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Berichte Und Papiere 142, 2012: André De Toth

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Berichte Und Papiere 142, 2012: André De Toth Medienwissenschaft / Hamburg: Berichte und Papiere 142, 2012: André De Toth. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. ISSN 1613-7477. ULR: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0142_12.pdf Letzte Änderung: 19.9.2012. André De Toth: Ein bibliofilmographisches Dossier Zusammengestellt von Hans J. Wulff Inhalt: Theater interessierte – am Ende war Tóth entschlos- Biographie sen, Schauspieler zu werden. Einige Jahre spielte er Bibliographie auf der Bühne, nahm dabei Kontakte mit der ungari- Interviews und Texte Themenheft schen Filmindustrie auf. Nach Tätigkeiten als Dreh- Artikel buchautor, Cutter, Kamera- und Regieassistent über- Zeitungen, Zeitschriften nahm er schließlich selbst Regieaufgaben. Als der Obituarien Weltkrieg ausbrach, floh er 1940 nach England; die Filme über De Toth Exil-Ungarn Alexander und Zoltan Korda gaben ihm Biblio-Filmographie 1938-1940, Ungarn Arbeit (in The Thief of Baghdad, 1940, und The 1943-1959: Hollywood Four Feathers, 1940). Als Korda selbst 1942 in die André De Toths Beiträge zu TV-Serien USA emigrierte, konnte Tóth, der sich von nun an Genrezugehörigkeiten der Filme André De Toth nannte, als Regieassistent (second unit director) bei Zoltan Kordas Film Jungle Book (1942) sich mit der amerikanischen Filmindustrie Biographie vertraut machen. Der Antinazifilm Passport to Suez (1943) war De Toths erste amerikanische Regiear- Die Schreibweise des Namens ist nicht ganz stabil; beit. Er wurde schnell für einen realistisch-zupa- manchmal finden sich auch: ckenden, dem Film Noir verwandten und als „hart“ André de Toth, André DeToth, geltenden Stil bekannt, gleichgültig, ob er Kriminal-, Andre De Toth; Abenteuer- oder Westerngeschichten inszenierte. Vor in älteren ungarischen Quellen findet sich zudem allem die Realistik und Direktheit der Gewaltdarstel- Tóth Endre. lung forderte immer wieder Einspruch heraus und führte zu kontroversen Diskussionen. André De Toth wurde als Sásvái Farkasfawi Tóthfa- Fast der einzige Film De Toths, der dem allgemeinen lusi Tóth Endre Antai Mihaly am 15.12.1912 in Publikum bis heute bekannt geblieben ist, ist der 3D- Makó im Bezirk Csongrád im damaligen österreich- Horrorfilm House of Wax (1953) mit Vincent Price. ungarischen Reich geboren. Über sein Geburtdatum Die Tatsache, dass der einäugige De Toth einen der besteht allerdings Uneinigkeit – manche datieren es bemerkenswertesten (und sowohl bei der Kritik wie auf 1913, andere auf 1910. Er starb nach einem an der Kinokasse erfolgreichen) 3D-Filme seiner Schlaganfall am 27.10.2002 im kalifornischen Bur- Zeit inszenierte, ist eine von den zahllosen Anekdo- bank. ten, die seine Biographie begleiten. Er arbeitete al- Tóth stammte aus einer alten k&k-Offiziersfamilie; lerdings auch als Bildhauer, schuf eine ganze Reihe sein Vater war Kavallerieoffizier in der ungarischen von Bronzestatuetten. Armee. Als Tóth den Militärdienst ausschlug, brach De Toths Filme sind ausnahmslos Genrefilme. Vor der Vater mit dem Sohn, der stattdessen an der Kö- allem zu diversen Kleingenres steuerte er Filme bei, niglichen Ungarischen Universität Jura studierte, so- die oft zu deren prototypischen Vertretern wurden. gar schloß mit einem Examen abschloss, als er den Monkey on My Back (1957) erzählt die Geschichte populären und erfolgreichen Stückeschreiber Ferenc eines drogenabhängigen Boxers, reiht sich ebenso in Molnár kennenlernte, der ihn für die Budapester Andrè De Toth // Medienwissenschaft/Hamburg, 142, 2012 /// 2 die Welle der Boxerfilme ein wie in die Tradition der Bibliographie Drogenfilme im Stil von The Man with the Golden Arm (1955, Otto Preminger). Crime Wave (1954) ist Biographien, Interviews und Texte einer der prägnantesten ebenso melodramatischen wie zynischen Gangsterfilme geblieben; er steht in Garnier, Philippe: Bon pied, bon oeil. Deux Rencon- Beziehung zu anderen melancholisch-resignierten tres avec André de Toth, le Dernier Borgne D'Holly- Filmen wie The Killing (1956, Stanley Kubrick). Die wood. Lyon [...]: Institut Lumière / Actes Sud 1993, Western – das größte Genre, das er mit einer ganzen 113 S. Reihe von B-Filmen bediente – greifen Motive aus Rev. (Magny, Joel) in: Cahiers du Cinéma, 530, Déc. den John-Ford-Western auf, brechen aber das Gut- 1998, S. 14. Böse-Schema, setzen ihm skeptische und zynische Henri, Michel: „Peindre la vie sans fard“: Entretien Momente entgegen. avec Andre De Toth. In: Positif, 407, 1995, S. 68-75. Ausgangs der 1950er übernahm De Toth eine ganze Naughton, John: „I'll teach you how to be a director Reihe von Regiearbeiten für die aufblühende Pro- in two hours“. In: Empire, 63, Sept. 1994, S. 72-74. duktion von TV-Serien. Um 1960 ging er nach Itali- André de Toth talks about the qualities needed to be- en und inszenierte (zusammen mit Stammregisseu- come a film director. ren des Genres) drei Sandalenfilme. Als second unit Toth, A.: A tortenelem metamorfozlsa. In: Filmkul- director, aber auch als Berater arbeitete er an Filmen tura 24,2, 1988, S. 8-15. wie Lawrence of Arabia (1962, David Lean) oder Toth, Andre de: Fragments. Portraits from the insi- Billion Dollar Brain (1967, Ken Russell) mit. Zu ei- de. Foreword by Martin Scorsese. London: Faber genen Regiearbeiten kam es nur noch selten; dazu and Faber 1994, xix, 466 S. gehört der zutiefst zynische Kriegsfilm Play Dirty (1969), der das Einsatzgruppenmotiv (wie etwa aus Frz.: Fragments. Portraits de l'intérieur. Avant-propos de Martin Scorsese. Préface de Bertrand Tavernier. The Dirty Dozen, 1967, Robert Aldrich) variiert, da- Traduit de l'américain. Lyon [...]: Institut Lumière / bei aber auf jede Heroisierung oder Läuterung der Actes Sud 1998, 582 S. Helden verzichtet. Und für Superman (1978, Ri- Rev. (Nangle, John) in: Films in Review 47,3-4, chard Donner) inszenierte er die Flugszenen. Gele- March/April 1996, S. 75. gentlich arbeitete er als Produzent (etwa für El Con- Rev. (Legrand, Gerard) in: Positif, 463, Sépt. 1999, S. dor, 1970, John Guillermin) und als Schauspieler 81. (wie noch in Spontaneous Combustion, 1989, Tobe Rev. (Codelli, Lorenzo) in: Positif, 407, Janv. 1995, S. Hooper). Noch 1987 war er Ko-Regisseur des Films 73. Terror Night (Nick Marino). Toth, Andre de: Gary Cooper. In: Projections 4,1-2, Die Lebensgeschichte kaum eines Regisseurs ist mit 1995, S. 239-240. so vielen Anekdoten garniert wie De Toths, der auf Toth, André de: De Toth on de Toth – Putting the den Kosenamen „Bundy“ hörte. Einige Beispiele: In drama in front of the camera. London: Faber and Fa- den 1930ern sei er in Wien in Straßenunruhen hin- ber 1996, ix, 182 S. eingeraten und im Leichenschauhaus wieder aufge- A conversation with Anthony Slide. wacht. Bei den Dreharbeiten zu Play Dirty (1969) im spanischen Almeria tauchte plötzlich ein India- Exzerpt, schwed.: Chaplin, 217, Sept. 1988, S. 182- nerstamm auf und machte Jagd auf die Panzer – die 185, 188-189. Statisten waren schlicht auf den falschen Set gerit- Rev. (P.M.) in: Sight & Sound 7,8, Aug. 1997, S. 30. ten. De Toth war siebenmal verheiratet (u.a. mit Ve- Rev. (Turner, George) in: American Cinematographer ronica Lake, 1944-52, und mit Marie Louise Strat- 79, Jan. 1998, S. 121-122. ton, 1953-82) und hatte neunzehn Kinder. Films in Review 38,8-9, Aug. 1987, S. 408-411, 411- 415. Einschl. eines Interviews. Andrè De Toth // Medienwissenschaft/Hamburg, 142, 2012 /// 3 Themenheft Hodgson, Pierre: The burning question. In: Projecti- ons, 4, 1995, S. 14-28. Senses of Cinema, 25, 2003: A Tribute to André de Mörchen, Roland: Verraten und verkauft. Die raue Toth. Online. Kinowelt des André de Toth. In: Film-Dienst 53,10, [Im einzelnen:] 2000, S. 14-15. Silver, Alain: André de Toth (1913-2002). An Inter- Poussu, Tarmo: Elamantaidon oppitunti. In: Filmi- view. In: Senses of Cinema, 25, 2003, URL: http://sen- hullu, 4, 1991, S. 20-25. Finnisch. sesofcinema.com/2003/25/de_toth_interview/. Poussu, Tarmo: Arvoitus nimelta Andre De Toth. In: Zuerst in: Film noir reader 3. Interviews with Filmihullu, 4, 1991, S. 26-27. Finnisch. filmmakers of the classic noir period. Ed. by Ro- bert Porfirio, Alain Silver& James Ursini. New Slide, Anthony: Andre de Toth. In: Films in Review York: Limelight 2003 [2001]. 38, Aug./Sept. 1987, S. 408-415. Danks, Adrian: Driftin’: In Tribute to André de Toth. Slide, Anthony: Att vara ungrare ar inte nog - man In: Senses of Cinema, 25, 2003, URL: http://sensesof- maste ha talang ocksa. In: Chaplin 30,4 (=217), cinema.com/2003/25/de_toth_driftin/. 1988, S. 182-185+ [insges. 6 S.]. Schwed. Thompson, Rick: André de Toth, Luke Short, Ramrod: Tavernier, Bertrand: Andre De Toth: eblouissement style, source, genre. In: Senses of Cinema, 25, 2003, et zones d'ombre. In: Positif, 407, Janv. 1995, S. 64- URL: 67. http://sensesofcinema.com/2003/25/de_toth_ramrod/. Tobin, Yann / Tavernier, Bertrand / Henry, Michael: Cinéma Retrouvé - André De Toth. In: Positif, 407, Artikel Jan. 1995, S. 60-73. Adams, Mark: Andre De Toth The Director's Direc- Two articles discussing the work of André De Toth tor. In: National Film Theatre Programmes, Sept. and an interview with him mentioning his life and 1994, S. 17-18. films etc.: Tobin, Yann: Andre De Toth (S. 60-63); Henry, Michael: Entretien avec Andre De Toth (S. 68- Acclaimed as a visual stylist of control and intensity 73). and virtually unknown today. A short season of films shown at the NFT. Wakeman, John: De Toth, André. In: World Film Di- rectors. 1. 1890-1945. Ed. by John Wakeman. New Anon.: One-eyed jack. In: Variety 377,4B, York: Wilson 1987, S. 237-241. 6.12.1999, Suppl., S. 22-. Warn, Chuck / Rhys, Tim: Andre de Toth. In: Movie- Features motion picture director Andre de Toth. Mo- Maker Magazine, 28, March/April 1998, S. 59-61. vies directed by de Toth; show business secret of de Toth; Challenge facing the industry. Yonover, Neal S.: DGA celebrates Andre de Toth [...]. In: The Directors Guild Of America Magazine Anon.: La Chevaucée des bannis d'André De Toth 5 22,5, Dec. 1997, S. 78-79. films américains restaurés. In: Positif, 598, 2010, S.
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