Partnership with Lang
Thea von Harbou's first collaboration with Fritz Lang was marked by a common interest in India. As von Harbou worked on an adaptation of her novel The Indian Tomb (Das indische Grabmal, 1918), Joe May assigned Lang to help her write the screenplay and work out production details. Praising Harbou's skills, Erich Kettelhut recalled: "She was not only well-liked by her colleagues, but also as much a creative force, as highly motivated and smoothly efficient, as her husband. Her loving personality was crucial to the professional teamwork. von Harbou's ability to reach out to people and find compromise in the worst situations was a vital resource."
Von Harbou and Lang began an affair during this time; she divorced Klein-Rogge in 1920. Following the success of Dr. Mabuse der Spieler (Dr. Mabuse the Gambler) and the death of Lang's first wife, the couple married in 1922. They worked on a script that would reflect their pride in their German heritage, Die Nibelungen (1924), and enhance von Harbou's reputation as a writer for the screen. She became known for her unique habit of wearing the same dress throughout filming, even as she cooked hot meals for the crew during late nights. Visitors remembered Harbou taking charge of all the domestic and social responsibilities when visiting the couple's apartment. During this time of poverty in 1920s Germany, Harbou became active in acquiring food for her film crew, as one friend recalled, "She was even able to talk the UFA into carrying the costs so the crew could get their meals for free ... she stood there on the rough floor of that drafty shed for hours and didn't mind peeling potatoes or cleaning vegetables with the other women. Such was the spirit of sacrifice."
Von Harbou often developed her screenplays into full-length novels, with their publication scheduled to coincide with the release of the film, though this was not the case with Metropolis (1927). von Harbou was a central player in producing Metropolis, and this epic became significant. Besides writing the novel and the screenplay, and developing the distinct moral ending of Metropolis, she discovered Gustav Fröhlich, who played the lead role of Freder Fredersen.
Her next major collaboration with Lang was M (1931), a film about a child murderer. It was written with exquisite attention to accuracy. Lang and von Harbou had been enthralled with news coverage of Peter Kürten, known as the Monster of Düsseldorf, during the late 1920s. She used newspaper articles in developing the script and "maintained regular contact with the police headquarters on Alexanderplatz and was permitted access to the communications and secret publications of Berlin's force". Recalling the script, von Harbou's secretary Hilde Guttmann later said, "I saw many other film manuscripts, but never one which could compare with the manuscript for M. Two typewriter ribbons were stuck together to give us three colors: one black and red, and the other blue. The camera work and the action were typed in black, the dialogue blue, and the sound, where synchronized, was typed in red". Harbou received no credit as the script writer for M.
She was also involved in politics, joining the campaign against Germany's paragraph 218, which made abortion a crime. At a mass rally in 1931, she said:
Our main goal is to find a new form of preventing pregnancy and therefore to make the entire 218 unnecessary. Immediately, however, the paragraph must fall because it is no longer morally recognized by women. It is no longer a law. We need a new sexual code because the old was created by men and no man is in a position to understand the agony of a woman who is carrying a child she knows she cannot feed. This law derived from male psychology, which forces a woman into having a child, creates, even if not deliberately, constitutional inferiority of women in relation to men which serves as a bulwark against women's activity in economic and political life.
