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Johanna Lang never named the father, and it appears that Anton himself did not know his identity–a theme repeated almost by chance in Fritz Lang’s 1955 film Moonfleet, in which a wistful boy searches for his mother’s long-lost “friend,” while never quite realizing that the gentleman-smuggler watching over him is his wayward father. People familiar with the director’s work will recognize the illicit love affair, illegitimacy, and the “doubling” of identity as recurrent plot situations that would become almost obsessional in his films. Lang liked to glamorize his own illegitimate family history right down to the happy ending in which an “honest man” comes to the rescue as father to the child.
Obviously a resourceful figure, Johanna Lang did set out to marry and legitimize her child. According to Dr. Friedrich Steinbach, a cousin of Lang’s who visited the family at intervals as a young boy in the early 1900s, Johanna Lang’s first marriage was to a member of the Endl family associated with the building firm. He may have been the “honest man” referred to by Lang; he may even have been the young man who impregnated Johanna Lang. One thing is certain: he did not give his name to the child.
Nor is there any documented proof of a Lang-Endl marriage. Yet Steinbach insisted on this point in an interview, as he equally insisted that Anton Lang did not like or respect his first “stepfather”–a pattern destined to be repeated by his own son. The first marriage ended in Endl’s death when Anton Lang was still a youth, according to Steinbach, and Johanna set out to marry a second time. The second marriage, Johanna Lang’s only documented marriage, was to a schoolteacher named Karl Schott, from the Alsergrund, or Ninth District, of Vienna. This occurred when Anton Lang was already sixteen, in 1876.
It can be hypothesized, from these tangled circumstances, that when Johanna Lang’s first husband, an Endl, died, she inherited a partnership in Endl and Honus. Perhaps she withheld her claim during the lifetime of Adolf Endl; or, necessarily, until Anton came of age. Upon Adolf Endl’s death, the mother of Anton Lang signed that inheritance over to her only child, in exchange for which Anton Lang agreed to pay her a periodic stipend for living expenses.
Anton never became an Endl or Schott in any case, and Johanna Lang conferred her own surname on the child. The “Lang,” therefore, comes directly from Fritz Lang’s paternal grandmother–her name and Catholicism being the first strong, lasting imprints on his identity.
Mothers are evanescent in Fritz Lang films; fathers, on the other hand, command an inordinate presence. Metropolis, early in the director’s career, depicted a dictatorial overlord who fostered rebellion in his workers and alienation in his own son; a wise and courageous professor is a heroic father in Hangmen Also Die; later comes the anti-heroic swashbuckler of Moonfleet. When it came to father figures in his oeuvre, Lang swung from pitiless characterization to idealized sentiment, reflecting his own inability on some subconscious level to come to satisfactory terms with his own father, the “architect” Anton Lang.
In real life, Lang’s father was commercially astute and fantastically hardworking, and under his aegis the construction business flourished. A tall man, the elder Lang was always impeccably dressed, usually sporting a mustache or goatee. He was aloof and strict with his children, however, and showed little interest in anything other than his work–certainly not in art or politics. Growing up, the more aesthetically minded son grew to disapprove of his father, for whom money was all-important. The disapproval grew into rebellion, settled into a cold-hearted dislike.
Fritz Lang’s mind was made up on the subject of his father for a long time. It is ironic that his father’s elusive connection to Honus and Endl provided the son with a solid footing in the world, considering that, later in life, the director made a point of discouraging anyone with family ties from trying to use him to get on the inside track in motion pictures. It is especially interesting considering the scorn the director heaped on the producers with powerful relatives whom he encountered in both Berlin and Hollywood.
Lang, owing in large part to his hostility to Anton Lang, was left without much feeling for family. And because of his father’s apparent illegitimacy, he could easily discount Anton’s influence while emphasizing, in loving tones, the roles of his mother and grandmother. These were the only two family members whom Lang professed to adore.
Toward the close of his richly eventful life, however, when Lang’s brooding grew morose, he had to admit that there must have been something good, strong, and capable in Anton Lang, for things to have turned out so well for his son.
Children, education, and religion were a mother’s business. Lang’s mother, Paula Schlesinger Lang, was the woman who nurtured and shaped the boy. Conversing with friends, Lang always placed his mother on a pedestal. The undying reverence he felt for her colored his attitude toward the women in his private life–they could never mother him enough–as well as toward the actresses and female characters who populated his films.

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Usually, though, he was stingy with the facts of his life. It was Lang himself who dictated and edited the brief autobiographical essay (some 2,600 words–six pages of text, as set against more than four hundred pages of appreciative gloss) in what has been widely regarded as the definitive book about the director, Lotte Eisner’s Fritz Lang, first published in 1976. Lang emphatically told his old friend Eisner, with whom he had been acquainted since the late 1920s, “My private life has nothing to do with my films.” He uttered the same sentiment in interviews more than once.
Did Herr Lang realize that mountains of contradictory records and sources would survive him: journals, home movies, immigration papers and interrogation files, studio and government archives, even the memories of trustworthy friends and acquaintances? That not all of his associates could be trusted to disremember, or remain discreet?
Did Herr Lang realize–was it a private joke?–that his films themselves offered a kind of autobiography, revealing perhaps more than he intended of his own life story? That, in fact, his films had a great deal to do with his private life?
Or was the subconscious–that inner cacophony of voices that in his best-known films always cried out to be heard, triggering crime and entreating punishment–working a dark magic on Fritz Lang all along?
Certainly life began auspiciously for Fritz Lang, born to favorable circumstances in the Golden Autumn of Vienna, Austria–the last decade before the nineteenth century was rolled away to make way for the new.
Austria, under the benevolent and seemingly interminable reign of “der alte Herr,” Franz Josef, emperor from 1848 to 1916, was enjoying an era of unprecedented confidence and revitalization; tolerance and liberalism in politics; a renaissance of the arts and sciences that established the names of Klimt, Schnitzler, Mahler, and Freud.
Vienna, the pulse and soul of the nation, grew and prospered. The capital, in Lang’s memory, was like “a confectionery city in a fairy-tale time,” whose lucky citizens lived untroubled by what was happening in the world beyond its limits. In 1890, it was one of the world’s five largest cities, with a mushrooming population that included not only native Austrians but immigrants and intellectuals from all over eastern Europe and the rest of the world. No city was more cosmopolitan. No city offered greater cultural riches, or was more splendid to behold.
The architecture of the city towered in Lang’s psychology. The director’s unique visual style, especially in his epic silent films, was nurtured by his boyhood experience of dwelling in the shadow of gargantuan statues and massive stairwells, steepled churches and huge public buildings. The baroque of the old Kaiserstadt, with its exaggeration of detail, insinuated itself into many Lang films. The characteristic shots from high places, the extreme upward-slanting low angles, the lingering emphasis on the size and structure of massive buildings, the people dwarfed by walls or doors–these were a legacy that was distinctly Viennese.
The dome and spire of the St. Stephansdom, the magnificent imperial palace known as the Hofburg, the imposing cluster that included the Opernhaus, the Rathaus, the Burgtheater, the Universitat, and the Parlament–these and other civic edifices were within walking distance of the house where the future film director, Friedrich Christian Anton Lang, was born on December 5, 1890. His parents, Anton and Paula Schlesinger Lang, at that time lived on the narrow lane of Schonlaterngasse in the Innere Stadt, or First District, inside the Ringstrasse, the wide beltway around the inner city.
The shadow cast by Vienna’s architecture is rendered all the more germane to Fritz Lang’s life story by that of his father. Anton Lang was thirty years old when his son was born, and city records attest that he was a Baumeister and part owner of Honus and Lang, a prominent construction enterprise located in a three-story building along the east side of the imperial park, the Augarten.
In latter-day books and articles about his world-famous son, Anton Lang is usually described as an architect. In fact, Baumeister, a German word often confused and translated as “architect” in English and French, means more precisely that Lang’s father was a builder or executor of architectural plans. He had the additional honorific, in city archives, of Stadtbaumeister, which simply meant that he was licensed to appear as a project manager before Vienna municipal boards.
Architects were college-educated; they were designers, not merely contractors. They moved in higher social circles. Fritz Lang always described his father as an architect in interviews; once, drafting a press release eventually published under his byline in the United States, he even tried “famous architect.” The fancier word put a gloss on his father’s occupation, just as Lang would also stretch the truth when it came to his own fleeting studies in architecture, claiming, for publicity’s sake, to have studied for “several years in the best architectural schools.”

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Donovan said he was unaware of any past arrests for any of the men. He said it was his decision not to try to send the cases to one of the alternative court programs, like Court Diversion, which is designed for first-time offenders, or the Community Reperative Board.
South Burlington Police Detective Cpl. Ron Bliss Donovan’s decision will have no effect on the department’s enforcing prostitution laws or conducting another sting in the future.
Donovan said it’s important that “we educate community members that prostitution is far more complex and dangerous than just a business transaction.”
“We have young girls 16 and 17 years old who are prostituting themselves because of that addiction,” he said. “And let’s not forget Crystal Jones,” Donovan said, referring to the Burlington teenager who died in New York in January 2001.
Jones was among a group of Burlington-area girls, several of them runaways, who were drawn into a world of prostitution in New York City with false promises of clothes, drugs and money.
The case shed light on deficiencies in Vermont’s system for handling runaways and on the rise of heroin use in the state.
“She became addicted to heroin, was trafficked to New York and found dead in the Bronx,” Donovan said.
South Burlington police posted an ad June 18 on a website known to be used by prostitutes. Within six hours, investigators received 40 responses by email, text and phone calls, Detective Cpl. Andrew Johnson said.
“Those 40 people generated 285 separate contacts with the undercover officer,” Johnson said.
The undercover police woman told the clients to meet at the Anchorage Inn, which had volunteered to work with investigators in the sting. The seven men arrived at the Dorset Street hotel with intent to engage in sexual activity with a prostitute, police said.
The men were arrested, and police widely distributed their booking photographs. Police identified the men as:
• James P. Bradley, 49, Manchester, N.H.
• Mustafa Djozo, 51, of Burlington.
• Brian D. Jenkins, 42, of Jericho.
• Pierre A. Lemieux, 67, of South Burlington.
• Joseph Thankachan, 51, of Colchester.
• Jay C. Tosi, 42, of Barre.
• Colby M. Wilbur, 48, of South Burlington.
Donovan and South Burlington Police Chief Trevor Whipple said the men have faced the court of public opinion regardingtheir behavior.
Whipple said the city has modified the original online advertisement so that when people click on the “escort” link, individuals would see a message from South Burlington police that says the department is continuing to pursue “undercover ops online.”
Donovan said the class will be taught by Edith Klimoski, director of Give Way to Freedom, a private foundation that provides support for survivors of human trafficking or are vulnerable to trafficking.
Klimoski, who has helped train law enforcement, nurses, students, and youth service providers, told the Burlington Free Press that the class will cover statistics, facts and characteristics about all forms of human trafficking and the victimization caused by the crime.
Resources for the Prevention of Prostitution and Sex Trafficking.
South Burlington is a city of about 18,000 residents in northern Vermont, near Burlington. While prostitution is not widespread, prostitution and sex trafficking cases have been reported in the area.
For example, in 2012, a reverse sting was conducted to arrest a man trying to buy sex from a minor, after a three-week investigation and period of negotiation between an undercover federal agent and the john. An adult woman engaged in prostitution in Rutland told an agent with the U.S. Bureau of Alcohol, Tobacco, Firearms & Explosives (ATF) that a client of hers had been asking about having sex with a child. ATF began an inquiry that involved the Department of Homeland Security, which had a female agent pose as a 14-year-old and communicate with the child predator. The two exchanged numerous text messages discussing prices for sex acts, and whether the man would need a condom, and asked if they could have group sex including the girl’s mother. The man eventually texted that he was in the area and wanted to buy sex for $500. A meeting was arranged and the man was arrested outside a movie theater. We was charged with travelling in interstate commerce to engage in illicit sexual contact with another, and using a cellphone to entice a minor to engage in prostitution or unlawful sexual activity. The man’s identity was available to the media from court records, and was published by local news outlets.
In June 2014, a more traditional web-based reverse sting operation was conducted, resulting in the arrest of seven sex buyers. Minutes after police say they placed an ad on a website known to be used for prostitution, people started responding with phone calls, texts, and emails. The ad was posted for 6 hours and during that time 40 people responded to ask about paying for sex.
In July 2014, the Chittenden County State’s Attorney’s Office announced that the johns arrested during the June operation would be given the opportunity to avoid prosecution pending completion of a class that discusses the “complex circumstances that underlie prostitution.” The class will be taught by the director of Give Way to Freedom, a foundation that focuses on human trafficking awareness, prevention and recovery services, and will reportedly cover “statistics, facts and characteristics about all forms of human trafficking and the victimization caused by the crime.” When asked about his decision to offer a diversion program for sex buyers, the State’s Attorney stated:

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