Lotte Reiniger
Charlotte "Lotte" Reiniger was a German film director and the foremost pioneer of silhouette animation. Her best known films are The Adventures of Prince Achmed, from 1926, the oldest surviving feature-length animated film, and Papageno. Reiniger is also noted for having devised, from 1923 to 1926, the first form of a multiplane camera, one of the most important devices in pre digital animation. Reiniger worked on more than 40 films throughout her career.
Biography
Early life
Lotte Reiniger was born in the Charlottenburg district of Berlin on 2 June 1899 to Carl Reiniger and Eleonore Lina Wilhelmine Rakette. Here, she studied at Charlottenburger Waldschule, the first open-air school, where she learned the art of scherenschnitte, the German art of silhouette, inspired by the ancient Chinese art of paper cutting and silhouette puppetry. As a child, she became fascinated with this Chinese art of paper cutting of silhouette puppetry, and even built her own puppet theatre so that she could put on shows for her family and friends. Throughout this time in her life is when she began to develop a love of theater and cultivated her then dreams of becoming a play actress. Reiniger translated her love of acting to her silhouette puppetry in order to create her unique and fanciful recreations of her favorite plays and fairytales.As a teenager, Reiniger developed a love of cinema, first with the films of Georges Méliès for their special effects, then the films of the actor and director Paul Wegener, a German actor, writer, and film director known for his pioneering role in German expressionist cinema and The Golem. In 1915, her love of theater led Reiniger to her future mentor and colleague when she attended a lecture by Wegener that focused on the fantastic possibilities of animation. Reiniger eventually convinced her parents to allow her to enroll in the acting group to which Wegener belonged, the Theatre of Max Reinhardt. She began by making costumes and props and working backstage for Wegener's play productions. She started making silhouette portraits of her classmates and the actors around her, which intrigued Paul Wegener and led to her future collaborations with the director. Soon enough she was making elaborate title cards for Wegener's films, many of which featured her silhouette animations.
Adulthood and success
In 1918, Reiniger animated wooden rats and created the animated intertitles for Wegener's Der Rattenfänger von Hameln. The success of this work got her admitted into the Institut für Kulturforschung, an experimental animation and short-film studio. It was here that she met her future creative partner and husband, Carl Koch, as well as other avant-garde artists including Hans Cürlis, Bertolt Brecht, and Berthold Bartosch. She began animating films of her own.The first film Reiniger directed was Das Ornament des verliebten Herzens, a five-minute piece involving two lovers and an ornament that reflects their moods. The film was an early showcase for Reiniger's style of expression through movement. The film was very well received, and its success opened up many new connections for Reiniger in the animation industry, not just in Germany but internationally as well. She continued to work on short films and advertisements during this time.
She made six short films over the next few years, all produced and photographed by her husband, including the fairytale animation Aschenputtel, based on the Brothers Grimm telling of Cinderella. These shorts were interspersed with advertising films and special effects for various feature films—most famously a silhouette falcon for a dream sequence in Part One of Die Nibelungen by Fritz Lang. During this time, she found herself at the centre of a large group of ambitious German animators, including Bartosch, Hans Richter, Walter Ruttmann and Oskar Fischinger.
In 1923, she was approached by Louis Hagen, who had bought a large quantity of raw film stock as an investment to fight the spiraling inflation of the period. He asked her to make a feature-length animated film. Reiniger later recalled, "We had to think twice. This was a never heard of thing. Animated films were supposed to make people roar with laughter, and nobody had dared to entertain an audience with them for more than ten minutes. Everybody to whom we talked in the industry about the proposition was horrified." The resulting film was The Adventures of Prince Achmed, based on One Thousand and One Nights. Completed in 1926, The Adventures of Prince Achmed is believed to be the oldest surviving feature-length animated film, debuting over a decade prior to Walt Disney's Snow White and the Seven Dwarfs. Although it failed to find a distributor for almost a year, once premiered in Paris, it became a critical and popular success.
Reiniger developed a predecessor to the multiplane camera for certain effects. As described in Reiniger's book Shadow Puppets, Shadow Theatres, and Shadow Films, she placed backlit planes of glass in front of a camera with a manual shutter to achieve a layered effect. Again, she presaged Disney; only in the 1930s would Disney and Ub Iwerks develop the version of the multiplane camera that would become a mainstay of traditional animation. In addition to Reiniger's silhouette characters, Prince Achmed featured dream-like backgrounds by Walter Ruttmann and Walter Türck, and a symphonic score by Wolfgang Zeller. Additional effects were added by Carl Koch and Berthold Bartosch.
Following the success of Prince Achmed, Reiniger was able to make a second feature. Doktor Dolittle und seine Tiere was based on the first of the English children's books by Hugh Lofting. The film tells of the doctor's voyage to Africa to help heal sick animals. It is currently available only in a television version with new music, voice-over narration, and a high framerate. The score of this three-part film was composed by Kurt Weill, Paul Hindemith and Paul Dessau.
A year later, Reiniger co-directed her first live-action film with Rochus Gliese, Die Jagd nach dem Glück, a tale about a shadow-puppet troupe. The film starred Jean Renoir and Berthold Bartosch and included a 20-minute silhouette performance by Reiniger. The film was completed just as sound came to Germany, and release of the film was delayed until 1930 to dub in voices by different actors.
Reiniger attempted to make a third animated feature, inspired by Maurice Ravel's opera L'enfant et les sortilèges, but was unable to clear all of the individual rights to Ravel's music, the libretto, and an unexpected number of copyright holders. When Ravel died in 1937, the clearance became even more complex and Reiniger finally abandoned the project, although she had designed sequences and animated some scenes to convince potential backers and the rights-holders.
Reiniger worked on several films with British poet, critic, and musician Eric Walter White, who wrote an early book-length essay on her work.
Flight from Germany and later life
With the rise of the Nazi Party, Reiniger and Koch decided to emigrate, but found that no other country would give them permanent visas. As a result, the couple spent the years 1933–1944 moving from country to country, staying as long as visas would allow. With the release of sound film, Reiniger and her husband began to work with music in relation to animation. They worked with film-makers Jean Renoir in Paris and Luchino Visconti in Rome. They managed to make 12 films during this period, the best-known being Carmen and Papageno, both based on popular operas. When World War II commenced they stayed with Visconti in Rome until 1944, then moved back to Berlin to take care of Reiniger's sick mother. Under the rule of Hitler, Reiniger was forced to make propaganda films for Germany. One of these films is called Die goldene Gans. She had to work under stringent and limiting conditions to please the German state, which is why some of her work in this time period may appear creatively stifled.In 1949, Reiniger and Koch moved to London, where she made a few short advertising films for John Grierson and his General Post Office Film Unit. By 1953, Reiniger had founded Primrose Production with Louis Hagen Jr., the son of the financier of Prince Achmed. With this company, she made over a dozen short silhouette films based on Grimms’ Fairy Tales for the BBC and Telecasting America. Reiniger continued to work on and off over the years, her last film being 'The Rose and the Ring,' released in 1979.
In the early 1950s, Reiniger lived in London and worked at Beconsfield Studios in Buckinghamshire. During this time, she became friends with Freddy Bloom, the chair of the National Deaf Children's Society and editor of quarterly magazine called TALK, for which she designed a logo that was used until the 1990s.
With Louis Hagen Jr., they founded Primrose Productions in 1953 and, over the next two years, produced more than a dozen short silhouette films based on Grimms' Fairy Tales for the BBC and Telecasting America. Reiniger also provided illustrations for the 1953 book King Arthur and His Knights of the Round Table by Roger Lancelyn Green.
After a period of seclusion after her husband's death in 1963, renewed interest in her work resulted in Reiniger's return to Germany. She later visited the United States, and began making films again soon after. She made three more films, the last of which, Die vier Jahreszeiten, was completed the year before she died.
Reiniger was awarded the Filmband in Gold of the Deutscher Filmpreis in 1972; in 1979 she received the Great Cross of the Order of Merit of the Federal Republic of Germany. Reiniger died in Dettenhausen, Germany, on 19 June 1981, at the age of 82.