O Estudante de Praga

One of the most important artistic movements in the history of cinema was without a doubt German expressionism, the highly atmospheric style of film-making developed during the 20s in Berlin. Classic movies like "Das Cabinet Des Dr. Caligari." (1920) and "Nosferatu, Eine Symphonie Des Grauens" (1922) were the most famous direct results of this movement, and while the movement didn't have a long life, its enormous influence over cinema can still be felt today, specially in the horror genre. One of the key figures of this style would be director Paul Wegener, director of 1920's "Der Golem, Wie Er in die Welt Kam", as in his debut as a filmmaker, seven years before the making of that classic, he was already making experiments with expressionism in film. That early prototype of German expressionism was incidentally, another horror film: "Der Student Von Prag".

"Der Student Von Prag" ("The Student of Prague"), is the story of Balduin (Paul Wegener), a student with the reputation of being the best fencer in Prague, but who always find himself with financial troubles. One day, Balduin rescues the beautiful countess Margit (Grete Berger) from drowning in a lake after her horse drop her by accident. Balduin falls immediately in love with her and tries to see her again, but soon he discovers that he'll have to compete with her rich cousin, Graf Von Schwarzenberg (Lothar Körner), who also wants to marry her. Knowing that he can't offer her much, Balduin wishes to be wealthy, and this is where a sorcerer named Scapinelli (John Gottowt) enters the scene. Scapinelli offers Balduin infinite wealth in exchange of whatever he finds in his room. Balduin accepts the proposal, only to discover in horror that what Scapinelli wants is his reflection in the mirror.

Loosely inspired by Edgar Allan Poe's short story "William Wilson" and the classic legend of "Faust", the story of "Der Student Von Prag" was conceived by German writer Hanns Heinz Ewers, a master of horror literature and one of the first writers to consider scriptwriting as valid as any other form of literature. Written at a time where cinema in Germany was still being developed as an art form, "Der Student Von Prag" shows a real willingness to actually use cinema to tell a fully developed story beyond a camera trick or a series of scenes. Like most of the scriptwriters of his time, Ewers screenplay is still very influenced by theater, although "Der Student Von Prag" begins to move away from that style. While a bit poor on its character development (specially on the supporting characters), Ewers manages to create an interesting and complex protagonist in the person of Balduin.

While "Der Student Von Prag" was Paul Wegener's directorial debut and Stellan Rye's second film as a filmmaker, it's very clear that these two pioneers had a very good idea of what cinema could do when done properly. Giving great use to Guido Seeber's cinematography, the two young filmmakers create a powerful Gothic atmosphere that forecasts what the German filmmakers of the following decade would do. Wegener would learn many of the techniques he would employ in his "Golem" series from Seeber and Rye. Despite having very limited resources, Rye and Wegener manage to create an amazing and very convincing (for its time) visual effect for the scenes with Balduin's reflection (played by Wegener too). Already an experienced stage actor at the time of making this film, Wegener directs the cast with great talent and also attempts to move away from the stagy style of previous filmmakers.

As Balduin, Paul Wegener is very effective and probably the best in the movie. It certainly helps that his character is the only one fully developed by the writer, but one can't deny that Wegener was very good in his role as the poor student who loses more than his mirror reflection in that contract. John Gottowt plays the sinister Scapinelli with mysterious aura that suits the character like a glove. Few is said about Scapinelli in the film, but Gottowt makes sure to let us know that he is a force to be feared. The rest of the main cast is less lucky, with Grete Berger being pretty much average as countess Margit, and Lothar Körner making a poor Graf Von Schwarzenberg. However, it must be said that Lyda Salmonova was pretty good in her expressive character and Fritz Weidemann made an excellent Baron Waldis-Schwarzenberg, showing the dignity that Lörner's character should have had.

Considering the movies that were being done in those years in other countries and the fact that its remake (made 13 years after this film) is superior in every possible way, it's not difficult to understand why "Der Student Von Prag" hasn't stood the test of time as well as other early films. The movie's main problem is definitely its extremely low budget, as it resulted in the film being considerably shorter than what Ewers' story needed to be fully developed. This makes the plot feel a bit too vague at times, or even incomplete, as if there was something missing in the narrative (of course, there's also the possibility that the existing print is really incomplete). However, "Der Student Von Prag" is a very interesting early attempt at a complex tale of horror and suspense in film that, while inferior to what other filmmakers were doing at the time, left a powerful impression in history.

As the direct predecessor of the German expressionist movement, it's hard to deny the enormous importance that "Der Student Von Prag" has in the history of German cinema, probably in the history of cinema in general. It may look dated even for its time, but considering the limited resources its director had, it's truly better than most films from that era. As the movie that started Paul Wegener's career, and with that German expressionism, "Der Student Von Prag" is a must see for everyone interested in this slice of film history. 7/10

Those engaging the movie camera so early in the century must have figured out some of its potential very early on. This is a good story of a playboy type who needs money and inadvertently sells his soul to Satan for a lot of money. Unfortunately, the soul is his double and he must confront him frequently, tearing his life apart. There are some wonderful scenes with people fading out and, of course, the scenes when the two are on the stage at the same time. The middle part is a bit dull, but the Faustian story is always in the minds of the viewer. One thing I have to mention is the general unattractiveness of the people in the movie. Also, they pretty much shied away from much action which would have at least given some life to the thing. I first was made aware of this movie about 25 years ago and have finally been able to see it. I was not disappointed.

I watched Alpha's DVD of this, which was only about forty-one minutes long. I don't know if it was missing scenes, or run at a faster speed, or what, to account for the difference from the running time IMDb has. As with Alpha's DVD of the remake, I didn't particularly care for the musical score they'd added. I think it's possible they also missed some of the intertitles; one of the other users mentions something Balduin says after his reflection is taken that wasn't in the copy I viewed.

A renowned fencer asks a man named Scapinelli to procure him a winning lottery ticket, or a woman with a large dowry. The opening credits indicate Scapinelli is a sorcerer; he isn't used much in this film, and we don't know really anything about him when we first meet him, or what relationship Balduin has with him. In the remake, Balduin doesn't ask for those things, just wishes for a rich woman (not expecting the wish to come true), and Scapinelli promises to deliver.

A rich woman who is riding horses with her fiancé (also her first cousin) falls off her horse into a body of water, and Balduin saves her. In the remake, it's clear that Scapinelli guides her horse to Balduin and then causes the horse to act wildly, until Balduin scoops her off it. Here, it's unclear that Scapinelli had anything to do with it.

There are many scenes here that are reproduced in the sequel. Possibly even some of the same camera shots are copied.

The ending is not as powerful as the ending of the sequel. Still, this was interesting to watch and at the price of Alpha's DVDs, a bargain. Perhaps a better edition will come out sometime in the future.

There are hints of Expressionism on display in Germany's August 1913 "The Student of Prague." Because this was the first motion picture exemplifying an aesthetic found in later Continental movies, historians label "The Student of Prague" as the first Expressionist film. It certainly qualifies as Germany's first art movie.

Based on Edgar Allen Poe's short story "William Wilson," "The Student of Prague" contains several expressionistic features. Its set lighting, especially in the card-playing sequence, where the actors are highlighted at the table while the background is completely dark, was unique in 1913. This contrasting light/dark Chiaroscuro lighting would become a trademark in future German Expressionism films.

Also, the story lends itself to an expressionistic idea: a financially struggling student unwittingly accepts money for what turns out to be a soulless Doppelgänger (a mirror image of lead actor Paul Wegener, the student). Cinematographer Guido Seeber was able to create the double image within a single frame seamlessly, using the special effects split screen to convince his audience the witnessing of a real spiritual being whose ultimate existence is to ruin the student's life.

The director, Stellan Rye, who died early in World War One (November 1914) in a prisoner of war camp, used the landmarks of Prague to make his fantasy tale more believable, another Expressionist imprint. Lastly, the German obsession with traits that are ripe for expressionistic examination, narcissism and greed leading to ultimate destruction, are all addressed here as well as future German classics such as "The Cabinet of Dr. Caligari (1921)," " Nosferatu (1922)," and "Metropolis (1927)."

"The Student of Prague" is an early feature-length horror drama or, rather, it is an "autorenfilm" (i.e. an author's film). It's a piece of a movement of many movements that tried to lend cultural respectability to cinema, or just make a profit, by adapting literature or theatre onto the screen. Fortunately, the story of this book with moving pictures is good. Using Alfred de Musset's poem and a story by Edgar Allen Poe, it centers on a doppelgänger theme.

Unfortunately, the most cinematic this film gets is the double exposure effects to make Paul Wegener appear twice within scenes. Guido Seeber was a special effects wizard for his day, but he's not very good at positioning the camera or moving it. Film scholar Leon Hunt (printed in "Early Cinema: Space, Frame, Narrative"), however, has made an interesting analysis on this film using framing to amplify the doubles theme: characters being split by left/right, near/far and frontal/diagonal framing of characters and shots. Regardless, the film mostly consists of extended long shots from a fixed position, which is noticeably primitive. Worse is the lack of editing; there's very little scene dissection and scenes linger. None of this is unusual for 1913, but there were more advanced pictures in this respect around the same time, including the better parts of "Atlantis" (August Blom, 1913), "Twilight of a Woman's Soul" (Yevgeni Bauer, 1913) and the short films of D.W. Griffith.

An expanded universal film vocabulary by 1926 would allow for a superior remake. Furthermore, the remake has a reason for the Lyduschka character--other than being an occasional troublemaker and spectator surrogate. Here, the obtrusively acted gypsy lurks around, seemingly, with a cloak of invisibility. I know their world is silent to me, but I assume, with their lips moving and such, that their world would not be silent to them, so how can Lyduschka leer over others' shoulders and not be noticed?

Nevertheless, this is one of the most interesting early films conceptually. Wegener, who seems to have been the primary mind behind it, in addition to playing the lead, would later play the title role and co-direct "The Golem" in 1920--helping to further inaugurate a dark, supernatural thread in German silent cinema.

(Note: The first version I viewed was about an hour long (surely not quite complete) and was in poor condition, with faces bleached at times and such. I'm not sure who was the distributor. I've also since seen the Alpha DVD, which, at 41 minutes, is missing footage present in the aforementioned print and also has fewer and very different title cards, but is visually not as bad. The repetitive score is best muted, though.)