(Ein Klassiker des deutschen Hörspiels! In dieser Erzählun...)
Ein Klassiker des deutschen Hörspiels! In dieser Erzählung verarbeitet Schnitzler seine Beziehung zur Jugendliebe Franziska Reich. Jahre später hat er sie als junge Witwe noch einmal wiedergesehen und sich nach einer Affäre kühl verabschiedet. Jetzt lässt er ihr in Gestalt Berta Garlans poetisch Gerechtigkeit widerfahren: Resigniert erkennt die Protagonistin das "ungeheure Unrecht", als Frau nicht den eigenen Bedürfnissen nachgehen zu können, eine Freiheit, die der Mann selbstverständlich für sich beansprucht. -- Dieser Text bezieht sich auf eine andere Ausgabe: Broschiert . Über den Autor Arthur Schnitzler wurde am 15.5.1862 in Wien geboren. Bereits als Neunzehnjähriger versuchte er, seine erste Dramen zu schreiben. Nach dem Studium der Medizin war er Assistenzarzt an der Allgemeinen Poliklinik und dann praktischer Arzt in Wien, bis er sich mehr und mehr seinen literarischen Arbeiten widmete. 1886 erscheinen die ersten Veröffentlichungen in Zeitungen, 1895 das erste Buch. Bei Arthur Schnitzler bildet stets der einzelne Mensch den Mittelpunkt seiner durchweg im Wien der Jahrhundertwende angesiedelten Stoffe. Er starb am 21.10.1931 als einer der bedeutendsten österreichischen Erzähler und Dramatiker der Gegenwart in Wien.
Maximillian Oppenheimer, known as Max Ophüls, was a German-born film director who worked in Germany (1931–1933), France (1933–1940 and 1950–1957), and the United States (1947–1950). He made nearly 30 films, the latter ones being especially notable: La Ronde (1950), Le Plaisir (1952), The Earrings of Madame de... (1953) and Lola Montès (1955).
Background
Max Ophüls was born in Saarbrücken, Germany, the son of Leopold Oppenheimer, a Jewish textile manufacturer and owner of several textile shops in Germany, and his wife Helen. He took the pseudonym Ophüls during the early part of his theatrical career so that, should he fail, it wouldn't embarrass his father.
Education
Born Maximilian Oppenheimer to a military tailor in Saarbrücken, Germany, he changed his name to Ophuls when he went on the stage at age seventeen.
Career
He began what became an exceptionally prolific career as a theater director, including a period directing at Vienna’s Burgtheater. Ophüls’s first film work was as a dialogue director for the German UFA company in 1929; the following year he was a full-fledged lilm director. In 1932 he left Germany for France, becoming a French citizen six years later. It was his last German film, Liebelei, (1932) that first won him serious acclaim as a director.
Liebelei, with its romantic plot set in imperial Vienna, foreshadowed his last films, on which his present-day reputation largely rests. He worked in several European countries for the rest of the 1930s, fleeing to Hollywood, after France’s occupation by the Nazis. Idle for four years, Ophuls was at last given the chance to work by the director Preston Sturges. Though the producer Howard Hughes had him replaced before he had completed the project finally known as Vendetta, Ophuls’s subsequent Hollywood period included the highly regarded Letter From an Unknown Woman, adapted from the story by Stefan Zweig.
In 1950 Ophuls resumed his filmmaking activity in France with La ronde( 1950), based, like Liebelei, on a work by Arthur Schnitzler. La rondeand the three other films Ophuls managed to complete before his death — Le plaisir, Madame de..., and Lola Montez — have in common a basically dark view of their romantic subjects, heavily overlaid with Ophuls’s fluid style of camera work. The latter had become by the 1950s an Ophuls trademark and was characterized by long and elaborately plotted shots calling for extreme mobility on the part of the camera, often from a great height. Ophuls’s son Marcel, who assisted his father on Lola Montez, has since achieved considerable stature as a documentary director.
(Overview of I'd Rather Have Cod Liver Oil, 1930, directed...)
Personality
All his works feature his distinctive smooth camera movements, complex crane and dolly sweeps, and tracking shots, which influenced the young Stanley Kubrick at the beginning of his filmmaking career.
Many of his films inspired filmmaker Paul Thomas Anderson, who gave an introduction on the restored DVD of The Earrings of Madame de... (1953).
Some of his films are narrated from the point of view of the female protagonist. Film scholars have analyzed films such as Liebelei (1933), Letter from an Unknown Woman (1948), and Madame de... (1953) as examples of the woman's film genre.[4] Nearly all of his female protagonists had names beginning with "L" (Leonora, Lisa, Lucia, Louise, Lola, etc.)