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John Baxter - Von Sternberg

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Belligerent and evasive, Josef von Sternberg chose to ignore his illegitimate birth in Austria, deprived New York childhood, abusive father, and lack of education. The director who strutted onto the set in a turban, riding breeches, or a silk robe embraced his new persona as a world traveller, collected modern art, drove a Rolls Royce, and earned three times as much as the president. Von Sternberg traces the choices that carried the unique director from poverty in Vienna to power in Hollywood, including his eventual ostracism in Japan. Historian John Baxter reveals an artist few people knew: the aesthete who transformed Marlene Dietrich into an international star whose ambivalent sexuality and contradictory allure on-screen reflected an off-screen romance with the director.

In his classic films The Blue Angel (1930), Morocco (1930), and Blonde Venus (1932), von Sternberg showcased his trademark visual style and revolutionary representations of sexuality. Drawing on firsthand conversations with von Sternberg and his son, Von Sternberg breaks past the classic Hollywood caricature to demystify and humanize this legendary director.

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Contents
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Screen Classics Screen Classics is a series of critical biographies film - photo 1
Screen Classics

Screen Classics is a series of critical biographies, film histories, and analytical studies focusing on neglected filmmakers and important screen artists and subjects, from the era of silent cinema to the golden age of Hollywood to the international generation of today. Books in the Screen Classics series are intended for scholars and general readers alike. The contributing authors are established figures in their respective fields. This series also serves the purpose of advancing scholarship on film personalities and themes with ties to Kentucky.

Series Editor

Patrick McGilligan

Books in the Series

Hedy Lamarr: The Most Beautiful Woman in Film Ruth Barton

The Marxist and the Movies: A Biography of Paul Jarrico Larry Ceplair

Warren Oates: A Wild Life Susan Compo

Being Hal Ashby: Life of a Hollywood Rebel Nick Dawson

Some Like It Wilder: The Life and Controversial Films of Billy Wilder Gene D. Phillips

Claude Rains: An Actors Voice David J. Skal with Jessica Rains

Buzz: The Life and Art of Busby Berkeley Jeffrey Spivak


VON STERNBERG
Von Sternberg - image 2


John Baxter


Von Sternberg - image 3

Copyright 2010 by The University Press of Kentucky

Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved.

Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008
www.kentuckypress.com

14 13 12 11 10 5 4 3 2 1

Photographs from The Last Command, The Drag Net, Shanghai Express (Dietrich close-up), Der Blaue Engel (production shot), The Scarlet Empress (Dietrichvon Sternberg), The Devil Is a Woman, The King Steps Out, The Shanghai Gesture (Munson-Tierney and set design), Jet Pilot, and The Saga of Anatahan are courtesy of the Joel Finler Collection. Portraits of David Stratton and Josef von Sternberg are courtesy of Robert McFarlane. All other photographs are from the authors collection.

Library of Congress Cataloging-in-Publication Data

Baxter, John, 1939
Von Sternberg / John Baxter.
p. cm. (Screen classics)
Includes bibliographical references and index.
Includes filmography.
ISBN 978-0-8131-2601-2 (hardcover: alk. paper)
1. Von Sternberg, Josef, 18941969. 2. Motion picture producers and directorsUnited StatesBiography. I. Title.
PN1998.3.V66.B39 2010
791.430233092dc22
[B]

2010023313

This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.

Manufactured in the United States of America For Curtis Harrington true - photo 4

Manufactured in the United States of America.

For Curtis Harrington true believer Those who dream by night in the dusty - photo 5

For Curtis Harrington, true believer


Those who dream by night in the dusty recesses of their minds wake in the day to find that all was vanity; but the dreamers of the day are dangerous men, for they may act their dream with open eyes, and make it possible.

T. E. Lawrence (Lawrence of Arabia), The Seven Pillars of Wisdom

Contents

The Man Who Asked for Onions

Do you have a hobby?

Yes. Chinese philately.

Why that?

I wanted a subject I could not exhaust.

Conversation between Josef von Sternberg and the author

ONIONS?

The waiter stared at the man whod made this request.

We were in the Emerald Room of the Australia Hotel, the most prestigious hotel in Sydney, if not the most modern. Six meters above our heads dangled a huge Italian chandelier. In every direction, tables covered in linen, ironed glossy with starch, extended to infinity. Out of sight a fountain played, while marble nymphs observed us covertly from a jungle of potted ferns.

The table settings, like the dcor, belonged to the age of Queen Victoria. Each plate, bowl, dish, cup, and saucer bore the hotels emblem. The flatware, scratched to dullness by generations of use, had the heaviness of toolssoup spoons like shovels, knives as hefty as trowels. We might be dining in 1967, but we were eating in the style of 1889, when French tragedienne Sarah Bernhardt officially opened the hotel. The register with her signature was displayed in the lobby.

Yes. Onions, repeated the short man with the gray beard. He didnt raise his head, so he didnt see what we saw: a portly, middle-aged waiter of European origin, judging from his voice, in confusion.

You mean an onion salad? the man suggested hopefully.

I suppressed a wince. Even in my brief acquaintance with Josef von Sternberg, Id learned not to question his orders, nor try to anticipate or interpret them.

The third person at our table was David Stratton, director of the Sydney Film Festival; he was responsible for inviting von Sternberg to Sydney and knew him better.

Mr. von Sternberg would like some onions, he explained. Just onions. Thats all.

As the waiter retreated, I mentally wound back our conversation to the moment, minutes before, when von Sternberg had cleared his throat and remarked, You must excuse me. I have a slight cold. Back home in California, I would eat onions and garlic, which cure such things. (He didnt add its believed or in my opinion. Von Sternberg presented all statements as incontrovertible fact.)

His right handthe one usually clenched around the handle of his caneworried at the remains of a bread roll, which hed reduced to crumbs without eating any of it. Like his low, uninflected voice and the avoidance of eye contact, the fidgeting was another symptom of a nervous temperament rigidly controlled by an effort of will.

Jules Furthman, I said, guiding the conversation back to films. You worked with him more than any other person.

This was an understatement. From The Drag Net in 1928 to Jet Pilot in 1957, his name appeared on almost every von Sternberg film, though in so many formscredited with writing the screenplay, adaptation, or original story, or even as producerthat their relationship eluded definition.

I wondered, I went on, what was your working method?

We had no method, von Sternberg said. I simply told him what I wanted done, and he did it.

The waiter materialized at his elbow.

Your onions, sir.

He deposited two large brown onions by von Sternbergs twitching right hand. The slightest of nods indicated his acceptance.

Um well, I continued, when you say you told Furthman what to do.

But it was no use. For the rest of the meal, von Sternberg responded to my tentative inquiries with an evasion or a lie. If he could be obdurate about onions, he was, on the subject of his work, adamantine. But at least he was responding. Even as noted a critic as Peter Bogdanovich was fobbed off with a succession of I dont remembers and I dont knows. Some journalists got not even that muchjust a silent stare and a snapped, Next.

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