Les mains d'Orlac

Interesting and well made German silent version of Maurice Renard's novel "Les Mains d'Orlac" from the same folks behind the highly regarded expressionist classic THE CABINET OF DR. CALIGARI (1920). Conrad Veidt gives an outstanding, creepy and memorable dramatic performance as the tormented Orlac, a famous pianist whose hands are replaced by those of an executed thief and murderer after a train accident. He soon begins to think he's not only received a maniac's hands, but also his desire to commit crimes. The cavernous and sparsely decorated interiors as well as the typically exaggerated performances often give this the feel of a theatrical production, and while the movie is a little overlong and slow-going (definitely requires a more patient type of viewer to appreciate it), it's still worthwhile for Veidt's amazing performance, some nice visuals and a surprise twist ending. I also need to point out that the Kino DVD of the film runs 110 minutes, though it is listed here as running just 98. Bonus features on the disc include scene comparisons of domestic and international cuts, excerpts of Renard's Novel, an essay by author John Soister, a trailer and an image gallery.

The same tale would later be the basis for 1935's MAD LOVE (starring the inimitable Peter Lorre) and 1960's THE HANDS OF ORLAC (starring Mel Ferrer, and also with supporting turns from Christopher Lee and Donald Pleasence), as well as the uncredited basis for 1962's HANDS OF A STRANGER and several other films.

Flirting with a (then) science fictional theme of body part transplantation, the film explores the feelings of a concert pianist, who having lost his hands in a train wreck, receives a new pair of hands that belonged to an executed murderer. Austrian director Robert Weine, who created the landmark 'The Cabinet of Dr. Caligari' (1919) here reunites with and directs its star, Conrad Veidt, as the tormented pianist Paul Orlac.

The camera focuses on Veidt's many moods and reactions to his plight -- his hands are not capable of his concert abilities, and he feels that they are taking him over with thoughts and deeds of crime and murder. He does an outstanding job, but too much of the film is slowly paced. From the beginning extended train crash rescue, on through scene after scene of Orlac's, his wife's and the maid's over the top Expressionistic gesturing, the scenes seem to go on too long.

This slow pace is exaggerated by the lack of camera movement (everything is mostly wide shots with little tracking), the wonderfully and effectively spooky new musical score (on the KINO 2008 version), that sometimes lacks verve and variety, as well as the extensive time spent on the actors' Expressionist movements.

The film certainly has its high points. It's great to see an entire film shot in shadows and low light, all with Gothic sets. This is great German Expressionism. If you can relax and just go with the pace of the film, you can really enjoy the acting of Conrad Veidt-- whose hands keep getting creepier and scarier.

If it were cut to about sixty minutes to pick up the pace, it would be easier to enjoy and to see the great care that went into its creation and execution.

I'll have to give it a six.

This is not a great movie, I admit. Certainly the acting is bizarre (though often moving) and the rhythm takes getting used to. But I thought I would put in a good word based on a recent viewing experience. I am not rating it high but I really enjoyed it a lot.

6 or 7 years ago I went on a Conrad Veidt spree and bought copies of some his silents from an ebay seller/devotee. The quality varied and I recall that he particularly apologized for this item, which was barely viewable. All you could really see was Veidt's face... The other night TCM showed the Kino restoration and I sat down to see the film "for real." It was a pleasure to be able to take in the wonderful decors and costumes, and to get a relatively coherent version of the plot. The train wreck scene is stirring. And Veidt's face, again, as he progresses from sensitive soul to tormented monstrosity... In short, it was very rewarding.

Director Robert Wiene and star Conrad Veidt reteam for this Austrian horror suspense drama. Veidt plays Paul Orlac, a famous concert pianist who gets severely injured in a train crash. Dr. Serral (Hans Homma) tries an experimental technique wherein he grafts the hands of a dead man onto Orlac's arms, and the surgery is a success, but afterward, when Orlac learns that the hands belonged to an executed murderer, he starts to lose his mind, believing that the hands are commanding him to kill again. Also featuring Alexandra Sorina, Fritz Strassny, Paul Askonas, Carmen Cartellieri, and Fritz Kortner.

Wiene continues to use Expressionistic techniques and visual schemes, but they are toned down, and used to accentuate the narrative rather than overwhelming the proceedings. The film marks an important step in the transition from purely arthouse Expressionism to the techniques used in the visual language of film noir. Veidt gives an intense, tortured performance, although Kortner pales in comparison to the later remake Mad Love and Peter Lorre's take on the character. Most sources list this as being roughly 90 minutes, but the version I watched was 113 minutes. I felt that could have been trimmed down a bit, as some scenes dragged. That being said, I enjoyed the film quite a bit, and the cinematography was beautiful.

One of the real classics of Expressionism -- even the Americans think so, to judge from the fact that they've remade it (badly) several times. To be sure, the premise won't stand examination (but then, it's horror), and a modern viewer may find it hard to adjust to the actors' Expressionist grimacing. However, the movie is consistently suspenseful due to its heavy dark atmosphere and communication of mental torment. The fear of one's own body is a dynamite theme if it's as well presented as it is here.