A Vingança de Kriemhilde

I saw this film last night at a special movie theater showing in Nürnberg, and it was superb. I do have to admit that the original music composition of the cello player and percussion/xylophone player influenced the mood of the film, but the film itself also had force in its portrayal of the tragic Nibelungen saga.

If you are interested in silent films or in the Nibelungenlied, I highly recommend this film. The costumes were fantastic and creative, the sets were opulent and exotic, and the acting was dramatic and breathtaking (as is typical of silent film "tragedies") Unfortunately, I have not seen the first part of this film duo that concerns Siegfried. The story of this second film begins after Siegfried's death, when Kremhild (Gudrun in the Norse versions of the story) begins to plan her revenge against her brothers.

Also, I watched this film in German; I am a native English speaker and have a basic German knowledge. It was difficult to read the ?subtitles (what do you call that in silent films?) at first because of the old style German script, so I advise that if you watch it in German that you make sure you can differentiate your "k's", "f's", and "s's" in the old script. :)

This film portrays revenge on an operatic scale. But do not confuse with Wagner's opera Das Ring des Nibelungen. Although both the film and Wagner's opera are based on related Norse and Icelandic sagas, Wagner devotes attention to Brünnhilde's reaction to the death of Siegfried rather than on Siegfried's widow Gutrune's (i.e. Kriemhilde's) reaction to the murder of the hero. Both the film and the opera are romantic in style. But unlike the 19th century opera, the film has elements of early 20th-century German expressionism. Everything about this film is perfect. The acting is over the top, as it needs to be. The sets are sublime. The crowd scenes are powerful. Imagine a film where the heroine makes Attlla the Hun (Etzel) seem like a reasonable, sympathetic host.

Like the first movie, The Nibelungs: Siegfried, the second part named Kriemhild's Revenge is a fantastic and epic piece with fantastic settings, imagination and acting. I really like from time to time to drown myself in those old movies, that are most imaginative and an art form and nothing less, and in comparison, most of today's movies are exposed for what they are, products of a soulless and unimaginative mass industry that does not attract genius and talent but mediocrity.

Die Nibelungen : Kriemhild's Revenge (1924) :- Brief Review -

Bow down to the First Greatest Dual Epic of the World Cinema, bow down to Master Fritz Lang. Die Nibelungen: Kriemhild's Revenge follows the story of Kriemhild's insane and uncontrollable Revenge after Sigfried's murder and believe me there's no stopping to the visual extravaganza from the beginning to the end. Unlike its predecessor, this one wastes no time in introduction. It gets to the point right on the beginning note from where you don't get a moment to think about anything else for 2 hours. Fritz Lang had saved a lot of content for this one but the biggest achievement of this film is catching the burning tone of insane self destruction within an acceptable revenge. Revenge stories are nothing new but a fine tit for tat, blood for blood in typical forms but Fritz Lang fetched unethical terms and inappropriate outburst to discover a salvation in realistic fantasy world. Kriemhild's Revenge could possibly be a contender for One Of the Greatest Epic Adventure ever made, not because of its grandeur but because of humanly possible techniques of self-blessedness within cinematic boundaries. Even if you exclude its artistic values, you still have a great explosive money making entertainer in hand and that's what the greatness of this film lies. From performances to screenplay to spectacular visuals to unlimited production designing to the impeccable storytelling, Kriemhild's Revenge tops the list in every aspect. What LOTR and Bahubali achieved in 21st Century, Kriemhild's Revenge did it in 1920s only and that too without the help of advanced technology. Words might fall short to explain the glory of this Fritz Lang Classic in today's time but all i can do is bow down to the Legend and his Legendary Magnus Opus. The Greatest work in Larger Than Life Cinema of its time, that's it!

RATING - 8/10*

By - #samthebestest

This second half of Fritz Lang's epic filming of the Nibelungen Saga has many of the same strengths as the first, with memorable characters and interesting, atmospheric settings. This part of the story continues with many of the same characters, but the story itself is of a much different nature. There is less complexity but more action, with the entire focus being on Kriemhild and her inflexible desire for revenge. This part of the story does not have such interesting relationships amongst the characters as did the first part, but instead provides first and foremost an unforgettable portrait of the obsessed Kriemhild.

She, Gunther, and Hagen are now thoroughly defined characters who have chosen where they stand, and so there is not the kind of dramatic uncertainty and tension that the first part held. Instead, there is a more straightforward battle of wills, but with an added wild card in the person of Attila, portrayed memorably and with great energy by Rudolf Klein-Rogge. Attila and the Huns are depicted in a way that most likely has little basis in history, but it is certainly interesting to see the bizarre fashion in which the Huns and their world are portrayed. As events unfold, the developments are not always fully plausible, but the stakes and the pressure on each side steadily rise, building to an intense climax.

What you remember most after the film is over is the remorseless, implacable Kriemhild. With her costume obscuring almost everything else, Margarete Schön portrays the depth of Kriemhild's emotions and determination using only her face and, especially, her eyes. It is about as memorable a portrait as you will find in cinema of the madness and destructive fury of revenge. While "Kriemhild's Revenge", as a whole, does not have the thematic depth of "Siegfried", it succeeds in establishing this central image in a manner not easily forgotten.