O Tigre da Índia

I was wary of purchasing Fantoma's 2-Disc Set of "Fritz Lang's Indian Epic" after being somewhat let down by the 1921 Silent original (co-scripted by Lang himself) and also its less-than-stellar reputation. For this reason, when the second part of the saga turned up on Italian TV a couple of years ago, I decided to check it out just the same so as to get an inkling of what to expect! I recall thinking it pretty kitschy and unworthy of Lang's enormous talent, but Fantoma's sale (through their website) of their entire DVD catalog a few months back made it an irresistible acquisition! Well, having now watched the entire saga (with dialogue and in color, as opposed to the rather static Silent version directed by Joe May - although hearing the Indian-garbed characters talking in German took some getting used to), I was pleasantly surprised by how genuinely engaging and sheerly enjoyable it all was! Though it was sold as an epic production (to the point of concluding ESCHNAPUR with the promise that Part II would feature greater thrills and even more spectacle) at a time when such films were all the rage, the saga was actually a pretty modest undertaking by eclectic (and prolific) German producer Artur Brauner. Despite the two films' exotic, handsome look (not least in the provocative dances of Debra Paget), the budgetary constraints were painfully obvious in the special effects department, especially the hilarious appearance of a 'ropey' cobra which is intended to 'test' (the scantily-clad) Miss Paget's faithfulness to the Maharajah!! All in all, even if these films hardly constitute Lang's greatest work (though he harbored an evident affection throughout his life for this particular tale, which was originally conceived by his former wife Thea von Harbou), they have great - and enduring - appeal for aficionados of old-fashioned, serial-like adventure stories tinged with romance and mysticism.

Even so, while I don't subscribe to that school of thought myself, there are some film critics (Tom Gunning, Jean Douchet and Pierre Rissient among them) who think very highly of Lang's Indian diptych - the first considering it one of Lang's towering achievements and the last two numbering it among the ten greatest films of all time!!

Fritz Lang's last American work " beyond a reasonable doubt" was a commercial failure and it was panned at the time -nowadays ,and mainly in Europe ,critics are inclined to reverse their opinions.Actually "beyond a reasonable doubt " could easily be "remade" (God preserve us!) today because its screenplay with the unexpected final twist is trendy(1) .Afterward,Lang returned to Germany and began to film what was an old plan of his (it was filmed ,but by other directors),written by his ex-wife Thea Von Harbou.

The gap between "Der Tiger von Eschnapur" and "beyond a reasonable doubt" (and "human desire" "while the city sleeps" "clash by night" "the big heat" etc) seems so wide that a lot of people did not recognize "their " Fritz Lang.One could answer them that ,already in the mid-fifties ,Lang had adapted for the screen "Moonfleet" ,his first color experiment with startling results .And "Moonfleet" too did not seem to belong to Lang's canon."Moonfleet " was a tour de force because it was a whole story seen through a child's eye.Something magic was born ,and it's this magic we find again in "Der Tiger von Eschnapur".

"Der Tiger von Eschnapur" is a 4 million marks movie and the most accessible of all Lang's works:it can appeal to a child as much as to a professor .At first sight,it appears as an adventure yarn ,close to comic strip ,some kind of "Fritz Lang and the temple of doom" ,but a director like him cannot be brought down to only that.

"Der Tiger von Eschnapur" is a visual splendor ,with an unusually inventive use of color,which is not unlike his British peer Michael Powell (Black orchid,thief of Bagdad).Lang was an architect ,and it's impossible not to feel it,here more than in his entire American period. It's no coincidence if his hero (Henri Mercier/Harald Berger) is an architect too;they are always holding and studying plans .Lang's camera perfectly captures the space it describes .Mercier (Paul Hubschmid)is often filmed in high angle shot,in the huge palace of the Maharajah,in the tiger pit ,or later,in the second part ,in the dungeon where he's imprisoned.Actually,and it's obvious,it takes us back to Lang's German silent era ,particularly "der müde Tod" "die Niebelungen" and "Metropolis".

"Der Tiger von Eschnapur" is essentially a movie of exposition:some scenes which seem overlong (Paget's dance),irrelevant(the lepers ) are actually necessary to prepare the stage for part two.And this leads us to one of Lang's permanent features:the coexistence of two worlds.

Behind the lavishly furnished palace,the sumptuous clothes,the sparkling jewels ,there's another world beneath.The scene when Mercier meets the lepers scrawling on the ground ,and in a simpler but no less harrowing ,Baharani's blood seeping out of the basket are hints at a darker side of the luminous magic world of Chandra.

There's a lot to say about "der Tiger von Eschapur" :the flight through the desert recalls sometimes Henri -Georges Clouzot's "Manon" (1949),as Mercier's madness breaks out and he begins to fire at the sun.

"Der Tiger von Eschnapur" is a must.

(1) it was finally remade and as expected it was a disaster

Although it's rarely remembered as fondly as Metropolis or M, or even the numerous B-movies he made in the US, this picture represents an exceptional return to form for director Fritz Lang. At last, after years of slumming it with little pictures in Hollywood's big pond, The Tiger of Eschnapur reunites him with the pure and unbridled sense of adventure and the grandiose splendour which characterises his earliest pictures.

Lang was famously not a fan of widescreen with which his latest American pictures were shot, and here we see just how well he could use the old fullscreen format. Depth is such an important aspect in his shots, with vast empty spaces conveyed through a downward angle that shows the floor or the ground stretching out before us, such as that shot of the deserted village during the "hour of the tiger". Much of the movement is in depth rather than across the screen, with business at the sides of the frame to create a tunnel effect. Lang, a former architecture student must have also been delighted at all the breathtaking Indian buildings and atmospheric studio recreations he gets to play with here. As usual with Lang, his characters appear trapped within the spaces they inhabit, with claustrophobic shot compositions and now even colour schemes that make people seem one with the background. There's a great and rather comical shot where the Maharajah is leaning against a pillar, in which the shape and style of his outfit mean he looks like a pillar himself. The fact that most of these rooms are real 360-degree spaces rather than backless sets also gives Lang a real advantage. Notice how in Debra Paget's lavish quarters in the gold birdcage scene, even the windows look out onto a high wall. Lang creates an impression of a palace of endless passages and no exits. It's this slightly nightmarish vision which really drives the adventure along.

With the exception of Debra Paget, who had a handful of prominent Hollywood roles over the previous decade, the cast is mainly made up of Europeans who will be unfamiliar to most in an English-speaking audience. Lead man Paul Hubschmid is not a very interesting actor, but at least he underplays his performance – far preferable to awkward hamming. Ms Paget herself is not really exceptional either, but she does prove herself to be a superlative and hypnotic dancer. The real standout acting-wise however is Walter Reyer, who portrays the Maharajah as calmly authoritative, with just a hint of madness.

One final point – fans of the Indiana Jones movies may find themselves recognising a few sights and scenes that remind them of stuff from The Temple of Doom. While a lot of Temple of Doom's plot comes from an older Hollywood movie called Gunga Din (1939), Fritz Lang's Indian diptych seem to have given Spielberg's picture much of its spirit. This is a comic book vision at India, barely realistic, but filled with a sense of both fun and genuine menace. Forget about Lang's reputation as a dark and cynical purveyor of film noir. Although he never got the recognition he deserved at the time, with his childlike sense of adventure and breathtaking imagery, when given his creative freedom he could be the Steven Spielberg of his era.

Harold Berger is an architect from Germany who has arrived to India to build a temple for Maharahaja Chandra.Then he meets a dancer called Seetha who becomes his destiny.He saves her from a tiger.The only problem is that Seetha is promised to the Maharahaja.Those two men become the worst enemies.Der Tiger von Eschnapur (1959) is the first part of Fritz Lang's Indian epic.It's a mighty entertaining movie from the great German director.Debra Paget does great work as the dancer.The exotic dance she does before the enormous female idol is quite amazing.Paul Hubschmid is terrific as Harold.Walter Reyer is great as Chandra.Harold's sister Irene Rhode is played by Sabine Bethmann and her husband Walter by Claus Holm.Luciana Palizzi portrays Baharani.René Deltgen plays Prince Ramigani, who wants to seize the throne from his brother.This movie still works, after 50 years since its making.The Irish tune that's heard in the movie sounds beautiful.The movie contains many good scenes.In one of them Seetha is being captured by Prince Ramigani and nearly gets raped by his men.It's pretty horrifying when Harold witnesses the leper colony.At the end there are some thrilling moments when the lovers are being chased and they get in the middle of a sandstorm.To be continued...

In Schnapur , there rules a powerful Maharajah called Chandra : Walter Reyel who falls in love for a beautiful temple-dancer : Debra Paget , who schemes to marry her despite fierce opposition from factions within his own court . But all his wealth and power has not prevented his sweetheart has a romance with an architect : Paul Christian . Both of whom flee from Eschnapur but are pursued by the Maharajah's soldiers . This sparks a coup of state which is eventually put down . The plot expands to build a huge tomb to imprison the girl who betrayed him but things go awry.

Pretty good movie with huge budget for the time , colorful cinematography , luxurious palaces as well as spectacular outdoors . It deals with a moving loving triangle triggering the Maharajah's vengeful ire and in the midst there are several fights , escapes , snakes , tigers and the Goddess Shiva . Here stands out the gorgeous Debra Paget who performs spectacular and erotic dances . It packs an emotive and thrilling musical score by from Gerhard Becker and Michel Michelet . Glamorous photography by Richard Angst , shot on location in India and in German studios , though being necessary a perfect remastering , that is why the film copy is washed-out . This is a remake from the silent original also directed by Fritz Lang with Conrad Veidt , Paul Ritter , and Mia May . This ¨Tiger of Schanapur¨ is the first part , being followed by a second installment titled ¨The Indian tomb¨ . Both of them were merged for US as ¨Journey to the Lost City¨ delivered by American International Pictures , it results to be a poorly edited hybrid of the two Lang movies.

The motion picture scripted by Thea Von Harbou , Lang's wife , was lavishly produced by Arthur Brauner . And it was well directed by Fritz Lang who also made another classic adventure movie : ¨Moonfleet¨ . Lang directed various prestigious silent movies as ¨Metrópolis¨ , ¨Woman in the moon¨ , ¨Doctor Mabuse¨ , ¨Spies¨ , ¨Spiders¨ , ¨Nibelungs¨ ; noir films : ¨Beyond a reasonable doubt¨, ¨While city sleeps¨ , ¨The big heat¨ , ¨Clash night¨ ; Drama : ¨Woman in the Window¨ , ¨Human Desire¨ , ¨Scarlet Street¨ , ¨Fury¨ ; Western : ¨Rancho notorious¨ , ¨Western Unión¨ , ¨Revenge of Frank James¨.