Josef von Sternberg

  

    Josef von Sternberg is an Austrian-born American who was born in 1894 in Vienna. As a young child, his family immigrated to America, but his family was sent back to Vienna by his father in 1904. He returned to the U.S. at fourteen, and at seventeen, he began working for the World Film Company in New Jersey. There he worked as an editor, writer, and assistant director. In 1917, he enlisted in the army and served in World War I in the Signal Corps where he made training videos. Following his time in the army, he traveled Europe and occasionally worked as an assistant director. 

    By 1924, von Sternberg had moved to Hollywood and was serving as an assistant director for Roy William Neill. He eventually replaced Neill as director on Vanity’s Price once Neill was fired during production, and he was soon given the chance to direct his own screenplay for The Salvation Hunters. Although the film flopped, its unusual style led to him being offered a contract at Metro-Goldwyn-Mayer. Then, in 1926, he signed with Paramount, and this is where his more successful films were made. 

    His first film with Paramount was Underworld, an influential gangster drama. After his success with Underworld, producer Erich Pommer invited von Sternberg to make his next film in Germany. This film became known as The Blue Angel. This film is the first German major sound picture or  “full-talkie.” It was filmed in German and in English and starred Marlene Dietrich in her breakout role. Dietrich was signed to Paramount, and through their continued work together, von Sternberg crafted Dietrich’s femme fatale image which contributed to her rapid stardom. 

    Von Sternberg over his career was nominated twice for an Academy Award for Best Director for his films Morocco and Shanghai Express, and he made a collection of films, many starring Dietrich. By the end of his career, he had worked with most major Hollywood Studios. His filming career is notable for not only successfully transitioning between the silent and the sound eras but also for his films’ compositions. His films typically focused on an individual’s struggle to maintain their integrity, and they were recognized for their visual compositions, heavy stage decor, strong contrasts between light and dark, camera movement, and intense, emotional scenes.