Emeric Pressburger
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Emeric Pressburger (December 5 1902 – February 5 1988) was a Hungarian screenwriter and producer, who emigrated to England in the 1930s. He is best known for his series of collaborations with Michael Powell.
Biography
Born Imre József Pressburger in Miskolc, Austria-Hungary (now in Hungary), and educated at the Universities of Prague and Stuttgart, he started out as a journalist. After working in Hungary and Germany he turned to screenwriting in the late 1920s, working for UFA in Berlin. The rise of the Nazis forced him to flee to Paris, where he again worked as screenwriter, and then to London. He later said, "the worst things that happened to me were the political consequences of events beyond my control ... the best things were exactly the same."In England he found a small community of Hungarian film-makers who had fled the Nazis, including the influential Alexander Korda, owner of London Films, who employed him as a screenwriter. There he met film director Michael Powell, and they worked together on The Spy in Black (1939). Their partnership would produce some of the finest British films of the period.
In 1938 he married Agí Donáth, but they later divorced in 1941. He married again in 1947 to Wendy Orme, and they had a daughter Angela, but this marriage also ended in divorce in 1971. His daughter Angela's two sons both became successful film-makers: Andrew Macdonald as a producer on films such as Trainspotting (1996), and Kevin Macdonald as an Oscar-winning director. Kevin has written a biography of his grandfather, and a documentary about his life, The Making of an Englishman (1995).
Pressburger was made a Fellow of BAFTA in 1981, and a Fellow of the BFI in 1983.
In later years he lived in Suffolk, England. He died 5 February 1988 of bronchial pneumonia while still living in Saxstead, Suffolk, England.
Filmography
- For his films with Michael Powell, see Powell and Pressburger and
Early work
His early films were made mainly in Germany and France where he worked as Dramaturgie department at the Ufa Studio as well as a scriptwriter. Some of the films made in Germany have French titles and vice-versa. In the 1930s many European films were made in different versions for each of the main European languages- 1930: Die Große Sehnsucht, Abschied
- 1931: Ronny, Das Ekel, Dann schon lieber Lebertran, Emil und die Detektive, Der Kleine Seitensprung
- 1932: Une jeune fille et un million, ...und es leuchtet die Pußta, Sehnsucht 202, Petit écart, Lumpenkavaliere, Held wider Willen, Eine von uns, La Belle aventure, Wer zahlt heute noch?, Das Schöne Abenteuer, A Vén gazember
- 1933: Une femme au volant, Incognito
- 1934: Mon coeur t'appelle, Milyon avcilari
- 1935: Monsieur Sans-Gêne, Abdul the Damned
- 1936: Sous les yeux d'occident
- 1936: Port-Arthur, Parisian Life, One Rainy Afternoon
- 1937: The Great Barrier
- 1938: The Challenge
- 1939: The Silent Battle
Middle period
In 1939, Pressburger was introduced to Michael Powell to work together on The Spy in Black. They had an instant rapport and went on to make 20 films together in less than 20 years, many of them world-class.But even while he was working with Powell, Pressburger still did some projects on his own.
- 1940: Spy for a Day
- 1941: Atlantic Ferry
- 1942: Rings on Her Fingers, Breach of Promise
- 1943: Squadron Leader X
- 1946: Wanted for Murder
Later work
As Powell and Pressburger began to go their separate ways after the war they remained great friends but wanted to explore different things having done about as much as they could together.- 1953: Twice Upon a Time - Pressburger's one solo attempt at directing
- 1957: Men Against Britannia, Miracle in Soho
- 1964: Behold a Pale Horse - Based on Pressburger's novel Killing a Mouse on Sunday
- 1965: Operation Crossbow
Other works
- Killing a Mouse on Sunday - made into the film Behold a Pale Horse (1964). London: Collins, 1961.
- The Glass Pearls. London: Heinemann, 1966.
Personal quotes
- "I think that a film should have a good story, a clear story, and it should have if possible, something which is probably the most difficult thing - it should have a little bit of magic ... Magic being untouchable and very difficult to cast, you can't deal with it at all. You can only try to prepare some nests, hoping that a little bit of magic will slide into them." NYC 1980
References
- Ian Christie, Powell, Pressburger and Others, London: British Film Institute, 1978
- Ian Christie, Arrows of Desire: The Films of Michael Powell and Emeric Pressburger, London: Waterstone, 1985. ISBN 0947752137
- Kevin Macdonald, The Life and Death of a Screenwriter, Faber & Faber, 1994. ISBN 0571168531
- Llorenç Esteve, Michael Powell y Emeric Pressburger, Spain, Catedra, 2002.
- David Lazar (ed), Michael Powell: Interviews, University Press of Mississippi, 2003. ISBN 1578064988
- Andrew Moor, Powell and Pressburger: A Cinema of Magic Spaces, I.B. Tauris, 2005. ISBN 1850439478
- Ian Christie and Andrew Moor (eds), The Cinema of Michael Powell: International Perspectives on an English Filmmaker, BFI, 2005. ISBN 1844570932, ISBN 1844570940 (pbk)
External links
- [Emeric Pressburger] at the [Powell & Pressburger Pages].
- [BFI Filmography]
| Powell and Pressburger The films of Michael Powell and Emeric Pressburger |
|---|---|
| 1930s | The Spy in Black | The Lion Has Wings |
| 1940s | Contraband | An Airman's Letter to His Mother | Forty-Ninth Parallel | One of Our Aircraft is Missing | The Life and Death of Colonel Blimp | The Volunteer | A Canterbury Tale | I Know Where I'm Going! | A Matter of Life and Death | Black Narcissus | The Red Shoes | The Small Back Room |
| 1950s | The Elusive Pimpernel | Gone to Earth | The Tales of Hoffmann | ''Oh... Rosalinda
|
| 1960s | Peeping Tom (not Pressburger) | They're a Weird Mob | Age of Consent |
| 1970s | The Boy Who Turned Yellow |
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