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Otto Preminger: Films
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Ingo Preminger, a literary agent, producer of the film "MASH" and brother of the late filmmaker Otto Preminger, has died. He was 95. Preminger died Wednesday at his home in Pacific Palisades, said his son, Jim....
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Tickets to “A Centennial Tribute to Otto Preminger” and for each screening in the accompanying film series are $5 for the general public and $3 for Academy members. Doors open at 7 p.m. for the tribute and 6 p.m. for the screenings. Seats are unreserved.
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When Baxter asked if her grandfather, architect Frank Lloyd Wright, a conservative Republican and a noted anti-Semite, could visit the set, liberal Democrats Preminger and Bankhead were incensed. The film received lackluster reviews and failed to earn back any gross revenue. Lubitsch's large body of comedy work had made him a first-rate filmmaker, Preminger ... directed the film in a way in which people felt Lubitsch would have done better. The failure of A Royal Scandal proved to be the end of the line for Bankhead as a film personality. She would only appear in one more film twenty years later.
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Preminger's style is subtle and restrained. But as in most great narrative films, the camera here in effect reinvents the story, transforming Sagan's first-person character study into a melancholy dance of personalities at utter cross-purposes. These conflicts are inherent in the narrative: it's obvious that Raymond will fail to match Anne's seriousness, just as Cecile fails to match Philippe's commitment to her, yet Cecile and Raymond show a greater self-awareness than Elsa. But what Preminger does is translate the shifting relationships between these very different personalities into carefully choreographed camera movements, which over time evolve into an intensely expressive vision of ever-changing, ever expanding space.
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In the 1950s, Preminger promoted the use of wide-screen technology with films like Carmen Jones in 1954. He ... directed the hit Anatomy of a Murder in 1959 and Exodus in 1960. Throughout his career, he challenged the repressive Hays Code, which placed strict limitations on the language and content of movies. In 1953, he directed The Moon Is Blue, adapted from a stage play he had also directed, and refused to cut the forbidden words "virgin" and "pregnant." The film was denied the Production Code Seal of Approval and condemned by the Catholic Church and conservative groups. Nonetheless, the comedy was a hit with audiences.
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Preminger only directed one film in his native German tongue, 1931's obscure "The Great Love." But by the mid-'30s he was already finding Austria too small, too bourgeoise for his ambitions -- and increasingly too unfriendly, as the neighboring Nazis shoved their doctrine down Austrian throats. Only Hollywood would do. Utilizing Viennese charm as well as sheer willpower, he made significant industry contacts and by 1936 was directing modestly budgeted features for 20th Century Fox. (On a more serious note, it was his ability to make the right contacts that would ... soon allow him to get his aging parents out of Europe -- barely saving them from the concentration camps.)
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