Das indische Grabmal zweiter Teil - Der Tiger von Eschnapur

The jealous & vindictive Rajah of Bengal continues to manipulate the fates of his three English captives in his mad scheme to punish his faithless wife.

THE Indian TOMB: THE TIGER OF BENGAL is a perfect example of the grand German cinema epics created during the silent era. Berlin film mogul Joe May turned the full resources of his modern 50-acre Maytown studio near Berlin over to the production, using 300 workmen to create the lavish sets necessary to tell such an exotic tale.

May contracted with authoress Thea von Harbou to write the script for THE Indian TOMB, based on her 1917 novella, assigning young Fritz Lang as her co-writer. Lang, who married von Harbou after starting the writing project, desired to direct the films himself, but he was deemed too inexperienced for such an important project by the financiers and May enthusiastically became the director. Furious, Lang left May's employ; it would be more than 35 years before he was able to direct his own Indian TOMB films. (After their divorce, von Harbou became Nazi Germany's official screenwriter; because of his Jewish ancestry, Lang felt it wisest to settle in Los Angeles.)

THE Indian TOMB: THE TIGER OF BENGAL was an artistic triumph, presenting wonderful vistas & sequences to delight the viewer's imagination. The eerie Yard of the Lepers, for instance, with extras sporting real deformities, offers moments of terror & suspense as chilling as anything Hollywood had to offer. Further scenes - the Tiger Arena, the Suspension Bridge - add intricate strokes to the broad canvas which is THE Indian TOMB.

Conrad Veidt is mesmerizing as the troubled Rajah. With large, hypnotic eyes set in a bony face, he seems forever contemplating terrible memories. Veidt gives a measured, stylized performance, moving very slowly and deliberately, almost somnambulistic in his actions. The scene where he suddenly appears masquerading as an androgynous temple deity underscores the subtle sexual ambiguity of his nuanced portrayal.

Today, Conrad Veidt is remembered in America almost entirely for his villainous Major Strasser in CASABLANCA. This is a shame, as there was so much more to his life. Cultured & sophisticated, Veidt was considered to be one of the best (and one of the most handsome) actors in Germany, and he was a tremendous matinée idol in the 1920's. Later, he became courageously outspoken in his anti-Nazi sentiments and he found it safer to relocate to England and eventually to America. In Hollywood, Veidt continued to denounce the evils of the Third Reich. Tragically, he was not to live long enough to see the inevitable defeat of Hitler. Completing only one further film after CASABLANCA, Conrad Veidt died of a heart attack while playing golf on April 3, 1943. He was 50 years old.

Equally intriguing is Bernhard Goetzke in the tiny role of the mysterious, implacable Yogi. Although his role is unfortunately much smaller than in Part One, he is still a worthy henchman to the Rajah. Olaf Fønss as the architect & Mia May (the director's wife) as his courageous fiancée, present a refreshingly middle-aged view of romantic love. Their defiance of the Rajah & desperate flight to escape gives the film its most exciting sequences. (Joe & Mia May would also flee to Hollywood, where, after the end of his directing career, they would eventually operate a popular German restaurant.)

The story was originally presented as a filmed diptych. THE Indian TOMB: THE MISSION OF THE YOGI (1921) precedes THE Indian TOMB: THE TIGER OF BENGAL (1921). A box office disappointment in Germany & a failure in America, the films quickly passed into obscurity. However, down through the decades their reputations scored a renaissance. After much painstaking effort both films were archivally restored to their original luster. They have been released together on home video & DVD.

If only for the striking performance of Conrad Veidt the films would be significant. But their epic proportions & high adventure set in a remarkable culture are a window into the very best which German cinema had to offer in the 1920's.

Despite the 3.5 hr running time for the pair of films that make up The Indian Tomb, the story moves along pretty good. There's very little hammy acting (non-Hollywood film after all) and reasonable adventure/action, despite the fixed camera angles (i.e., this is not The Matrix). Some pretty epic sets, real tigers, and a fairly well-done score (at least in the 2000 DVD release. B+W, with many scenes tinted

"But be warned; Prince - only God has a right to vengeance!" - Ramigani

This is the second part

"The Indian Tomb" in two parts 1921 Mysteries of India, Part I: Truth Mysteries of India, Part II: Above All Law

It is based on the 1918 novel Das indische Grabmal by Thea von Harbou (27 December 1888 - 1 July 1954). You remember Thea the author of Metropolis (1927).

This silent movie scenario by Fritz Lang and Thea von Harbou and directed by Joe May. Filmed in May-Film-Gelände, Woltersdorf bei Erkner, Brandenburg, Germany.

Originally titled "Das indische Grabmal zweiter Teil - Der Tiger von Eschnapur"

"The Indian Tomb," asks in all ages of the mysterious magic forces that are special to the Indian penitents -- Yogis. Laws of nature do not apply to the Yogi in the ecstasy of willpower, and it is said that he can even conquer death. The Indian penitent aspires to achieve nirvana, the state of complete surrender. To achieve the highest purity by dead-ending all senses, the Yogis have themselves buried alive. If the Yogi is revived from this sleep of death, he must fulfill his awakener's deepest wish, to convince him of the futility of all worldly desires.

Yep Prince Ayan III, The Maharajah of Bengal (Conrad Veidt) does the deed. With a little help, he revives a Yogi (Bernhard Goetzke) and then tells the yogi where to go.

I cannot tell the plot without giving away the suspense; so fade from this review to the movie. Now watch as it unfolds.

I can say at a pivotal moment(s) of understanding the background music turns from innocuous to Wagnerian.

Just a side note the movie is filled with learned men without libraries with one exception of Professor Leyden (Hermann Picha), the Orientalist. We get to see all kinds of gadgets in the execution of the story such as a wireless transmitter, the latest aircraft, and more. If you like to see Leni Riefenstahl in her mountain movies, you will not be disappointed in this one.

It is over way too soon.