Les Trois Lumières

Der Mude Tod/Destiny(1921) was the film where Fritz Lang began sharpening his trademarks of emotional and visual motifs. Focuses on themes Fritz Lang obsessed over in film and life. For instance, the conflict between love and death is faced by many protagonists(male or female) in numerous Fritz Lang pics. From Destiny(1921) to the director's final film, 1000 Eyes of Dr. Mabuse(1960), Fritz Lang was occupied in his work by philosophies on death, life, love, notion of the after life, and redemption. The visual brilliance of Lang's later Silent films can be traced to this feature.

Figure of death is a compelling and sympathetic Lang character whose task is not an easy one. The character of death in Destiny(1921) does what is required of him without any subjective bias on the people he has to collect. Bernhard Goetzke puts on screen with his performance the most fascinating portrayal of death in a motion picture. The figure of death in Destiny(1921) is a lonely and sad figure whose wish is to do something else. The title of the film refers to death's inability to move outside of his destiny.

Der Mude Tod/Destiny(1921) was influential to directors of the silent and sound eras. Luis Bunuel was impressed by its amazing visual and sad qualities(thus the film became an influential force in most of Bunuel's work). It wouldn't be surprising that Destiny(1921) also influenced Ingmar Bergman especially with The Seventh Seal(1957). Other filmmakers influenced includes Enzo G.Castellari, Mario Bava, Roger Corman, and Terry Gilliam. The film's influences can be looked at in films as Lisa and the Devil(1972), Masque of the Red Death(1964), Keoma(1976), and Brazil(1985).

Candleroom sequence is a moment of floating beauty and surreal grace. The candleroom is an extraordinary visual set with a great deal of imagination put into it. The Candleroom is symbolic of the place where the Grim reaper watches over to see whose candle(life) will be put out. An excellent effect involves a candle glow dissolving into a baby. The Candleroom sequence has some terrific visual effects that blow away the CGI of today's motion pictures.

Contains a slateful of extraordinary visuals typical of a German Expressionistic film of that time. In films such as Destiny(1921), Fritz Lang used an aura of expressionistic imagery to display different emotions from his main characters. Visual use of the camera reaches its climatic level during the three tales. An example of why silent films where for the most part a great visual experience compared to many sound pictures. Destiny(1921) matches the astonishing imagery of Die Nibelungen(1924), Metropolis(1927), and Dr. Mabuse Der Spieler(1922) with excellent visuals of its own.

Out of Sympathy for a woman whose beloved died, the grim reaper gives her a chance to save one of three lives as exchange of return of beloved. Tale one takes place in Persia with forbidden love affair between Arab woman and Western adventurer. Tragic tale that benefits from director's imaginary use of Persian locations. The female protagonist attempts to save the adventurer to no avail. Least interesting of the three tales and most slow moving.

Second tale involves a love triangle with the city of Venice as the story's backdrop. The woman of this tale is promised to a man of well known prestige who she doesn't love. Her love is to someone who is not popular and the opposite of her finace. Includes an ingenious death plot that is similar to a situation in Marquis De Sade story, ERNESTINE:A SWEDISH TALE. Her plans ends up in a manner that the woman least hoped for.

The Imperial China tale is the third and best of the three tales. Magnificent camera effects gives it a mythical quality that creates a feel for the spectacle. An astonishing effect and maybe the director's most amazing effect in his silent films involves the creation by a magician of an army of toy sized soldiers. Deals with the Emperor of China who wants the magician's female assistent who is loved by the male assistent. Magical feeling of the amazing and bizarre is what makes the third tale something fantastic.

"Love is Stronger than death" is a good title for a potential documentary of the life and film works of Fritz Lang. More than any other line in a Fritz Lang film, "Love is Stronger than death" represents a summary of Fritz Lang's filmography. "Love is Stronger than death" deals with Fritz Lang's ideals about metaphysical love that goes beyond the confines of the mortal world. Destiny(1921) deals with this notion with use of abstract and metaphysical imagery. "Love is Stronger than death" can also be applied to the films of Mario Bava because of his similar fatalistic take on the topic of love.

After watching it for the first time, I consider Destiny(1921) among the director's finest silent films. An act of courage is performed by the heroine thus making her a tragic figure. Acting from the cast shines with moments of expressionistic beauty. Magificently envisioned by a master of expressionistic filmmaking. Destiny(1921) shows Fritz Lang's growth as an artist and his capabilites to become a legendary film director.

I don't know why, but one of my favorite film genres is German Expressionism. Like American film noir, it creates a dark vision of human existence from which a flowering of truth unfolds. And this truth is not what the protagonist wants to hear and comes at a great price. I love this stuff.

I recently had the opportunity to view "Der Müde Tod" theatrically, and it was pure heaven. Billed as Fritz Lang's first big hit, it's easy to see why. Filled with lavish spectacle and special effects, the film still maintains it's human level. And such a story: a young newlywed husband is taken by Death on his honeymoon. As in a fairytale, the bride is able to confront Death and beg for you her husbands return. Death will grant her this if she can once cheat him of one who is about to die. She is given three chances to pull off this trick, which transport her to Persia, Venice and China. Death, her husband and herself are characters in each of these fanciful locales. All this leads back to a gripping finale in Germany where it all began.

As far as silent movies go, this is one of the best.

I really was impressed by Fritz Lang's "Destiny". It seemed like the pictorialization of a timeless German fable rather than a figment of Lang's imagination. The story of a young woman in medieval times whose beloved fiancée is taken by death while they travel through a small village, it is timelessly haunting even now. It must have really hit people hard in 1921 Germany, three years after the death and destruction of WWI. The framing story is set around three mini-stories set in ancient Persia, Renaissance Venice and China. These stories are well done and diverting, but also a bit distracting from the poignant main story which was what I really responded to. Lang seemed totally assured and powerful as a filmmaker even in 1921. Lil Dagover was affecting as the heroine and Bernhard Goetzke gave a powerful and moving performance as Death. He was also great in Joe May's "The Indian Tomb" released in 1921 also. I highly recommend "Destiny" or "Der Mude Tod" to anyone at all interested in silent film or the career of Fritz Lang.

Directed by Fritz Lang, best known for his masterpiece "M", "Der Mude Tod" stands as probably his best early work. A silent classic, it tells the story of a young couple in a small German village and their encounter with the personification of death in a form of mysterious stranger that appears in a tavern and sits to their table indicating that the time is up for the young husband. After the death of her beloved the young woman is so desperate that she finally manages to enter the kingdom of dead and stand face to face with personification of Death himself (a major influence on Ingmar Bergman's Death figure in the Seventh Seal later) and ask him to give her beloved back to her. The Death finally yields to her persistence and agrees to deliver back the life of her husband, but only if she manages to find any person that would give up his life in exchange. She desperatly tries to convince various people to give up, beginning from a very old man and coming as far as Asylum for mentally ill but all in vain, for how bad the life of poor guys is, they are still very much reluctant to give it up, but it's only the beginning, the center of the film being three different stories of lost love, told by Death to the young woman, similar to her own, but set in three different exotic locations such as: China, Venice and Turkey.

A really amazing silent film, very romantic story but at the same time a moral tale with philosophical message in it. A must see. 10/10

In a small village somewhere in time, a stranger lease for ninety-nine years a field annex to the cemetery and surround it with a very high wall without gate. When a young couple of travelers stop in a local tavern for resting, the fiancé vanishes and her fiancée seeks him and meets his spirit entering through the wall. She finds an entrance and finds that the stranger is actually Death, who is tired of bringing suffering to the world. She begs for the life of her beloved fiancé, and Death proposes her to save one of three lives that are in the end. If she succeeds, Death will bring her lover back to live. The lady becomes a woman in Persia, in Venice and in China, and in all situations she fails to save her respective lover. Death gives her one last chance, if she manages to find within one hour a person in the village that could give up living. When the local hospital is burning in fire, the young woman realizes the only way to stay with her lover.

"Der Müde Tod" is another magnificent fantasy of the genius Fritz Lang. Ingmar Berman was certainly influenced and inspired by this stunning film with his masterpiece "Det Sjunde Inseglet" (a.k.a. "The Seventh Seal"). It is amazing how Fritz Lang was able to generate shadows and special effects with the primitive apparatuses in the incipient cinema. Further, the originality of his screenplays is absolutely impressive. "Der Müde Tod" shows wonderful fantasy about the duel between love and death, with a beautiful message in the end, proving that love is stronger than death. My admiration for this master increases after watching each of his movies. My vote is nine.

Title (Brazil): "A Morte Cansada" ("The Tired Death")