Spies

Spione (Spies), 1928
Dir: Fritz Lang

Easily my favorite film that I've seen by Lang, it also might be the first movie he made that began to move away from his "roots." That's not to say (do I use this expression a lot?) that this is void of the expressionist touches that are his claim to fame, but the tone of the film is actually pretty light, which makes some of the acting seem more appropriate. I was a little wary going into it, as it's almost 2 1/2 hours long (which is a chore no matter type of film it is), but you needn't worry that much. It only drags occasionally.


I guess you could watch this and groan at all the espionage and suspense cliches that pop-up, but I'm guessing that this actually invented a bunch of them. Of course, there is the diabolical, crippled criminal master-mind Haghi (Rudolph Klein-Rogge) who is hell-bent on world chaos. No reason is ever really given, and not even money is his goal, as he is the director of a bank (said bank being a "headquarters" for villains). The socio-political ramifications of the main villain being a banker are really poignant considering this was made in Germany in the 20s, but I don't really want to get too analytical. A handsome government agent, No. 326 (Willy Fritsch) is assigned to figure out the mess happening. Unbeknownst to the government, Haghi has his own agent Sonja (Gerda Maurus) sent in to cut him off with her feminine charms. Of course, she actually falls for him and things begin to get dicey for both agents.


The main thrust of the film is that Haghi wants to intercept a peace treaty being signed between Germany and Japan, which will of course create enmity between them. There are also Japanese agents running around in the film, of which particular importance is Dr. Masimoto (Lupu Pick), who gets the "oriental treatment" in the soundtrack every time he enters a room, which is hilarious. I think the most interesting scene in the whole film involves this Masimoto, who forgets his own rules about being duped by women, and has the treaty stolen from him. In his horror and shame, he has a vivid hallucination of the three underlings whom he sent out as decoys and were ultimately killed. They have dead eyes and hold out the fake documents in a sign of solidarity. The Japanese flag is even superimposed on the wall. A very elaborate sequence follows where the doctor commits seppuku, and while being over the top, is very interesting nonetheless. It's interesting because it's all a little more thought provoking than the typical surface level stuff.


The end of the film really turns on the velocity as no. 326 closes in on Haghi and things begin to get physical. Car chases, train crashes, bank raids. Lang always has a keen eye for compositions, but here he gets in real close with odd angles and multiple quick cuts, which only heightens the suspense. The very end is pretty clownish, but it it doesn't detract from a really fun experience. It's commercial cinema (for its time) plus pop art that doesn't take itself that seriously. I think that's all you can ask for.

Die Nibelungen

Siegfried, 1924
Kriemhilds Rache, 1924
Dir: Fritz Lang

I was a little dubious to go back into Lang after throwing a blanket on him with my Metropolis (1927) review, but given my undertaking this summer, it won't be the last one I encounter either. So where to start? Die Nibelungen is a series of two silent fantasy films based on the epic German poem "Nibelungenlied." I must say that in this setting, rather than in a wonky futuristic one, Lang's expressionistic touches work a lot better for me. At times he feels like he is still finding his feet in that department, being that this is a coupe of years earlier, but the feeling that Lang was trying to make an artistic statement is there, and definitely works in this film's favor.


Siegfried, part 1, is a lot more action packed and is full of shit that any fantasy nerd will enjoy. Siegfried (Paul Richter) starts as an apprentice to a master Smith Mime, and forges a fucking sweet sword. Then he hears the tale of a beautiful princess, and sets out on a journey to make her his bride. On the way to Burgundy, he runs into a dragon and kills that lizard with his rad sword. Did you know that touching dragon's blood gives you the ability to understand birds? Well now you do, and also, those same birds will tell you to bathe in that stuff to make you invincible. So fantastically awesome. He then goes on to kill a dwarf king, get his magic invisibility crown, and steal his treasure. This is all within like 45 minutes. The rest of the film involves Valkyries, deceit, and an epic death. It's pretty engaging, and full of Lang's keen visual eye.


Kriemhilds Rache starts off as a bit of a slow burner, politicking and murderous glares, etc., but picks up with about an hour left where babies are killed, eyes bulge and, as any fantasy should, devolves into the chaos of battle. The first thing you will notice about this film is that the depiction of the Huns is one of the most racist things you will ever see, but like all things of that era, you can't let it bother you that much. It's just to show how "un-German" they are in comparison to the Burgundian court. You just have to enjoy the story telling abilities of Lang, which are numerous and inventive.


The whole tale is very Germanic/Norse in its scope and how it plays out, but especially in it's characterizations. There's the perfect hero cut down in his prime; the easily identifiable villain, Hagen von Tronje (Hans Adalbert Schlettow), with his funky eye and black-winged helmet; cowardly King brother Gunther (Theodor Loos), unable to be unloyal to Hagen even in his betrayal of Siegfried; and of course Kreimhild (Margarete Schoen), the seething Queen hard-done by. I really don't know a heck of a lot in regards to this mythology besides the vague cultural backgrounds, but the characters of Brunhild (Hanna Ralph), proud Valkyrie, and of Attila (Rudolph Klein-Rogge), the Hun (duh), at least are not as east to pinpoint as some of the others, maybe because they lay, even by a little bit, outside of that Germanic code. Feminists could also have a field day, because in the end, all of the nonsense that happens in the film starts because of (what else?) jealous bitches. These things are really easy to pick out in hindsight, but like all silent film, are really just a problem with that medium (intertitles and such).


For what it is, Die Nibelungen turns heads, simply for what it was able to do. Which was having artfully presented special effects while also being a gigantic spectacle. I'm sure it would have blown my mind if I was alive in 1925. Being that I'm not, I can be cynical and say the faces are silly (which they are) but they kind of have to be. So is this worth watching?: if you have any interest in film or silent film, than yes. It might not be one of those personal films (for me at least), but you can at least appreciate the craftsmanship. Otherwise, you should probably jerk off to Lord of the Rings or something, you fucking geek.