Les Trois Lumières

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.

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.

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.

In a small village somewhere in time, a stranger lease for ninety-nine years a field annex to the cemetery and surround it with a very high wall without gate. When a young couple of travelers stop in a local tavern for resting, the fiancé vanishes and her fiancée seeks him and meets his spirit entering through the wall. She finds an entrance and finds that the stranger is actually Death, who is tired of bringing suffering to the world. She begs for the life of her beloved fiancé, and Death proposes her to save one of three lives that are in the end. If she succeeds, Death will bring her lover back to live. The lady becomes a woman in Persia, in Venice and in China, and in all situations she fails to save her respective lover. Death gives her one last chance, if she manages to find within one hour a person in the village that could give up living. When the local hospital is burning in fire, the young woman realizes the only way to stay with her lover.

"Der Müde Tod" is another magnificent fantasy of the genius Fritz Lang. Ingmar Berman was certainly influenced and inspired by this stunning film with his masterpiece "Det Sjunde Inseglet" (a.k.a. "The Seventh Seal"). It is amazing how Fritz Lang was able to generate shadows and special effects with the primitive apparatuses in the incipient cinema. Further, the originality of his screenplays is absolutely impressive. "Der Müde Tod" shows wonderful fantasy about the duel between love and death, with a beautiful message in the end, proving that love is stronger than death. My admiration for this master increases after watching each of his movies. My vote is nine.

Title (Brazil): "A Morte Cansada" ("The Tired Death")

The films of Weimar Germany are an interesting and exciting period to study. They share a rich cultural heritage, similar themes and revolutionary film styles and techniques. "Destiny" (Der Müde Tod) is the earliest mature work I've seen from Fritz Lang, one of the period's principal filmmakers--much better than the Spiders series. It's somewhat expressionistic, in the loose sense usually applied to these films, which is to say it's thematically dark and, occasionally, photographed and designed intentionally to affect mood and express emotions. An exceptional crew of cinematographers and art directors, as in many of the best films of the period, support the director.

Yet, I think the narrative has its faults; the frame narrative is great, but only the last of the three episodes within was entertaining--for its light and magical treatment. In the film, a girl's young lover dies, and Death offers her three tries to resurrect his life. The episodes are flimsy at times, but some impressive imagery and powerful performances by Lil Dagover and Bernhard Goetzke make up for much of that. Additionally, the exotic Arabian, historical Venetian and Chinese settings for the three inner episodes are well rendered, surely, but it's the haunting graveyard scenes and the meetings with Death, especially the room of candles scenes, that I'll remember. They're not merely exotic; they're otherworldly--the atmospheric, moving and imaginative places I want movies to take me.