Cinematographer. He and Karl Freund were Germany's outstanding cameramen during the silent and early talkie eras. Wagner's brooding, atmospheric visual style, with its use of deep shadows and stark contrast, contributed greatly to the Expressionist movement. He crafted unforgettable images for F.W. Murnau's "Nosferatu" (1922) and Fritz Lang's "M" (1931), and did exceptional work for directors Ernst Lubitsch and G.W. Pabst. His other important credits include "Madame Du Barry" (1919), "Destiny" (1921), "Warning Shadows" (1923), "The Love of Jenny Ney" (1927), "Spies" (1928), "Westfront 1918" (1930), "The Threepenny Opera" (1931), "Comradeship" (1931), and "The Testament of Dr. Mabuse" (1932). Wagner was born in Schmiedefeld am Rennsteig, Thuringen, Germany, and studied at the University of Leipzig. From 1911 he was a newsreel photographer for Pathe's German branch, later covering events in New York City. Upon his discharge from World War I service he became a feature cameraman for the Decla-Bioscop company in 1919. Wagner abandoned his unique style when Hitler came to power and turned to making glossy costume epics and musicals for UFA; his films after 1933 are of little importance, though he remained steadily employed for decades. He died in an accident where he had fallen from a camera car during making a film.
Cinematographer. He and Karl Freund were Germany's outstanding cameramen during the silent and early talkie eras. Wagner's brooding, atmospheric visual style, with its use of deep shadows and stark contrast, contributed greatly to the Expressionist movement. He crafted unforgettable images for F.W. Murnau's "Nosferatu" (1922) and Fritz Lang's "M" (1931), and did exceptional work for directors Ernst Lubitsch and G.W. Pabst. His other important credits include "Madame Du Barry" (1919), "Destiny" (1921), "Warning Shadows" (1923), "The Love of Jenny Ney" (1927), "Spies" (1928), "Westfront 1918" (1930), "The Threepenny Opera" (1931), "Comradeship" (1931), and "The Testament of Dr. Mabuse" (1932). Wagner was born in Schmiedefeld am Rennsteig, Thuringen, Germany, and studied at the University of Leipzig. From 1911 he was a newsreel photographer for Pathe's German branch, later covering events in New York City. Upon his discharge from World War I service he became a feature cameraman for the Decla-Bioscop company in 1919. Wagner abandoned his unique style when Hitler came to power and turned to making glossy costume epics and musicals for UFA; his films after 1933 are of little importance, though he remained steadily employed for decades. He died in an accident where he had fallen from a camera car during making a film.
Bio by: Bobb Edwards
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