Uli Edel
| Uli Edel | |
|---|---|
| Born |
11 April 1947 Neuenburg am Rhein, South Baden, Germany |
| Spouse(s) | Gloria Edel |
| Awards | 1989 Bavarian Film Awards Best Director NYFCC and Boston Society of Film Critics Awards 1990 Last Exit to Brooklyn, 1997 Golden Globes Best Mini Series of Motion Picture Made for TV |
Uli Edel (born 11 April 1947) is a German film and television director, best known for his work on films such as Last Exit to Brooklyn and Body of Evidence.
Edel was born in Neuenburg am Rhein, South Baden, Germany. After studying theatre science in Munich, he was accepted into Munich Film School alongside Bernd Eichinger. Uli befriended him and they started working together on their exercise movies, sharing a love for the nouvelle vague and Italian neorealism as well as popular U.S. mainstream cinema.
While still enrolled in film school, Edel started taking acting lessons. He wanted to know about the Stanislavski and Strasberg theories. After finishing the studies Uli worked as assistant director with Douglas Sirk and directed two TV productions.
In 1980 he joined Bernd Eichinger (production) and Herman Weigel (screenplay) for the authentic story of adolescent drug addict Christiane F., Wir Kinder vom Bahnhof Zoo. It turned out to be a big domestic and international success when it was released a year later. Six years later the three reactivated their partnership once more for another film — Last Exit to Brooklyn, based on Hubert Selby’s dark, controversial 1964 novel about life on the breadline in 1952 Brooklyn. It starred Jennifer Jason Leigh, Stephen Lang, Jerry Orbach, Burt Young, Ricki Lake, Alexis Arquette and Sam Rockwell. The musical score was provided by Mark Knopfler of rock band Dire Straits. The film won Best Supporting Actress awards from the New York Film Critics Circle and Boston Society of Film Critics for Leigh's performance as the tough, hard-drinking neighborhood prostitute Tralala, who is gang-raped in the story's tragic climax. However, the film remained a fringe success, probably because its theme was far too downbeat for mainstream consumption.
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