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Book description

Book description
I suppose we read biographies either because we are interested in the author or, more commonly, because we are interested in the subject. I read this because I am interested in the great Austrian-German-Hollywood film director, Fritz Lang. Lang denied there was any connection between his private life and his films, but I read the biography with the hope that a greater knowledge of his life might give insights into his work or there would be insights into the way he worked within the German and Hollywood film industries. (Of course, there is also always the hope for juicy gossip about his private life.) But Lang was also the subject of his own myth making: Lang the Great Romantic Artist, a perfectionist who was always struggling for the ideal film, his constant striving leading to conflicts with the producers and money men. Patrick McGilligan sets out to find the Truth behind the Myth, debunking many of Lang’s much told stories (e.g., Lang’s adventurous story of fleeing from Germany after being offered the top job in the industry by Goebbels), but if the purpose of a biography is to create a fuller, rounded picture of its subject, I don’t think McGilligan does this: in almost 500 pages he adds much detail to the picture, but no great depth: Lang, on the set, is portrayed not so much as a perfectionist but as an arrogant and tyrannical bully...yet this is just another version of Lang the Great Romantic Artist. Too often McGilligan seems to be debunking Lang, rather than the Myth, often belittling: for instance, when considering Lang’s relationship to the Nazis in the early 1930s McGilligan seems to accept that Lang was a naive who took little interest in politics: he correctly questions Lang’s later version of events that place Lang as an early anti-Nazi, but he is always willing to repeat stories by Lang’s enemies (and, let’s face it, Lang made enemies with ease) insinuating Lang had links to the Nazis...even though it contradicts McGilligan’s own story. Lang becomes a collection of monstrous attributes held together through insinuation: maybe he was a wife murderer, a sadist who enjoyed ‘rough sex’ as well as bullying his actors, a political opportunist and so on...or maybe he wasn’t, but the insinuations add to a general aura of monstrosity and the glamorization of that monstrosity. The book is at its best when it supplies information about Lang’s input into the individual films, what he inspired and moulded and what was given by the studios; the book is at its weakest when it tries to explain the films in terms of Lang’s history: Lang had a brother and, yes, there are brothers in a number of Lang’s films; Lang spent his childhood amongst the monumental architecture of Vienna and, yes, many of his films have monumental architecture in them; there are significant scenes in a number of his films where characters look into shop windows and, yes, it is almost certain that Lang as a youngster looked into the Viennese shop windows; there is a shot in a church in The Secret Beyond the Door where the camera is tilted up as though giving a child’s eye view and, yes, Lang would have spent time in churches when a child and almost certainly looked up. Although we should perhaps not expect critical insights from a biographer, McGilligan’s response to the films is generally drab. In fact, McGilligan’s doesn’t seem to like Lang that much – and maybe Lang the person wasn’t very likeable – but he doesn’t seem to have any great enthusiasm for the films.
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