Hold everything–there’s a silent film version of Dostoevsky’s riveting classic Crime and Punishment that is German Expressionist, is very faithful to the text, has Russian actors, and was directed by the same guy responsible for The Cabinet of Dr. Caligari? Is this the recipe for a perfect forgotten classic?!
If you’re a regular reader you might recall that my review forGenuine (1920), another German Expressionist film by Robert Wiene, began pretty much the same way. Now, in Genuine‘s case rosy expectations were, uh, not met (really not met). But in the case of the overlooked Raskolnikov (1923)? Circulating prints have their drawbacks, but from what I can (sort of) see it’s a pretty darn good adaptation. It could well be a minor classic of the German Expressionist era–but funnily enough, not really because of its German Expressionist sets.
Happy Halloween, my friends! I couldn’t resist putting this piece on one of my favorite films of all time–just in time for this spooky day, I might add. There is so much to say about this film that it easily could’ve been three times as long. Enjoy!
Some films transcend regular genres. They might draw on an eclectic mix of inspirations, from literature to art, and the result is a work of strength and imagination whose stature only increases with the passing years. You can hardly find a better example than the gothic masterwork The Night of the Hunter, most easily definable as a horror film (I know I can’t resist it every October).
The elements are familiar–riverside towns and the Great Depression, prayer meetings and Bible stories, fairytales and fables. It’s soaked in the atmosphere of what we’ve dubbed “southern gothic,” and softened by several haunting songs (few non-musicals would use songs more effectively). But it draws its greatest power from something less familiar to the modern viewer: the rich influence of silent film, particularly Expressionism and the work of D.W. Griffith.
Nosferatu (1922) fans such as myself (and, hopefully, yourself) are highly aware of its iconic status, its gothic cinematography, and its limitless ways to inspire today’s filmmakers. It may not be as jump-out-of-your-seat scary as some later horror films, but we highly appreciate how it broke ground and managed to create a beautifully haunting atmosphere.
Oh, and we’re also well aware of this guy:
This acquired taste in human form is Gustav von Wangenheim, the source of a few unintentional chuckles in the early scenes of the movie. But maybe that’s a little harsh. As I wrote in my Nosferatu review, Gustav’s babyface and habit of laughing just a little too long actually make his later scenes with Count Orlok pretty effective–if a character that happy-go-lucky starts getting scared, it must be for a good reason.
In fact, his acting left enough of an impression that I decided to take a closer look at this young actor. How did he come to star in Nosferatu, and what happened to him thereafter?
One of the few silent classics virtually anyone’s willing to watch, Nosferatu has been iconic practically since its release in 1922. The strange, hunched Count Orlok has a permanent place in cinema history, a unique pedestal that keeps him apart from the suave villains of later pop culture.
I’ve reviewed this gothic masterpiece before, but didn’t delve much into the details of how or why it was made. A few of you may already know the tale, with its background of modern art, WWI, occultism, flu epidemics, and gleeful copyright infringement. But if not, do read on. Continue reading →
In October, the cinephile’s fancy lightly turns to thoughts of German Expressionism. Accordingly, I thought we’d discuss an intriguing topic–those “bookend” scenes (otherwise known as a “frame story”) from The Cabinet of Dr. Caligari.
If you haven’t seen Caligari, be forewarned now that this post discusses spoilers–nay, it depends on spoilers. So if you haven’t gotten around to watching one of the most important films of the 20th century, well…ya oughta! Continue reading →
Aside from The Cabinet of Dr. Caligari, Nosferatu or Metropolis, how many German Expressionist films can you name? (Or maybe I should say, how many semi-German-Expressionist-ish films can you name? That’s an easier question.) After all, Caligari didn’t spring forth from thin air, and you’ve always heard that German Expressionism was kind of a big deal.
I guess this was influential, or something.
To help with that question, I’ve compiled a handy list of Weimar-era rarities that you may or may not have heard of before. Keep in mind that “true” German Expressionism is, technically, a very specific genre that used deliberately artificial-looking sets and props, and relied on emotion and psychology instead of realism. Thus, most of these entries are examples of that type of film. (By the way, if you’ve been following my blog for awhile, you’ll probably remember #1 and #2 since I covered them in the past. If you’re a newbie, though–enjoy!) Continue reading →
Or so BFI likes to call him. At any rate, this is the 127th birthday of this legendary director, a man who kept his life so private that one biographer questioned if Lang’s first wife (#1 of 3 marriages) even existed.