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“Skip The Juvenile Delinquency And Get Right To The Sex”

By Raymond Benson

Kino Lorber and Something Weird Video continue their collaboration to present “Forbidden Fruit: The Golden Age of the Exploitation Picture” with Volume 10—Wages of Sin. Unlike the other exploitation titles that have appeared over the last two years, Wages is not an American picture; instead, it comes from Switzerland and was originally released as a serious drama examining the social problem of illegal abortions and the need to educate the public in birth control, as well as make a case for the legalization of a woman’s right to choose. The original German title translates to, roughly, The Doctor Says… or The Doctor Speaks Out…

However, American producer/director/actor Donn Davison, who at the time was a practitioner in the grindhouse and exploitation film circuit, secured the U.S.

At the end of his career, Fritz Lang returned to Germany and a producer who gave him a big budget to remake a silent classic in color, with an international cast and locations in remote India, including a palace never seen in a movie before. The two-movie, 200-minute epic was chopped in half for America and dubbed in English. Seen in its full Eastmancolor glory, The Tiger of Eschnapur and The Indian Tomb form an old-fashioned storybook tale, with its special charm lying in our knowledge of Fritz Lang’s fixation on fatalism and intricate patterns of betrayal and intrigue. Plus the films contain the erotic highlight of the decade, the spectacle of star Debra Paget’s scorching ‘temple dances’ before an all-male audience of admirers.

Fritz Lang’s Indian Epic

The Tiger of Eschnapur

and The Indian Tomb

Blu-ray

Film Movement Classics

1959 / Color / 1:33 flat full frame / 203 min. / Street...

Often relegated to a cursory mention as one of the great filmmaker’s late-career trifles, Fritz Lang’s “Indian Epic”—comprising The Tiger of Eschnapur (Der Tiger von Eschnapur) and The Indian Tomb (Das Indische Grabmal), both from 1959—is more like a charming throwback to his earliest work than it is an indication of any waning productivity. Its supporting roots stretch from the early 1920s, when Lang and his soon-to-be-wife Thea von Harbou began drafting an adaptation of her 1918 novel, “The Indian Tomb.” Owing in part to Lang’s relative inexperience, though, the project was turned over to Joe May, who directed the subsequent two-part feature in 1921, which would itself be remade by Richard Eichberg in 1938. Lang bristled at the creative theft (as he saw it anyway) and went packing to Ufa, promptly flourishing as one of the preeminent filmmakers in the world. Later, after more than two decades in Hollywood,...