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German postcard by Photochemie, no. K.2134. Photo: Mac Walten.
Max Mack (originally Moritz Myrthenzweig, 1884-1973) was a German film director. He is known as one of the pioneers of German silent cinema.
Mack, born the son of a Jewish cantor, worked as a theatre actor at the Stadttheater Eisenach from 1906. His screen debut was in the Messter production Japanisches Opfer (Adolf Gärtner, 1910), starring Friedrich Zelnik. After this film, he was brought to Vitascope, where he acted under the direction of Viggo Larsen and Walter Schmidthässler, first in Die Pulvermöhle (Larsen 1910) with Larsen and his wife Wanda Treumann. Soon he developed as a screenwriter too. His directorial debut Mack had with Ein seltener Fall (1911) for Deutsche Mutoskop und Biograph, although he continued working at Vitascope, now also as director, first in Gehirnreflexe (1911). From 1912 until the end of the First World War, Max Mack was one of the most productive filmmakers, working for Deutsche Mutoskop und Biograph, Vitascope, Continental-Kunstfilm (e.g. Zweimal gelebt, 1912) und Eiko-Film (e.g. Der stellungslose Photograph, 1912, with Hanni Weisse). Mack paid much attention to modernity. His frontal, symmetric compositions betray his background in theatre. Mack was much beloved and thus an important film pioneer.
Before Stellan Rye's Der Student von Prag/ The Student from Prague premiered Mack's film Der Andere/ The Other in 1913. The film with Albert Bassermann in the double lead role deals with the topic of schizophrenia and is considered the first German Autorenfilm, creating recognition for the medium of film by the higher classes. Also in 1913, Mack was leading in German cinema with the public success of the crime comedy Wo ist Coletti? (Where is Coletti?), starring Hans Junkermann, and one of the first to explicitly exploit the urban landscape of Berlin in a fiction film. In Die Blaue Maus (1913), starring Madge Lessing, he showed his predilection for urban nightlife. Mack's modernity was also expressed in his emancipatory themes (Die Welt ohne Männer, 1914, with Madge Lessing), and crossdressing and masquerades.
As early as 1915, Ernst Lubitsch had small supporting roles in Mack's films. In 1916, together with Ewald André Dupont, Mack published one of the first books on film theory, Die zappelnde Leinwand (The Fidgeting Canvas). In 1917 he founded his own production company, Max Mack-Film GmbH, which merged in 1919 with Solaris Film. Mack took part in the late 1910s popular genre of the Aufklärungsfilm with der Sohn der Magd. In 1920 he quit the company and hence worked for a wide range of firms, including Terra-Film (e.g. Figaros Hochzeit, 1920), Esha-Film, International-Film AG, Ufa and Sokal-Film. In the 1920s Mack worked in a wide range of genres: moral dramas, literary adaptations, realist melodramas, comedies, and even tourist films. Mack already took part in sound film experiments in 1928 with the sketch Ein Tag Film. His first full-length sound film Nur am Rhein… (1930) took up the then-current topic of the occupation of the Rhine, but the plot of a British officer falling in love with a local German mayor's daughter was considered highly controversial.
Max Mack was involved in 138 films during his film career, predominantly before 1920. The sound film offered Max Mack little work. With the advent of the National Socialists, he was no longer wanted as a Jew. Via Prague and Paris, he emigrated to Great Britain, where he made the unsuccessful quota quickie film Be Careful, Mr. Smith in 1935. After some filmed sketches and a failed new film company, Ocean Films Ltd., his career was finally over. So with no practical work opportunities, Mack now began to write down his memories, which under the title With a Sigh and a Smile. A Showman Looks Back, were released in London in 1943. From the 1940's, he was mostly involved as director of amateur productions. He married a well-off widow in London, whose mentally disabled daughter he looked after. In 1965 he was given the Filmband in Gold by the German ambassador but he never returned to Germany. Mack died in London at the age of 88.
Sources: German Wikipedia, IMDB, Filmportal. In 1996 Michael Wedel published Max Mack: Showman im Glashaus. The Desmet Collection of EYE Filmmuseum (Amsterdam) holds tinted prints of the Mack films Zweimal gelebt (1912) with Eva Speyer and Ernst Rückert, Das Paradies der Damen/ Zum Paradies der Damen (1914) with Hanni Weisse, and Das Urteil des Arztes (1914) with Albert and Else Bassermann, plus the film Vergebens (Walter Schmidthässler, 1911) in which Mack acted and wrote the script for. The collection also holds beautiful posters for Der letzte Tag and Die Welt ohne Männer.
Max is a horse that in all his shots seemed to look like he knew more than he was letting on.
One of my many pet portrait commissions. For information on my Pet Portrait commissions visit my web site - Pet Portraits by Sally Jane Photographic Art.
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This was the first video test with My Samsung 7. I was impressed with the quality, even under lowlight. There's a lot of settings to play with including slow motion.
Got to find the time to play with it more.
Max is niet meer. Een afgestorven darmkanaal werd hem fataal. Max was een lieve evenwichtige hond die ook niet vies van een potje spelen was. Tientallen hondenvriendjes heeft hij gehad bij " Sammy's Roedel" "Perro hondenuitlaatservice" en later bij Gerrit. Niemand zag het aankomen. Nog even wat kiekjes uit zijn laatste levensweek. Dag lieve Max.
Max wanted to take pictures and proceeded to flop around, dance, make silly faces and stick his tongue. I'm not sure what this is, but it cracks me up.
This is Max, great dog but not if you want to have a decent yard. Have to love a face like that though.