Georg Wilhelm Pabst (25 August 1885 – 29 May 1967) was an Austrian film director and screenwriter. He started as an actor and theater director, before becoming one of the most influential German-language filmmakers during theWeimar Republic.
Pabst was born inRaudnitz,Bohemia,Austria-Hungary (today'sRoudnice nad Labem, Czech Republic), the son of a railroad official. While growing up inVienna, he studied drama at theAcademy of Decorative Arts and began his career as a stage actor in Switzerland, Austria and Germany.[1][2] In 1910, Pabst traveled to the United States, where he worked as an actor and director at the German Theater in New York City.[1]
In 1914, he decided to become a director, and he returned to recruit actors in Europe.[3] Pabst was in France whenWorld War I began, he was arrested and held as an enemy alien and interned in aprisoner-of-war camp nearBrest.[4] While imprisoned, Pabst organised a theatre group at the camp and directed French-language plays.[4] Upon his release in 1919, he returned to Vienna, where he became director of the Neue Wiener Bühne, anavant-garde theatre.[1]
Pabst began his career as a film director at the behest ofCarl Froelich who hired Pabst as an assistant director. He directed his first film,The Treasure, in 1923.[2] He developed a talent for "discovering" and developing the talents of actresses, such asLouise Brooks andLeni Riefenstahl.[5]
Film theoristKarel Reisz noted that Pabst was among the first filmmakers to time his cuts to specific movements, using cutting on action to create seamless transitions and enhance the fluidity of his films.[6]
Pabst was planning to emigrate to the United States, but when war was declared in 1939 he found himself trapped in France on a visit to his mother. He was forced to return to Nazi Germany. Under the auspices of propaganda minister,Josef Goebbels, Pabst made two films in Germany during this period:The Comedians (1941) andParacelsus (1943).
^abcBock, Hans-Michael; Bergfelder, Tim (September 2009).The Concise Cinegraph: An Encyclopedia of German Cinema. Berghahn Books. p. 355.ISBN978-0-857-45565-9.
^abLangham, Larry (2000).Destination Hollywood: The Influence of Europeans on American Filmmaking. McFarland. p. 80.ISBN0-786-40681-X.
Baxter, John. "G.W. Pabst" inInternational Directory of Films and Filmmakers. Chicago, 1990. pp. 376–378
Groppali, Enrico.Georg W. Pabst. Firenze, La Nuova Italia, 1983
Jacobsen, Wolfgang (ed.)G.W. Pabst. Berlin, Argen, 1997
Kagelmann, Andre and Keiner, Reinhold. "Lässig beginnt der Tod, Mensch und Tier zu ernten: Überlegungen zu Ernst Johannsens RomanVier von der Infanterie und G. W. Pabsts FilmWestfront 1918" in Johannsen, Eric; Kassell (ed.)Vier von der Infanterie. Ihre letzen Tage an der Westfront 1918. Media Net-Edition, 2014. S. 80-113.ISBN978-3-939988-23-6
Mitry, Jean.Histoire du cinéma: Art et industrie (5 volumes) Paris, Editions Universitaires – J.P. Delarge, 1967–1980
Rentschler, Eric (ed.)The Films of G.W. Pabst. An extraterritorial cinema. New Brunswick, Rutgers University Press, 1990
Pabst, Georg Wilhelm. "Servitude et grandeur de Hollywood" inLe rôle intellectuel du cinéma, Paris, SDN-Institut International de Coopération Intellectuelle, 1937. pp. 251–255
Van den Berghe, Marc.La mémoire impossible. Westfront 1918 de G.W. Pabst. Grande Guerre, soldats, automates. Le film et sa problématique vus par la 'Petite Illustration' (1931), Bruxelles, 200