Trivia

Together with Emil Stepanek and Artur Berger he was also responsible in Vienna, on the epics of Michael Curtiz and Alexander Korda, for the most spectacular sets ever constructed for an Austrian film, in particular the gigantic Temple of Sodom in Sodom und Gomorrha (1922), which because of its sheer size had to be built in the open air, on the Laaer Berg.

In the 50's he only worked, in the declining Austrian film industry, on unpretentious romances and comedies. His last set designs were for the undistinguished Skandal um Dodo (1958), directed by his brother Eduard.

In 1925 Borsody moved to Berlin. There, for films about the history of Prussia, he was able to design more ambitious structures than in Vienna.

He became a demanded production designer in the 20s and he created the set for well-known productions like "Lucifer" (1921), "Gräfin Mariza" (1925), "Adam und Eva" (1928), "Erotikon" (29) and "Narkose" (1929).

He was one of the most employed set designers in the Austrian and German cinemas of the late silent and early sound film periods.

He was able to continue his film carer after the war and he remained active in his profession till to his death.

After the Anschluss (the annexation of Austria to Germany in 1938) Borsody became principal architect of the Nazi-owned Wien-Film, but also occasionally worked on buildings for productions of Bavaria Film in Munich.

He was engaged again for many movies during World War II, among them "Wen die Götter lieben" (1942), "Frauen sind keine Engel" (1943), "Hundstage" (44) and "Shiva und die Galgenblume" (1945).

Besides buildings he also created the façades and decorations of other productions with historical and costumed backgrounds, such as Danton (1931) and the Schubert biography Leise flehen meine Lieder (1933).

The production designer Julius von Brosody got an education at the art college in Munich before he entered the film business in 1917.

The height of his film career followed in the sound film era of the 30s and Julius von Borsody was responsible for numerous production designs of popular movies.

He realised his first movie as a art director in 1919 for Paul Czinner's highly significant pre-Expressionist work "Inferno".

He was employed on one of the last large-scale productions of the Third Reich - Shiva und die Galgenblume, filmed in early January 1945 with Hans Albers in the Barrandov Studios in Prague - and also on one of the first post-war Austrian films - Der weite Weg (1946).