Les Nibelungen : La Vengeance de Kriemhild

"Die Nibelungen" (1924), Lang's five-hour, two-part epic is quickly becoming my quintessential experience with Lang. The two films are all-encompassing: the first plays more like a fairytale (that translates well to filmic special effects), the latter more like "Hamlet" and its ilk. Siegfried is necessarily blank as a character, in fact he seems more like a characterization of virtue than flesh and bone; Kriemhild, too, is like white space in the first film, but is transformed by revengeful hate to a driven character of great psychological power. The second film is thus far more internal in its drama.

Not to say it wouldn't have some of the most amazing action sequences ever put to film. In fact, the riding of Etzel (Attila) and his men across the valley, the siege, the ensuing battle and climax are so well-done and full of so much real danger that the effect is dumbfounding. Where in modern cinema can we find risk in this manner? Herzog's "Aguirre, der Zorn Gottes" (1972) or "Fitzcarraldo" (1982) don't really fit the classification.

Indeed, the climatic fire is so visually violent that not even Kurosawa topped it in "Ran" (1985). I was breathless in awe and wonder and fear by witnessing it, sure that a huge rafter would crush the actors.

It's a beauty to behold on Blu-ray. We're lucky to have the restoration on both Region A (Kino) and B (Masters of Cinema series).

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

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.

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 grand opera, this film and its predecessor, "Siegfried", are a little too slow in pace, but the visual treats are unforgettable. It is best to see the two films together, but the sequel is not as good, mainly because there is not very much story left. Most of the time it's just Kriemhild wandering around looking vengeful, but Margarethe Schoen does it so well! The performance of Rudolph Klein-Rogge as Attila the Hun is wildly energetic - he is magnificent. But you can't help thinking why don't they just kill Hagen Tronje and get on with life, especially after he murders the baby. Something to do with Teutonic loyalty apparently.

But who can forget the rabbit-warren Hun village, and all those grubby Huns running about. Of course the film is racist as the Teutons somehow survive against overwhelming numbers of Huns - no wonder Hitler liked this film. "Siegfried" was very fascist too, with the glorious Aryan impregnable and very gorgeous (thanks to Paul Richter). But "Kriemhild's Revenge" lacks the wonderful fantasy sequences of "Siegfried" like the dwarves kingdom and especially that superb dragon fight - but at least here Kriemhild herself gets some balls - she seemed so stupid in "Siegfried".