POMMER, Erich

پنجشنبه 24 بهمن 1398
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Pommer, Erich

German-born American film producer, born in Hildesheim on 20 July 1889 and died in Los Angeles on 8 May 1966. He was the top producer of classic German cinema, the architect of the majority of UFA's commercial and artistic successes before advent of A. Hitler, a personality who was able to interpret his profession not as that of an arid accountant or a repressive tycoon but of a creative partner who supervises all aspects of the making of the film in a team.

Son of merchants, after studying in Göttingen he moved with his family to Berlin, where since 1907 he started working in the cinema as a young seller in the local branch of Gaumont; three years later he went to manage the Viennese office of the company, with responsibility for distribution in the Habsburg area. After a year of military service, in 1912 he became the representative for the whole of Central and Eastern Europe of another French company, the Eclair, which from the following year, under the direction of P., also began producing German films . At the outbreak of the war he fought first on the western front then on the eastern front where he was wounded; recalled to Berlin, from 1917 he passed to the army film office, the Bild- und Film- Amt (BUFA), with the assignment to deal with documentaries and newsreels, and finally in Bucharest he was head of the military censorship office until the end of the war. Meanwhile, in February 1915 with the capital of Deutsche Eclair he had founded Decla which, under the guidance of his brother Albert and partner Erich Morawsky, produced crime and adventure serials. With the company he made some films of historical importance, such as Die Spinnen (I spiders), by Fritz Lang divided into two parts (Der goldene See, 1919, and Das Brillantenschiff, 1920), or the legendary Das Cabinet des Dr. Caligari (1920 ; Dr. Calligari, also known as The Cabinet of Dr. Caligari) by Robert Wiene. In 1921 Decla joined the UFA and from February 1923 P. became a member of the board of directors of the German Major Company, where he put into practice his strategy of a spectacular quality cinema, open to export and to the world. Until the economic disaster of Metropolis (1927) in Lang, whose budget exceeded the dizzying figure of 6 million marks, he produced some of the most beautiful classics of German cinema, from Der letzte Mann (1924; The last laugh) and Faust - Eine deutsche Volks-sage (1926; Faust) by Friedrich Wilhelm Murnau at Die Nibelungen (1924; The song of the Nibelungs) by Lang, a Varieté (1925) by Ewald André Dupont. Called, in early 1926, in Hollywood, he produced two films for Paramount-Famous Lasky with Pola Negri, Hotel Imperial (1927; The Last Goodbye) by Mauritz Stiller and the pacifist melodrama Barbed wire (1927; Reticolati) directed by Rowland V. Lee. In November 1927 he returned to UFA in Germany, who had changed ownership and direction, and was contracted as general manager of production as well as head of his own unit, Erich Pommer-Produktion der UFA. Building on the experience in the United States and his legendary ability to create creative teams, P. reorganized the German firm according to the principles of studio-style starting from the melodrama of Joe May Asphalt (1929; Asphalt), which marked a cut net in the production projects of P. and UFA. With the advent of sound, the producer celebrated his greatest commercial triumphs in the field of Tonfilm-Operette, starting from Hanns Schwarz's Melodie des Herzens (1929), the first UFA film all talked about, in Der Kongress tanzt (1931; diverte) by Eric Charell or Die Drei von der Tankstelle (1930; The Little Mermaid highway) by Wilhelm Thiele. However, alongside these blockbusters or expensive science fiction films such as Karl Hartl's FP1 antwortet nicht (1932; FP1 does not respond), he trusted a young and promising director like Robert Siodmak, and he combined art and cassette in an unconventional and scandalous film, Der blaue Engel (1930; The blue angel) by Josef von Sternberg. Despite his ultra-conservative ideas, in April 1933 the UFA did not renew his contract because he was Jewish. The following month P. moved to the Fox Film Corporation in Paris to produce, without success, some films of emigrants such as On O volé un homme (They stole a man!) By Max Ophuls, Liliom (The legend of Liliam) by Lang or, in Hollywood, J. May's Music in the air, all from 1934. Rather than staying in the United States, he moved to England where he first worked for Alexander Korda, then setting up The Mayflower Pictures with Charles Laughton in February 1937. With this production company, he went on to direct for the first time with Vessel of wrath or The beachcomber (1938; The Island Tramp), by WS Maugham, and produced Jamaica Inn (1939; The Jamaican Tavern) by Alfred Hitchcock. During the Second World War he settled in New York where in 1944 he took American citizenship; Dorothy Arzner's production for Dance, girl, dance (1940) for RKO was followed by a difficult period of illness and unemployment. In 1946 he returned to Germany occupied with the uniform of the United States army and the difficult task of reorganizing production, caught between the needs and interests of his employers and those of his compatriots.


BIBLIOGRAPHY

W. Jacobsen, Erich Pommer. Ein Produzent macht Filmgeschichte , Berlin 1989; W. Jacobsen, Art films and "entertainment value" , in Germanic screens , edited by G. Spagnoletti, Venice 1993, pp. 99-109.


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