Siegfried, son of King Sigmund, hears of the beautiful sister of Gunter, King of Worms, Kriemhild. On his way to Worms, he kills a dragon and finds a treasure, the Hort. He helps Gunther to... See full summary »
After Siegfried's dead, Kriemhild marries Etzel, the King of the Huns. She gives birth to a child, and invites her brothers for a party. She tries to persuade Etzel and the other Huns, that... See full summary »
Kay Hoog wants to stop the organisation "Die Spinnen" to get a certain diamond, that will give the owning woman the crown of Asia, but the man, who should be the owner of that diamond, ... See full summary »
As a young couple stops and rests in a small village inn, the man is abducted by Death and is sequestered behind a huge doorless, windowless wall. The woman finds a mystic entrance and is met by Death, who tells her three separate stories set in exotic locales, all involving circumstances similar to hers. In each story, a woman, trying to save her lover from his ultimate tragic fate, fails. The young lady realizes the meaning of the tales and takes the only step she can to reunite herself with her lover. Written by
Doug Sederberg <email@example.com>
The film received a 2K restoration in 2016 by L'Immagine Ritrovata in Bologna, Italy, with most of the material coming from New York's Museum of Modern Art and some shots taken from a copy belonging to the Cinémathèque de Toulouse, in France. The titles were rebuilt by Munich's Film Museum, based on a Russian copy, with missing ones coming from archives in Prague and Brussels, while the lost colors take inspiration from contemporary films. See more »
I am quite curious and the rainy day I choose to watch that silent movie I fell in love with Fritz Lang's visual art. The story mixes destiny (as reminded by the english title) travel across three different times and places and a tragic love story. Setting-ups and cinematography are wonderful and suspense is already on screen with that plot: a girl is given three chances to save her lovers whose death she couldn't stand. Three times destiny is stronger than her love but in the three different episodes Lang succeeds in bringing a new hope at the beginning. But as things go the face of Death appears and her presence becomes increasingly unavoidable. As pointed out in the previous comment, than embodied Death playing directly with men as been reused by Bergman in The Seventh Seal.
In between the episodes, the vision of the Destinies Cathedral with its vacillating flames stands for what Fritz Lang was able to simply with images. Unfortunately his talking movies were visually less impressive (except the german ones of course: M and Testament of Dr Mabuse). In comparison Hitchcock did not make movies with great cinematography before Rebecca. And I think he only reaches Lang's outstanding visual level in Vertigo. On the other hand Lang suffered for he could only express a limited part of his visual skills in the US.
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