Die Nibelungen (1924)

directorFritz Lang|producerErich Pommen|writerUnknown(original epic) Fritz Lang Thea von Harbou(screenplay)|castPaul Richter Margarete Schön Hanna Ralph Theodor Loos Rudolf Klein-Rogge Rudolf Rittner Hans Adalbert Schlettow Georg John|cameraCarl Hoffmann Günther Rittau Walter Ruttmann|musicGottfried Huppertz|special mentionGeorg John*|distributionUFA|year1924|length143′(Siegfried) 145′(Kriemhilds Rache)|genresilent film|spoken languageN/A|subtitlesSRT file(English) original intertitles(German)|countryGermany

* – for great range in multiple difficult roles (Mime, Alberich, Slaodel)

 

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DEM DEUTSCHEN VOLKE ZU EIGEN

Literally, “a permanent gift to the German people“. In post-WWI but pre-WWII Germany. Alam mong napakabigat nito contextually.

Dito nag-focus si Lang at Harbou when they made this two-part film adaptation ng isa sa mga pinakasikat na epikong crossover ng Nordic at German literary roots: sa konteksto. Busog na busog sa allusions ang dalawang pelikula, not least of which ay ang pagiging personifications ng Alemanya ng mga protagonists (si Siegfried at si Kriemhild). Kung panonoorin ang Die Nibelungen sa kontekstong ito, one will realize na isang malaking grim foreboding itong buong production na ito. Isang babalang tinabla ng collective confirmation bias ng isang then-impassioned people. Impassioned for all the wrong reasons. And the rest, as they say, is history. A very tragic history.

Halata naman na sigurong fanboy ako ni Fritz Lang. And just like with Metropolis, I was mesmerized with his reimagining of this tragic tale. He is definitely a master at what he does. Highly recommended ko itong sweeping film saga na ito. It is literature, history, culture and silent cinema in dazzling form all wrapped up into two epic features. Relish the experience.

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