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.
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 →
Man, I couldn’t help cringing while writing the title of this post–because from that alone, this film sounds so cool. This is a vampire tale? From the year 1920? And it’s a German Expressionist film, you say? By Robert Wiene, the director of The Cabinet of Dr. Caligari, you say?! This must be a forgotten gem!! An obscure work of genius, just begging to be rediscovered by eager new audiences and then extolled as one of the unsung masterpieces of early experimental cinema!!
HOLY FREAKIN’ HARRY LANGDON, LOOK AT THAT ART DESIGN!!
Well, I’m here to confirm that it’s………..not. It’s just not. It’s not any of those things. Well, okay, it is a German Expressionist film from 1920 directed by Robert Wiene, but a cinematic masterpiece? Oh good heavens, no. Continue reading →