Der müde Tod

Der Mude Tod/Destiny(1921) was the film where Fritz Lang began sharpening his trademarks of emotional and visual motifs. Focuses on themes Fritz Lang obsessed over in film and life. For instance, the conflict between love and death is faced by many protagonists(male or female) in numerous Fritz Lang pics. From Destiny(1921) to the director's final film, 1000 Eyes of Dr. Mabuse(1960), Fritz Lang was occupied in his work by philosophies on death, life, love, notion of the after life, and redemption. The visual brilliance of Lang's later Silent films can be traced to this feature.

Figure of death is a compelling and sympathetic Lang character whose task is not an easy one. The character of death in Destiny(1921) does what is required of him without any subjective bias on the people he has to collect. Bernhard Goetzke puts on screen with his performance the most fascinating portrayal of death in a motion picture. The figure of death in Destiny(1921) is a lonely and sad figure whose wish is to do something else. The title of the film refers to death's inability to move outside of his destiny.

Der Mude Tod/Destiny(1921) was influential to directors of the silent and sound eras. Luis Bunuel was impressed by its amazing visual and sad qualities(thus the film became an influential force in most of Bunuel's work). It wouldn't be surprising that Destiny(1921) also influenced Ingmar Bergman especially with The Seventh Seal(1957). Other filmmakers influenced includes Enzo G.Castellari, Mario Bava, Roger Corman, and Terry Gilliam. The film's influences can be looked at in films as Lisa and the Devil(1972), Masque of the Red Death(1964), Keoma(1976), and Brazil(1985).

Candleroom sequence is a moment of floating beauty and surreal grace. The candleroom is an extraordinary visual set with a great deal of imagination put into it. The Candleroom is symbolic of the place where the Grim reaper watches over to see whose candle(life) will be put out. An excellent effect involves a candle glow dissolving into a baby. The Candleroom sequence has some terrific visual effects that blow away the CGI of today's motion pictures.

Contains a slateful of extraordinary visuals typical of a German Expressionistic film of that time. In films such as Destiny(1921), Fritz Lang used an aura of expressionistic imagery to display different emotions from his main characters. Visual use of the camera reaches its climatic level during the three tales. An example of why silent films where for the most part a great visual experience compared to many sound pictures. Destiny(1921) matches the astonishing imagery of Die Nibelungen(1924), Metropolis(1927), and Dr. Mabuse Der Spieler(1922) with excellent visuals of its own.

Out of Sympathy for a woman whose beloved died, the grim reaper gives her a chance to save one of three lives as exchange of return of beloved. Tale one takes place in Persia with forbidden love affair between Arab woman and Western adventurer. Tragic tale that benefits from director's imaginary use of Persian locations. The female protagonist attempts to save the adventurer to no avail. Least interesting of the three tales and most slow moving.

Second tale involves a love triangle with the city of Venice as the story's backdrop. The woman of this tale is promised to a man of well known prestige who she doesn't love. Her love is to someone who is not popular and the opposite of her finace. Includes an ingenious death plot that is similar to a situation in Marquis De Sade story, ERNESTINE:A SWEDISH TALE. Her plans ends up in a manner that the woman least hoped for.

The Imperial China tale is the third and best of the three tales. Magnificent camera effects gives it a mythical quality that creates a feel for the spectacle. An astonishing effect and maybe the director's most amazing effect in his silent films involves the creation by a magician of an army of toy sized soldiers. Deals with the Emperor of China who wants the magician's female assistent who is loved by the male assistent. Magical feeling of the amazing and bizarre is what makes the third tale something fantastic.

"Love is Stronger than death" is a good title for a potential documentary of the life and film works of Fritz Lang. More than any other line in a Fritz Lang film, "Love is Stronger than death" represents a summary of Fritz Lang's filmography. "Love is Stronger than death" deals with Fritz Lang's ideals about metaphysical love that goes beyond the confines of the mortal world. Destiny(1921) deals with this notion with use of abstract and metaphysical imagery. "Love is Stronger than death" can also be applied to the films of Mario Bava because of his similar fatalistic take on the topic of love.

After watching it for the first time, I consider Destiny(1921) among the director's finest silent films. An act of courage is performed by the heroine thus making her a tragic figure. Acting from the cast shines with moments of expressionistic beauty. Magificently envisioned by a master of expressionistic filmmaking. Destiny(1921) shows Fritz Lang's growth as an artist and his capabilites to become a legendary film director.

The excellent atmosphere and absorbing story make Fritz Lang's "Der Müde Tod" (or "Destiny") one of the little-known gems of the early 1920s. In most other movies, the top-quality special visual effects would be the strongest part of the film, but here they are really just a valuable addition to a story that already had a lot to offer.

The atmosphere and the story also fit together very well, with the foreboding, Gothic tone and the expressionistic settings complementing an involved story of life, death, fear, and love. The plot is creative and quite interesting in itself, and it also suggests some important themes in the decisions that the characters face.

Lil Dagover gets what might be her best role, as she gets the opportunity to do quite a few different things with her character. Bernhard Goetzke excels in his forbidding role. Between the two of them, they get most of the best moments, with Lang's wonderfully conceived settings and camera tricks giving them plenty to work with.

Because it has so much going for it, this is a movie that works well both as entertainment and as a statement about humanity.

One of Fritz Lang's lesser known - and, sadly, lesser shown - films is DESTINY, a haunting and beautiful film about a woman who wishes to rescue her lover from the clutches of Death, and travels to the past to do so. Filled with incredible images, this is both a visual treat - as you would expect from Lang - and also a bittersweet love story. An obvious influence on Ingmar Bergman's THE SEVENTH SEAL, this was also the film which made Luis Bunuel want to become a director. If you ever get the chance to see this, grab it. As important and impressive a silent film as SUNRISE or GREED.

I really was impressed by Fritz Lang's "Destiny". It seemed like the pictorialization of a timeless German fable rather than a figment of Lang's imagination. The story of a young woman in medieval times whose beloved fiancée is taken by death while they travel through a small village, it is timelessly haunting even now. It must have really hit people hard in 1921 Germany, three years after the death and destruction of WWI. The framing story is set around three mini-stories set in ancient Persia, Renaissance Venice and China. These stories are well done and diverting, but also a bit distracting from the poignant main story which was what I really responded to. Lang seemed totally assured and powerful as a filmmaker even in 1921. Lil Dagover was affecting as the heroine and Bernhard Goetzke gave a powerful and moving performance as Death. He was also great in Joe May's "The Indian Tomb" released in 1921 also. I highly recommend "Destiny" or "Der Mude Tod" to anyone at all interested in silent film or the career of Fritz Lang.

Contemporary audiences must have been awed by the spectacle of the three exotic adventure episodes within `Der Mude Tod', but the imagery Fritz Lang employs in the bookends is the most fascinating aspect of the film today. Charlie Chaplin and Buster Keaton had already occasionally used clever camera tricks, but Fritz Lang's film revels in special effects. Through editing and double exposure, he makes it look even now as though ghosts are disappearing through a garden wall, or that two lovers' souls are exiting their bodies. The most exciting thing about Lang's magic, of course, is that his images act as a foundation for beautiful, poetic ideas. His unusually sympathetic portrayal of Death is just one example of why the outer story resonates so much more than the obvious melodrama in its middle. Lang seems to argue that, while love cannot overcome death, it retains a power which even death would respect and envy.

Rating: 8