Changes between Initial Version and Version 1 of Franz Osten

Timestamp:

Jun 28, 2012, 4:01:53 PM (12 years ago)

Author:

Trupti

Comment:

--

Franz Osten

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+'''Franz Osten (1876-1956)'''
+
+
+Hindi director born in Munich as Franz
+Ostermayer, the elder brother of successful
+producer Peter Ostermayer. They set up a
+travelling cinema, Original Physograph (1907)
+and founded Munchner Kunstfilm (1909) after
+Osten had been making shorts for Pathé,
+Gaumont and Eclair. Their first feature: Die
+Wahrheit (1910). Osten’s début as director:
+Erna Valeska (1911). War correspondent in
+1915. Joined Peter’s company Emelka (later
+Bavaria Film) in 1918. Made Der Ochsenkrieg
+(1920) with young cameraman Frank Planer of
+later Hollywood fame, one of Osten’s several
+contributions to a budding genre that after
+WW2 became known as the Heimatfilm. In
+fact, the Ostermayr/Osten brothers claimed to
+be the originators of the genre. When
+Himansu Rai and Emelka made a deal to
+produce Prem Sanyas aka Light of Asia,
+Osten was assigned to direct. Continued
+directing Rai’s productions, often shooting in
+India as well as in Europe, in addition to
+directing for numerous companies in Berlin.
+Moved with cameraman Josef Wirsching and
+set designer Karl von Spreti to India to work
+at Himansu Rai’s Bombay Talkies (1934).
+While in Bombay, became a member of the
+Nazi Party (1936). Interned by the British at
+the outbreak of WW2 while shooting his last
+film there, Kangan. Released and allowed to
+return to Germany (1940). Employed by
+Bavaria Film until 1945, for casting and setting
+up its film archive. In addition to Indian films,
+directed 33 silent features and 10 sound films.
+After WW2 became manager of a Bavarian
+spa. His Indian films, following UFA tradition,
+were huge Orientalist spectacles with
+elephants, camels and expansive vistas often
+shot in deep focus. Effective authorship
+shared by producer Rai and scenarist
+Niranjan Pal. Adopted European conventions
+to introduce main actors, e.g. backlit mid-shots
+in soft focus gradually becoming more
+contrasted; also used mobile outdoor shots as
+in the railway-crossing sequence of Achhut
+Kanya. Strongly influenced younger Bombay
+Talkies film-makers Amiya Chakravarty and
+Gyan Mukherjee, though they used his
+techniques for very different purposes.
+
+
+'''FILMOGRAPHY''' (Indian films): 1925: Prem
+Sanyas; 1928: Shiraz; 1929: Prapancha
+Pash (all St); 1935: Jawani Ki Hawa; 1936:
+Achhut Kanya; Janmabhoomi; Jeevan
+Naiya; Mamata; Miya Bibi; 1937: Izzat;
+Jeevan Prabhat; Prem Kahani; Savitri;
+1938: Bhabhi; Nirmala; Vachan; 1939:
+Navjeevan; Durga; Kangan.
+
+[[Director]]