Mandrágora

The title refers to the German word for Mandrake root. A disturbing and noir-like horror movie that viewers will either love or hate, it has a queasy quality with elements of camp that will either annoy or delight.

Charismatic actor and director Erich von Stroheim, who held his own in Sunset Boulevard, doesn't disappoint here.

Karl Boehm, the wide-eyed, eerily handsome actor who rose to stardom in the British cult horror classic Peeping Tom, is also very watchable.

Context is everything. This is an intriguing horror film that will reward a second viewing.

I had watched the best-regarded (if still rare) 1928 Silent version of this much-filmed German melodrama with Sci-Fi undertones during a previous Halloween challenge; while I recall precious little of that one at this juncture, having re-read my review of it, I know the remake features a different conclusion – as well as a different method of creation for the titular figure (the more realistic one of artificial insemination here instead of her emanating from the mandrake root, though the plant remains much in evidence throughout even now). Still, offhand, I would say that both films are equally effective – with the lead roles being especially well-filled: Erich von Stroheim and Hildegarde Knef (at her loveliest) in this adaptation replacing Paul Wegener and Brigitte Helm respectively in the earlier movie; leading the supporting cast, however, is Karl Boehm (who would excel in his later genre role in the British-made PEEPING TOM [1959]). As I said, events are not exactly fantastic – indeed, leaning more towards romance in the vein of two other much-filmed and horror-tinged classics, namely "The Picture Of Dorian Gray" and "Trilby" (often filmed as SVENGALI and whose 1954 British version, incidentally, also had Knef as its leading lady!) – but, then, Stroheim does keep a caged ape (which comes to no use other than as an added bizarre touch!) in his laboratory and, in any case, the result is no less stylish for that; all in all, this is ample proof that the Germans did not lose their touch for the Expressionistic with the advent of WWII! The premise, too, of a femme fatale turning the heads of several men, all of whom know one another and naturally fall out over her, is interesting for its distinct film noir trappings – in this case, extending to the rethought doom-laden climax that includes a murder and subsequent execution steeped in irony.

A dull German thriller with elements of science fiction woven into its femme fatale storyline. Hildegard Knef is the test-tube spawn of a prostitute and executed killer created by an ageing Erich von Stroheim who apparently has the power to beguile every man she meets. A young Karlheinz Bohm plays the young hero who fights his desire for her without passion or conviction - although, to be fair, the pedestrian script gives him little to work with.

This film is a quiet, Gothic kind of psychological film, and is interesting and well enough made so as to be watchable in a poorly dubbed US version. I found the actress in the title role to be strangely compelling, and convincingly portrayed sexual attraction with slightly disturbing aspects.

Eric Von Stroheim plays a perverted scientist, which is interesting because Von Stroheim is said to have induced an actual orgy among actors in order to film an orgy scene in one of the silent movies he directed. Stroheim, in his famous roles in Grand Illusion and Sunset Boulevard, was adept at playing formerly great and tragically flawed characters: this role is an interesting variation on this theme.

This film was made in 1952, in Germany, and is concerned with scientist who collects semen from an executed criminal and uses it to impregnate a prostitute; the offspring of this union is the title character. This movie would have had a strong resonance upon its original audience, just 7 years after the end of the Nazi period.

The Nazis, besides having many kinky sexual fetishes, instigated some strange 'breeding' programs designed to induce blonde-haired and blue-eyed people to reproduce. There were hostels, where these blonde and blue-eyed women could stay during their pregnancy, and where they and their offspring could live afterwords, free of charge and enjoying a comfortable lifestyle.

Alraune is the German word for the mandrake root. In folk legend, the mandrake grew beneath the hanged man, and it was the legendary discharge of semen from a hanged man which supposedly caused this plant to grow. In addition, there was another legend in which the mandrake, applied to a woman's nether regions, could instigate a pregnancy, with or without sexual contact from a living man.

This is a slow moving but strangely compelling film, and owes a lot to the beautiful actress in the title role. The subtext is also fascinating.

Unusual horror film pearl with Hildegard Knef and Erich von Stroheim

This German black-and-white film premiered on October 23, 1952 at the Europa-Filmpalast Düsseldorf and is based on the novel (1911) by Hanns Heinz Ewers, which has already been filmed several times. The film was directed by Arthur Maria Rabenalt and produced by, among others, the Carlton Filmgesellschaft, whose producer Günther Stapenhorst, as UFA production manager at the time, supervised the Kästner film adaptation "Emil and the Detectives" (1931), which is still well worth seeing, and a few years later the was supposed to produce the legendary film adaptation of "Im Weißen Rössl" (1960) with Peter Alexander. "Alraune" was shot in the Bavaria film studio Geiselgasteig and on exterior shots in Munich and the surrounding area.

What's it about? A beautiful young woman named Alraune (Hildegard Knef) casts a mysterious spell on all men who lay eyes on her. This is what happens to young Frank Braun (Karlheinz Böhm) and his friends (including the fabulous and very attractive Harry Meyen) when they discover the unknown beauty in Frank's uncle's garden. This Professor Jacob ten Brinken (Erich von Stroheim) is a somewhat strange fellow. And so it gradually turns out that the young woman, whom the old scientist introduces as his daughter, was born in a very bizarre way. This is how the misfortune takes its course. Although Alraune has unusual powers that prove to be very rewarding financially, her magical attraction to men is causing more and more people to fall into ruin, without her longing for her own true love being fulfilled.

This eerily sparkling film gem indulges in expressionism and horror romance and, with its dark atmosphere and great cast, is a real treat for film enthusiasts. Hildegard Knef inspires and convinces as an unearthly beauty. After her return from Hollywood, she made one film after another in those years and was (still) the undisputed superstar of the Federal Republic film industry.

Erich von Stroheim (1885-1957), born in Vienna, had lived in the USA since 1909 and became an important director and film actor there (for example in the Billy Wilder classics "Five Graves to Cairo" (1943) and "Boulevard of Twilight" (1950) fits perfectly into the role of the crazy genius.

Karlheinz Böhm (three years later he would achieve worldwide fame alongside Romy Schneider in the "Sissi" films) and Harry Meyen, who undeservedly never made it that big (a decade later, Romy Schneider's first husband) fit perfectly arrogant charmers who cannot escape the mysterious magic of dangerous beauty.

In a supporting role, Hans Cossy (the actor was the first husband of the woman later known as Vera Brühne, who was to become a defendant in a spectacular murder trial in the early 1960s, which was then made into a film with Corinna Harfouch in the title role) impresses as the coachman Mathieu , who will be remembered for his striking face and his imposing appearance.

This film is very worth seeing. Great actors, an eerie atmosphere, a horror film that was basically invented in Germany in the 1920s, but unfortunately was later made far too rarely. From February 1957 the film was also shown in the USA under the title "Unnatural...The Fruit of Evil". Von Stroheim was still alive, after her phenomenal Broadway success as Ninotschka in the musical "Silk Stockings", Knef was now also a celebrity in the States as HILDEGARDE NEFF. That probably helped to bring the film, which was already five years old at the time, into cinemas.