARMORERA, he won the Premio a la Mejor Fotografia at the XVII International Fantastic Film Festival in Malaga, Spain. Also of special note is his Documentary about the first Lady of Philippines : Imelda Marcos in 2001.
Schmidt-Reitwein’s DoP work encompasses feature films, TV movies, documentaries, art films, music videos and commercials. He has lectured at Baden-Württemberg Film Academy in Ludwigsberg, Germany, and at the Film Academy of the University of the Philippines in Manila, and has also served as Jury Member at Cameraimage, the only film festival for DoPs. He has worked all over the world. At present he lives with his family in a farm house in Bavaria near the Inn River. —reitwein.net
More representative still for The Bandit showing the two leads.
Picture and Biography for <a href =“http://mubi.com/cast_members/132478”>Yavuz Turgal.
Yavuz Turgul (born April 5, 1946 in Istanbul, Turkey) is a Turkish film director and screenwriter, who has won the Golden Orange for Best Screenplay four times for “Abbas in Flower” (1982), “The Agha” (1985), “Mr. Muhsin” (1987) and “Gölge Oyunu” (1992); Golden Oranges for Best Film for “Mr. Muhsin” (1987) and 2nd Best Film for “Gölge Oyunu” (1992); and a Golden Orange Lifetime Achievement Award.
He graduated from the Istanbul University Institute of Journalism and worked as a journalist for six years for Ses magazine before he began to write scripts. He achieved early success in the late 70s and early 80s with scripts for a series of popular comedy productions from producer-director Ertem Eğilmez and director Kartal Tibet including “Tosun Paşa” (1976), “Sultan” (1978) and “Hababam Sınıfı Güle Güle” (1981).
He went on to greater success in the 80s by winning the Golden Orange for Best Screenplay for “Abbas in Flower” (1982), directed by Sinan Çetin, making his directorial debut with “Fahriye Abla” (1984) and winning the Golden Orange for Best Screenplay a second time for “The Agha” (1985), directed by Nesli Çölgeçen before cementing his success by winning Golden Oranges for Best Film and Best Screenplay as well as prizes at film festivals in Istanbul and San Sebastián for his second directorial effort “Mr. Muhsin” (1987).
In the 90s he continued with “Aşk Filmlerinin Unutulmaz Yönetmeni” (1990) and “Gölge Oyunu” (1993), for which he won Golden Oranges for 2nd Best Film and Best Screenplay, before achieving his greatest box office success to date with the popular “The Bandit” (1996), for which he was also the executive producer alonside long-time collaborator Şener Şen and which won the Golden Dolphin at the Festróia – Tróia International Film Festival.
He returned following a long absense with “Lovelorn” (2005), which won the Queens Spirit Award, and wrote “For Love and Honor” (2007), directed by Ömer Vargı, which was released the same year he received a Golden Orange Lifetime Achievement Award.
His latest film “Hunting Season” is set for release on December 3, 2010.
He was married to Turkish actress Itır Esen, with whom he has 2 children.
Picture and biography for Cem Yılmaz
Cem Yılmaz (born 23 April 1973 in Istanbul, Turkey) is a Turkish stand-up comedian, actor and filmaker, best known for his films “G.O.R.A.” (2004), “A.R.O.G” (2008) and “Yahşi Batı” (2010), who has won Sadri Alışık awards for his roles in “Organize İşler” (2005) and “The Magician” (2006).
While studying at the Department of Tourism and Hotel Management of Boğaziçi University, he started drawing comics for the Turkish humor magazine Leman. In August 1995 he did his first stand-up comedy show in “Leman Culture Center” performing with no serious career intentions as a comedian. However, after the positive response of the audience, he continued his show to attract larger crowds in Beşiktaş Cultural Center where he has appeared in over a thousand stand-up comedy shows since, becoming so popular that tickets have sold for 250TL (approx. US$210).
His movie career started in 1998 with a co-starring role in “Everything’s Gonna Be Great” (1999), directed by Ömer Vargı, and continued with a role in “Vizontele” (2001), directed by Yılmaz Erdoğan and Ömer Faruk Sorak. He achieved his greatest success by starring in and writing big-budget science-fiction parody “G.O.R.A.” (2004), also directed by Ömer Faruk Sorak, the production of which had lasted several years because of financial and other technical problems and which became a box-office hit.
He followed this success with a starring role in “Organize İşler” (2005), also directed by Yılmaz Erdoğan, for which he won Best Supporting Actor at the 11th Sadri Alışık Awards, and his directorial debut with “The Magician” (2006), co-directed by Ali Taner Baltacı, for which he won Best Actor at the 34th Brussels International Independent Film Festival and 12th Sadri Alışık Awards. He has since repeated his box office success with a sequel to “G.O.R.A.” called “A.R.O.G” (2008), also co-directed by Ali Taner Baltacı, and comedy Western parody called “Yahşi Batı” (2010), directed by Ömer Faruk Sorak.
Moses und Aron (1975), by Straub & Huillet, is a color film (and not b&w),
so I propose a new still:
I propose a more accurate (/representative) still for the film (that I forgot to point when submitting the film):
Quote: “You as an audience can look at these things as films, but I remember them as social experiences.”
With his lean but bold and visually powerful approach, filmmaker Walter Hill’s career proved that action films can be smart, stylish, and distinctive, and his movies put a fresh spin on the traditional themes of Westerns, crime dramas, and even buddy films
The son of a riveter who worked in shipbuilding, Hill was born in Long Beach, CA, on January 10, 1942. He briefly followed in his father’s blue-collar footsteps, earning his living in oil drilling and construction, before focusing his career on the arts. Hill studied drawing for a spell in Mexico, and later enrolled at Michigan State University, where he received a degree in Journalism. In time, he developed a passion for filmmaking and moved back to California, where he earned his first movie credits as an assistant director on such pictures as The Thomas Crown Affair and Take the Money and Run. Hill next worked as a screenwriter; two films were based on his scripts in 1972: the dark crime drama Hickey and Boggs and Sam Peckinpah’s adaptation of Jim Thompson’s novel The Getaway. Hill’s taut, muscular screenplays, sometimes written in blank verse, earned him a potent reputation in the industry, and, in 1975, he landed his first assignment as a director when he brought his own script, Hard Times, to the screen with Charles Bronson and James Coburn in the leads. While his next project as a writer/director, The Driver, earned a cult following, Hill’s third feature really put him on the map. The Warriors earned both rave reviews and controversy; the tale of a New York street gang making its way home through unfriendly territory was accused of inspiring a number of violent incidents at theaters showing the film. However, it also earned a handsome profit, allowing Hill to take on two more ambitious projects: The Long Riders, a period Western in which a number of criminal siblings join forces, and Southern Comfort, an atmospheric suspense film about men on Army Reserve exercises who discover they’re fighting a real war. The director then scored a blockbuster with the Eddie Murphy/Nick Nolte comedy 48 Hours. His subsequent movies tended to be more cult-oriented than bona fide hits, but Hill’s sharp visual style and tough, street-smart scripts kept him in demand, and he earned some of his strongest reviews in years for his 2002 boxing-behind-bars drama Undisputed.
In 1979, Hill moved into producing, working behind the scenes on the sci-fi smash Alien, and helped produce most of his own films, as well as the successful HBO series Tales From the Crypt. He also helped end the career of the infamous and imaginary director Alan Smithee; Hill was hired to step in as director on the troubled sci-fi epic Supernova shortly before shooting began, but opted out of the project before editing was completed, and requested that his name be removed from the film. Since the Director’s Guild of America’s registered pseudonym for dissatisfied filmmakers, Alan Smithee, had become common knowledge in the wake of the comedy An Alan Smithee Film: Burn, Hollywood, Burn, a new assumed name was created to accommodate Hill — Thomas Lee — and the name Smithee was officially retired.
The best picture of Chris Cornell
New still, quote and biography for Derviş Zaim.
Quote: We know we can live together, but we still have to ask why we did this to each other.
Bio: Derviş Zaim (born Derviş Zaimağaoğlu in 1964 in Famagusta, Cyprus) is a Turkish Cypriot filmmaker and novelist, who has twice won the Golden Orange for Best Director for “Elephants and Grass” (2000) and “Dot” (2008); Golden Oranges for Best Film and Best Screenplay for “Somersault in a Coffin” (1996); and the Yunus Nadi literary prize for his debut novel “Ares in Wonderland” (1995).
He was educated at Namik Kemal Lyceé and graduated in Business Administration from Boğaziçi University in 1988. He attended a course in independent film production in London and made experimental video “Hang the Camera” (1991). He subsequently wrote, produced and directed numerous television programs starting with the documentary “Rock around the Mosque” (1993). He completed his masters degree in Cultural Studies at the University of Warwick in 1994. His first novel, “Ares in Wonderland” (1995), won the prestigious Yunus Nadi literary prize in Turkey.
“Somersault in a Coffin” (1996) was his debut as director and screenwriter, which won awards at film festivals in Antalya, Montpellier, San Francisco, Thessalonika and Torino. He followed it with “Elephants and Grass” (2000), which won awards at film festivals in Antalya and Istanbul, and “Mud” (2003), which won the UNESCO Award at the Venice Film Festival.
He co-directed the documentary “Parallel Trips” (2004) with Panicos Chrysanthou, in which the two directors, from opposite sides of the divided island of Cyprus, recorded the human dramas that unfolded during the war of 1974 and the legacy that remains today. He later produced the Greek Cypriot director’s fictional feature debut “Akamas” (2006) about a love affair between a Turkish Cypriot and Greek Cypriot.
He made a trilogy of films, themed around traditional Turkish arts, consisting of “Waiting for Heaven” (2006), which was nominated for the Golden Tulip at yhe Istanbul International Film Festival, “Dot” (2008), which won awards at film festivals in Antalya and Istanbul, and “Shadows and Faces” (2010), which won the Turkish Film Critics Association Award at the 47th Antalya “Golden Orange” International Film Festival.
He also teaches at Bilgi University and Boğaziçi University. —Wikipedia
“Knowledge can be communicated, but wisdom cannot. A man can find it, he can live it, he can be filled and sustained by it, but he cannot utter or teach it.”
Hermann Hesse (1877-1962) was born into a family of Pietist missionaries and religious publishers in the Black Forest town of Calw, in the German state of Wüttenberg. Johannes Hesse, his father, was born a Russian citizen in Weissenstein, Estonia. Hesse’s mother, Marie Gundert, was born in Talatscheri, India, as the daughter of the Pietist missionary and Indologist, Hermann Gundert. His parents expected him to follow the family tradition in theology – they had served as missionaries in India. Hesse entered the Protestant seminary at Maulbronn in 1891, but he was expelled from the school. After unhappy experiences at a secular school, Hesse left his studies. He worked as a bookshop clerk, a mechanic, and a book dealer in Tübingen, where he joined a literary circle called Le Petit Cénacle. During this period Hesse read voluminously and determined to become a writer. In 1899 Hesse published his first works, ROMANTISCHE LIEDER and EINE STUNDE HINTER MITTERNACHT.
Hesse became a freelance writer in 1904 after the publication of his novel PETER CAMENZIND. In the Rousseauesque ‘return to nature’ story the protagonist leaves the big city to live like Saint Francis of Assisi. The book gained literary success and Hesse married Maria Bernoulli, with whom he had three children. A visit in India in 1911 was a disappointment but it gave start to Hesse’s studies of Eastern religions and the novel SIDDHARTHA (1922). In the story, based on the early life of Gautama Buddha, a Brahman son rebels against his father’s teaching and traditions. Eventually he finds the ultimate enlightenment. The culture of ancient Hindu and the ancient Chinese had a great influence on Hesse’s works. For several years in the mid-1910s Hesse underwent psychoanalysis under Carl Jung’s assistant J.B. Lang.
In 1912 Hesse and his family took a permanent residence in Switzerland. In the novel ROSSHALDE (1914) Hesse explored the question of whether the artist should marry. The author’s reply was negative and reflected the author’s own difficulties. During these years his wife suffered from growing mental instability and his son was seriously ill. Hesse spent the years of World War I in Switzerland, attacking the prevailing moods of militarism and nationalism. He also promoted the interests of prisoners of war. Hesse, who shared with Aldous Huxley belief in the need for spiritual self-realization, was called a traitor by his countrymen.
Hesse’s breakthrough novel was DEMIAN (1919). It was highly praised by Thomas Mann, who compared its importance to James Joyce’s Ulysses and André Gide’s The Counterfeiters. The novel attracted especially young veterans of the WW I, and reflected Hesse’s personal crisis and interest in Jungian psychoanalysis. Demian was first published under the name of its narrator, Emil Sinclair, but later Hesse admitted his authorship. In the Faustian tale the protagonist is torn between his orderly bourgeois existence and a chaotic world of sensuality. Hesse later admitted that Demian was a story of “individuation” in the Jungian manner. The author also praised unreservedly Jung’s study Psychological Types, but in 1921 he suddenly canceled his analysis with Jung and started to consider him merely one of Freud’s most gifted pupils.
Leaving his family in 1919, Hesse moved to Montagnola, in southern Switzerland. Siddharta was written during this period. It has been one of Hesse’s most widely read work. Its English translation in the 1950s became a spiritual guide to a number of American Beat poets. Hesse’s short marriage to Ruth Wenger, the daughter of the Swiss writer Lisa Wenger, was unhappy. He had met her in 1919 and wrote in 1922 the fairy tale PIKTOR’S VERWANDLUNGEN for Ruth. In the story a spirit, Piktor, becomes an old tree and finds his youth again from the love of a young girl. Hesse divorced from Maria Bernoulli, and married in 1924 Ruth Wenger, but the marriage ended after a few months. These years produced DER STEPPENWOLF (1927). The protagonist, Harry Haller, goes through his mid-life crisis and must chose between life of action and contemplation. His initials perhaps are not accidentally like the author’s. “The few capacities and pursuits in which I happened to be strong had occupied all my attention, and I had painted a picture of myself as a person who was in fact nothing more tan a most refined and educated specialist in poetry, music and philosophy; and as such I had lived, leaving all the rest of me to be a chaos of potentialities, instincts and impulses which I found an encumbrance and gave the label of Steppenwolf.” Haller feels that he has two beings inside him, and faces his shadow self, named Hermine. This Doppelgänger figure introduces Harry to drinking, dancing, music, sex, and drugs. Finally his personality is disassembled and reassembled in the ‘Magic Theatre’ – For Madmen Only.
During the Weimar Republic (1919-1933) Hesse stayed aloof from politics. BETRACHTUNGEN (1928) and KRIEG UND FRIEDEN (1946) were collections of essays, which reflected his individualism and opposition to mass movements of the day. NARZISS UND GOLDMUND (1930, Narcissus and Goldmund) was a pseudomedieval tale about an abbot and his worldly pupil, both in search of the Great Mother.
In 1931 Hesse married Ninon Dolbin (1895-1966). Ninon was Jewish. She had sent Hesse a letter in 1909 when she was 14, and the correspondence had continued. In 1926 they met accientally. At that time Ninon was separated – she had married the painter B.F. Doldin and planned a career as an art historian. Hesse moved with her to Casa Bodmer, and his restless life became more calm. Hesse’s books continued to be published in Germany during the Nazi regime, and were defended in a secret circular in 1937 by Joseph Goebbels. When he wrote for the Frankfurter Zeitung Jewish refugees in France accused him of supporting the Nazis, whom Hesse did not openly oppose. However, he helped political refugees and when Narcissus and Goldmund was reprinted in 1941, he refused to leave out parts which dealt with pogroms and anti-Semitism. In 1943 he was placed on the Nazi blacklist.
In 1931 Hesse began to work on his masterpiece DAS GLASPERLENSPIEL, which was published in 1943. The setting is in the future in the imaginary province of Castilia, an intellectual, elitist community, dedicated to mathematics and music. Knecht (‘servant’) is chosen by the Old Music Master as a suitable aspirant to the Order. He goes to the city of Waldzell to study, and there he catches the attention of the Magister Ludi, Thomas von der Trave (an allusion to Hesse’s rival Thomas Mann). He is the Master of the Games, a system by which wisdom is communicated. Knecht dedicates himself to the Game, and on the death of Thomas, he is elected Magister Ludi. After a decade in his office Knecht tries to leave to start a life devoted to realizing human rights, but accidentally drowns in a mountain lake. – In 1942 Hesse sent the manuscript to Berlin for publication. It was not accepted by the Nazis and the work appeared in Zürich, Switzerland.
After receiving the Nobel Prize Hesse published no major works. Between the years 1945 and 1962 he wrote some 50 poems and about 32 reviews mostly for Swiss newspapers. Hesse died of cerebral hemorrhage in his sleep on August 9, 1962 at the age of eighty-five. Hesse’s other central works include In Sight of Chaos (1923), a collection of essays, and the novel Narcissus and Goldmund (1930), set in the Middle Ages and repeating the theme of two contrasting types of men. In the 1960s and 1970s Hesse became a cult figure for young readers. The interest declined in the 1980s. In 1969 the Californian rock group Sparrow changed their name to Steppenwolf after Hesse’s classic, and released ‘Born to be Wild’. Hesse’s books have gained readers from the New Age movements and he is still one of the bestselling German-speaking writers throughout world. —ReadPrint.com
The Cat and the Canary
I am going to go with:
The Shawshank Redemption- Frank Darbont- France
On the Waterfront-Elia Kazan-Turkey
Inception-Christopher Nolan- London
The Mosquito Problem and Other Stories-Andrey Paounov-Bulgaria
Near Dark-Kathryn Bigelow-America