Il gabinetto delle figure di cera

"Das Wachsfigurenkabinett" (1924) is Herr Paul Leni's most well-known film during his German period. Its probably the most representative of his artistic virtues, an oeuvre composed of three episodes ( although Herr Leni planned a fourth episode that never was done ) in where an imaginative writer ( Herr Wilhelm Dieterle ) applied for publicity work in a waxworks exhibition in which he is commanded to write startling tales about three different wax figures: Ivan the Terrible, Czar of all the Russias ( Herr Conrad Veidt ), Haroun Al Raschid, Caliph of Bagdad ( Herr Emil Jannings ) und the murderer Spring Heeled Jack ( Herr Werner Krauss ). The young writer and the showman's daughter ( Frau Olga Belejeff ) link the three different episodes.

The three episodes are stylistically and technically very different from each other and certainly Herr Leni explored his most imaginative resources and fond subjects ( oneiric décors connected with fantastic subjects ) using them appropriately to fit the characteristics of the story depicted in the episode in question.

The first one, which relates the story of the satyr and easy-going Caliph of Bagdad, features the beautiful and evocative décors that apprehend the necessary mood for an episode in which humour and parody over the iconic Western view of an idealized Arab atmosphere. The classic adventures that inspired them, is in the air, benefiting the episode with such exaggerated tastes which are absolutely charming; Herr Jannings certainly enjoys a lot such parody role.

The second episode depicts Ivan the terrible as a merciless monarch who ruled the Russian empire with an iron fist by subjecting the citizens to severe cruelty. This time Herr Leni combine drama with fantastic elements, achieving a bizarre and disturbing atmosphere. Again a superb actor, as it happened in the preceding episode steals the picture thanks to his magnetic and fascinating presence.

Once again, the décors are outstanding although this time Herr Leni uses these in a "conventional" way. That is to say, in order to illustrate in a careful and more realistic way, the characteristics of the Russian empire of the time, the German director leaves the most fantastic aspects of the story for the torture chamber sequences and its terrible ending.

The third episode is Expressionism at its best, or maybe this Herr Graf should say that is a homage to Expressionism (on the other hand, the same that happens with the other two episodes in where the main subject are treated in a hyperbolic stylistic way ).

This time, the imaginative writer has a terrible nightmare in which he is chased by Spring Heeled Jack. Herr Leni takes advantage of such an oneiric atmosphere in an episode that technically is more complex than the other two. He uses double exposures and special effects in a continuous nightmarish sequence in which quintessential "Expressionism" is displayed in an effective and accomplished way.

"Das Wachsfigurenkabinett" is certainly a condensed version of Herr Leni's artistic achievements. It's an excellent example of his many skillful virtues and stylistic resources, stamped with his particular and fascinating own imaginary.

And now, if you'll allow me, I must temporarily take my leave because this German Count must remove in a Teutonic way the depilatory wax from the whole body of one of this Herr Graf's rich heiress.

A poet is hired by the owner of a wax museum in a circus to write tales about Harun al Raschid, Ivan the Terrible and Jack the Ripper. While writing, the poet and the daughter of the owner, Eva, fantasize the fantastic stories and fall in love for each other.

"Das Wachsfigurenkabinett" is an impressive and very creative movie, changing the colors in accordance with the environment and with amazing scenarios and funny stories. The acrobatic performance of the character Assad the Baker, jumping from a tower of the palace in Baghdad to a tree, is incredible. I did not understand why the genres horror and even thriller are listed for these three romantic adventures in the world of fantasy. I liked very much the first story, indeed very funny and naive; the second one is darker; and the very short third one is weird and romantic. The locations and the atmosphere are another attraction of this great unknown silent movie. I saw an excellent restored version with 83 minutes running time. My vote is eight.

Title (Brazil): "O Gabinete das Figuras de Cera" ("The Chamber of the Wax Figures")

This interesting and generally creative silent horror movie is really not all that tense or suspenseful, but it has some interesting stories and characters, and the distinctive expressionistic settings add considerably to the atmosphere. The three stories told about the "Waxworks" all have their own strengths.

It's rather interesting to see Emil Jannings as the Caliph in the first sequence. It's hard not to associate Jannings with the serious characters he played in "The Blue Angel" and "The Last Laugh", yet here he quite successfully portrays the Caliph as something of a buffoon. This story is the lightest of the three, yet it works well due to some creative touches.

The Ivan the Terrible sequence features an interesting, if rather far-fetched, story and a pretty good performance by Conrad Veidt as Ivan. The last sequence, with Spring-Heeled Jack, comes the closest to producing real fear, and it's just unfortunate that it was not more fully developed.

The biggest strength of "Waxworks" is its settings, which establish the right atmosphere and lend an aura of the bizarre that helps the stories to be more convincing. Overall, while not in the class of the finest silent horror classics, this works quite well as lighter entertainment.

"Waxworks" is an early example in film history of a movie that's clearly in homage to another film--in this case, "The Cabinet of Dr. Caligari" (1920). The expressionistic stylization in the film is obviously influenced by "Caligari", and a few references to that film reinforces that, beginning with the title. The literal translation of "Das Wachsfigurenkabinett" is "The Wax Figures Cabinet"--the keyword being "cabinet". Additionally, the frame narrative is purposefully set at a carnival, although a more dimensional one than the stage setting in "Caligari".

The narrative structure is closer to Fritz Lang's "Destiny" (1921), with the framing of three odd stories. "Waxworks" has the clever device of a writer of the inner stories in the framing story. And, the three biggest stars of Weimar cinema (Emil Jannings, Conrad Veidt and Werner Krauss) play the historical villains and waxworks come alive in the inner stories. For the three stories, a different expressionistic technique dominates, each relating to and enhancing their respective themes. In the Harus al Raschid narrative featuring Jannings, it's the sets (Paul Leni's sphere) with oddly shaped architecture more akin to "Caligari' than Baghdad. Especially nice is the staircase set. Rather than the horrific, dreamlike abstraction of "Caligari", however, the sets are delightfully peculiar, as is Jannings and the silly story. Low-key lighting dominates the Ivan the Terrible episode featuring a darkly paranoid Veidt, and the multiple exposure kaleidoscope imagery places Krauss's stalking serial killer everywhere.

A clever film, and Leni and the other filmmakers seem to have had fun with it, which crosses over to viewers, but beyond that it's rather lackluster, not emotionally engaging as "Destiny", nor stunningly fresh as "Caligari".

Usually in these Wax horrors, it's the notion of a life entombed in the body that is meant to unsettle, a life extended even into death (or is it the opposite?). This is the first of these films as far as I know - later came the two Houses of Wax, another Waxwork in '88, the Italian Wax Mask from an Argento story - and so the notion is more outdated, more novelistic. Each life a separate story and world, with clear boundaries between them, and acted out by the same couple that writes the stories back in the level of reality.

In Baghdad we get a romantic adventure where the Caliph falls for the baker's girl. Eventually she restores balance by summoning the dead Caliph from beyond the grave for the eyes of his awe-struck vassals. It's a ploy by which the status quo of the Arabian nights is maintained.

In Czarist Russia, the cruel czar who thought he would defy even death is faced with his own mortality. Instead of accepting this common fate, thus coming to understand that a king is also a common man and in so doing be rendered free of his own despotic bonds, he goes mad. It's again a ploy, the poison-maker's vengeance from beyond the grave. But he was mad to begin with, so it doesn't quite matter.

The final story that blends back into the wrap-around and brings us full circle, is about a notorious killer who stalks a man and his girl. This is the segment that strikes some spark; the urbane setting diffused as dreamy, expressionist poem. It's again a ploy, this time a dream - or nightmare.

Both Emil Jannings and Conrad Veidt, stars of what was then a booming film industry, relish the opportunity of playing scheming tyrants. But it's all harmless stuff.