Adolf Lantz

Adolf Lantz is an Austrian screenwriter and editor known for his prolific contributions to German cinema during the silent era and the early years of sound film. Born on November 30, 1882, in Vienna, he initially built a career in theater management, overseeing venues such as the Theater am Zoo in Berlin before entering the film industry around 1913. ^{[1] [2]} His screenwriting credits include notable works such as The Devious Path (1928), Rasputin, Demon with Women (1932), Ray of Sunshine (1933), and Love Only Me (1935), reflecting his versatility across dramatic and light-hearted genres during the Weimar Republic and the transition to talkies. ^[1] The rise of the National Socialists in Germany forced Lantz, who was Jewish, to abandon his successful career there, leading him first to Austria and then to Paris in 1938. ^[2] He later relocated to England, where he supported himself as a translator of British authors until his death on August 19, 1949, in London. ^[1] Lantz's work exemplifies the creative output of Central European filmmakers in the interwar period, though political upheaval abruptly ended his active involvement in the industry. ^[2]

Early life

Origins in Vienna

Adolf Lantz was born on November 30, 1882, in Vienna, Austria-Hungary. ^[2] He held Austrian nationality and spent his early years in Vienna. Detailed records of his family background and formal education remain scarce in available sources. ^[2] Before entering the film industry in 1915, Lantz built a career in theater in Berlin, where he managed venues including the Deutsches Schauspielhaus and the Theater am Zoo. ^[2] Additional sources indicate he managed the Deutsches Schauspielhaus between 1910 and 1914, with successful productions such as Goethe's Egmont, and was also involved with the Königliches Operntheater Kroll, the Theater am Zoo, and the cabaret Die Rakete. Biographical information from his youth is limited, though his transition from theater management to screenwriting is documented. ^[2]

Career in German cinema

Entry and silent era work (1915–1929)

Adolf Lantz entered the German film industry in 1915 after managing theaters in Berlin, including the Deutsches Schauspielhaus and the Theater am Zoo.^[2] He contributed his first known screenplays to the films Kehre zurück! Alles vergeben! (1915) and Der Katzensteg (1915).^[1] During the silent era of the Weimar Republic, Lantz established himself as a screenwriter in German cinema, participating in the period's dynamic production of dramatic and genre films.^[1] His credits from this time include Freie Liebe (1919), Das Fürstenkind (1927), Abwege (known in English as The Devious Path, 1928), Jugendtragödie (1929), and Die Stadt der Mädchen (known in English as Pavement Butterfly or City Butterfly, 1929).^[1][3] These works exemplify his involvement in the German silent film scene before the transition to sound films in the early 1930s.^[1]

Transition to sound films (1930–1933)

In the early 1930s, Adolf Lantz adapted his screenwriting career to the emerging medium of sound film, contributing to multiple German productions amid the industry's shift from silent to talkie formats. He co-authored the screenplay for the musical comedy Ihre Majestät die Liebe (Her Majesty Love, 1931), directed by Joe May and starring Käthe von Nagy and Francis Lederer. ^[4] Lantz also served as sole credited writer for … und das ist die Hauptsache!? (1931), another Joe May-directed project, and co-wrote Elisabeth von Österreich (1931), directed by Adolf Trotz. ^[4] These works reflect his sustained output in genres ranging from romantic comedy to historical drama during the initial sound era. Lantz continued this prolific pace with notable contributions to dramatic features. He co-wrote the screenplay for Rasputin, Dämon der Frauen (Rasputin, Demon with Women, 1932), a historical drama directed by Adolf Trotz and starring Conrad Veidt in the title role, focusing on the infamous Russian mystic's influence and downfall. ^[5] His work in this period included the screenplay for Ein Sonnenstrahl (Ray of Sunshine, 1933), based on an original subject and directed to highlight everyday life touched by moments of grace. ^[6] Lantz's activity occurred against rising political tensions in Germany, culminating in the Nazi seizure of power in 1933, which forced him to abandon his career in German cinema and relocate first to Austria. ^[7]

Exile and international work

Emigration and French credits

Adolf Lantz left Germany following the Nazi seizure of power in 1933, as part of the broader exodus of film professionals from the Weimar cinema industry.^[8] This marked the beginning of his exile, initially to Austria. This forced relocation disrupted his career in German-language productions.^[9] He later resettled in France in 1938, where he continued work in film, sometimes using the pseudonym Georges Lantz.^[1] His earlier credits include the adaptation for Gardez le sourire (1933), a French-Austrian co-production directed by Pál Fejös and René Sti, and the screenplay for Love Only Me (1935).^{[10] [1]} These pre-1938 contributions reflect his work during the early exile period, while his activities in Paris amid the challenges faced by displaced German-speaking filmmakers focused on later roles.^[11]

Editing roles in late 1930s

In the late 1930s, after a brief period in Austria, Adolf Lantz relocated to Paris in 1938 following the Anschluss.^[2] There, amid the challenges of exile, he shifted focus to film editing.^[2] He served as editor on the 1938 drama Carrefour, credited under the name Georges Lantz.^[12] The following year, Lantz edited Métropolitain (1939), credited as Lantz.^[13] Information on his editing contributions and broader activities during this phase of exile in France remains scarce beyond these credits.^[1] This period in France preceded his eventual relocation to England.^[2]

Later years and death

Exile in England and passing

Following his stay in France, Adolf Lantz emigrated to England, where he settled in London. ^[2] There, he earned his living by translating works of British authors. ^[2] No major contributions to film are documented after the late 1930s, marking the end of his active career in the industry as a result of his exile from Nazi Germany. ^[2] Lantz died on August 19, 1949, in London, England, at the age of 66 after a long illness. ^{[14] [1]}

Selected filmography

Notable screenplays

Adolf Lantz received writing credits on approximately 58 films throughout his career.^[1] His notable screenplays include early silent works such as Freie Liebe (1919), directed by Max Mack, and Das Fürstenkind (1927).^[15][1] Among his most recognized contributions is The Devious Path (Abwege, 1928), a silent drama directed by Georg Wilhelm Pabst that stars Brigitte Helm and examines a neglected wife's descent into Berlin nightlife and subsequent marital reconciliation.^[16] In the early sound era, he co-wrote Rasputin, Demon with Women (Rasputin, Dämon der Frauen, 1932), a biographical drama directed by Adolf Trotz and starring Conrad Veidt as Grigori Rasputin.^[17] Lantz also scripted Ray of Sunshine (Sonnenstrahl, 1933), a drama-romance directed by Pál Fejös set in Depression-era Vienna, where an unemployed man and a desperate woman rescue each other from suicide and find hope amid poverty.^[18] During his exile, he contributed the screenplay to Love Only Me (Kochaj tylko mnie, 1935), a Polish production.^[19]

Other contributions

In addition to his primary career as a screenwriter, Adolf Lantz made limited but notable contributions as an editor during his exile in France in the late 1930s. He edited the film Carrefour (1938), directed by Kurt Bernhardt and featuring a script by émigré journalist Hans Kafka. ^{[11] [12]} Lantz also served as editor on Métropolitain (1939). ^{[20] [1]} These editing roles, undertaken amid the constraints of emigration, supplemented his main work in screenplay development without overshadowing it. ^[1] No further non-screenwriting contributions, such as additional editing credits or other industry roles, are documented in reliable sources.