| Die Nibelungen | 
| Director: Fritz Lang
Actors: Paul Richter, Margarete Schoen, Theodor Loos, Gertrud Arnold, Hanna Ralph
Studio: Kino Video
Category: DVD
List Price: $39.95
Buy New: $25.95
You Save: $14.00 (35%)
Buy New/Used/Collectible from $23.79
Avg. Customer Rating:   (15 reviews)
Sales Rank: 35466
Format: Black & White, Dvd-video, Full Screen, Silent, Ntsc
Language: German (Original Language)
Rating: Unrated
Media: DVD
Running Time: 291 minutes
Number Of Items: 2
Aspect Ratio: 1.33:1
Shipping Weight (lbs): 0.4
Dimensions (in): 7.5 x 5.4 x 0.9
MPN: 2652
UPC: 738329026523
EAN: 0738329026523
ASIN: B00007CVS6
Release Date: November 19, 2002
Theatrical Release Date: 2002
Availability: Usually ships in 1-2 business days
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| Customer Reviews: Read 10 more reviews...
Now you will hear of wonders told... September 26, 2008
2 out of 2 found this review helpful
If Murnau's FAUST is pure dream-like fantasy, never settling on anything solid but dissolving from one mist-filled, wildly imaginative scene to another, Lang's DIE NIBELUNGEN is a fantasy film that has its feet firmly planted on the ground.
And what a ground it is: the sets, all full-sized (mostly), the miniatures, the outstanding costume design, the in-camera visual effects, the life-sized dragon that actually blasts Paul Richter with fire, all make up an amazing and economic retelling of the medieval epic, The Nibelungenlied. Gottfried Huppertz's original orchestral score has been reconstructed and recorded for this release and it is so good - Wagnerian but without resorting to Wagner - that I'm surprised it never had a life of its own in the concert hall. It's almost as if the images on the screen are an accompaniment to the music itself, rather than the other way around.
This two disc set is great. The cinematography, sharp and clear and real rather than foggy and fantasy-like, really comes out in this restored print. There is some quick and slightly distracting digital cutting and pasting to clean up certain damaged areas, especially in Part II, but this release is more than good enough until a complete restoration hits the shelves in the future.
An epic tale of how a single lie destroys two kingdoms and lays the land to waste, it is surprising that DIE NIBELUNGEN was so popular with Hitler and his brood. But then, like the characters in Part I, they were fully convinced that what they were doing was right. The codes of honor in Part I become liabilities in Part II, and everything goes straight to hell. It is said that SIEGFRIED was Hitler's favorite film; like most corrupt leaders, he never delved deeper into the rest of the story. And as a result, entire kingdoms were laid waste.
A Fantasy masterpiece closely tied to history May 17, 2007
3 out of 3 found this review helpful
Basically, a film version of the 12th century epic poem, The Nibelungenlied. Film scholar Jan-Christopher Horak, in his essay included on this 2 DVD set, states flatly that Fritz Lang's movie, Die Nibelungen, is "pure propaganda." I must assume he means German Nationalist propaganda, as the movie came out in 1924 and the National Socialist Party was still newly instigated, and not yet in power. In fact, at the time the film was in production, Hitler was in jail for his part in the Munich Beer Hall Putsch, writing Mein Kampf, and still virtually unknown to the nation at large. But even then, Germany's Nationalist movement was intent on overturning the Versailles Treaty, which installed the Weimar government, limited Germany's military, as well as her productivity, and left her population to starve paying reparations. If the film is propaganda, it must be for it's take on loyalty.
The two DVD set is beautiful: The transfers are clear and bright, and the cinematography is fantastic. I'd consider this movie worth keeping for both the story, which is a classic tale of love, betrayal and revenge, and the imagery, which hales from an age where film was often treated as fine art, and this film its highest expression. The DVD set is bare bones, though. It has the afore mentioned print documentary and some production stills, but that's about it. Its real appeal is the extra footage, the immaculate transfer, and of course, the epic itself.
My first viewing of Fritz Lang's masterpiece came immediately after reading an English translation of the Twelfth Century epic poem, The Nibelungenlied (or: The Lay of the Nibelung) upon which this movie is based. Both share the same characters and plot line, with the only significant differences being the addition of the dragon slaying scene, only referred to in the book; using Hunnish king Etzel's more recognizable name (to most American audiences, at least) Attila the Hun; and the final scene, which I won't mention for those who have neither read the book, nor seen the movie.
The story is loosely based on real life characters. Both kingdoms did exist. The presence of Attila places the story firmly in the fifth century. The movie adds his departing to sack Rome, and other details of lesser significance, though numerous, not unlike Jackson's treatment of Tolkien's The Lord of the Rings, only less so. To some, it may be difficult to imagine The Burgundians accepting an invitation to visit Kriemhild after she married Attila, as he was a figure of fear to the Goths, and named by them, "The Scourge of God," but they were honor-bound to do so.
The sense in which Die Nibelungen is propaganda is that Germans were meant to identify with the central figures in it, primarily the traditional national hero, Siegfried, his abused widow, Kriemhild, and the Burgundian King Gunther's henchman, Hagen. The "stab in the back," later referred to by Hitler in reference to the 1918 Versailles Treaty, was intended to conjure up visions of Siegfried being run through by Hagen. And perhaps the German people could see themselves in both Siegfried, and Kriemhild. The parallels are plain: Siegfried and Kriemhild are Germany; the stab in the back was the Versailles Treaty imposed at the end of the first world war; Gunther and Hagen are the Weimar Republic and the League of Nations respectively, and the Huns are the foreign powers from which Germany must enlist aid (Russia, Hungary, et al) to obtain revenge.
It is also possible that Lang and Harbou, the writer(s) of the screenplay, intended the audience to identify with the Hagen character, who is a model of loyalty up to and including his death. No doubt many who did, later followed Hitler. Hagen is depicted by both the book and movie as acting strictly out of loyalty to king and country with no regard to himself, or even morality. And extreme loyalty was vaunted as a high virtue by Hitler's followers, as it was to the story's original medieval audience, who considered utter loyalty by a vassal a virtue. However, the honor accorded Hagen was also due to his prowess as a warrior. But given the medieval mindset, the subtext of his honor must be his loyalty to Gunther, as such was his bond of fealty. Hagen's character was not unlike those who, after World War II, refused the ignoble claim that "I was only following orders" to distance themselves from their Fuehrer. In this light, Hagen was not so much bloodthirsty, as angry at the inevitability of having to die due to an irredeemable set of circumstances. But even if one accepts Hagan as a somewhat sympathetic figure, loyal to his king and unflinching in the face of death, the story's sense of loyalty might be somewhat lost on modern audiences.
The story has two opposing, but ultimately equally disastrously fated central characters; interchangeably protagonist and antagonist: Kreimhild, who could no more refrain from seeking revenge for the murder of her husband and loss of her fortune, than could Hagen be disloyal to his liege lord. This is the principle conflict in Die Nibelungen, and I suppose what gives the story its enduring appeal. But it's hard to tell if these dueling antagonist/protagonist roles were intentionally left in the movie to the end of driving its German audience to action, or as a warning. Frankly I find the coincidences between the fantasy and the ensuing reality more than a little striking. If the movie was meant to be taken as a metaphor for Germany, if she followed in the footsteps of those depicted therein, did her people think they'd somehow escape their fate? Knowing the predicament Germany was in after World War One, and knowing Germans would see their nation in the story, Fritz Lang may have intended Die Nibelungen as a warning. It's high tragedy, and a beautifully done Gothic film, but if the German people failed to see their fate closely tied to that of its central pro/antagonists, the only explanation is that either they were not looking, or simply didn't care.
a triumph November 11, 2006
3 out of 4 found this review helpful
Watch this movie, soak in the lush forests and beautiful landscapes. Follow the life of the greatest germanic hero Siegfried as he surrenders the hort to the poor citizens of Worms and cry when he is betrayed and brutally killed - remember that no good deed goes unpunished.
Die Nibelungen, and especially Siegfried, is one of my favorite movies. Some of you may laugh but Lord of the Rings doesn't come close to Fritz Lang's breath taking masterpiece. Truly a story that sparks something wonderful in the dark human soul. You can almost hear the gutteral strains of beerhall songs at oktoberfest and witness the mad nazi propoganda of the 20's and 30's.
Do yourself a favour and purchase this movie.
Truly an Epic and a Work of High Art! January 7, 2005
10 out of 11 found this review helpful
My real initiation into silent films started with a DVD release of The Lost World, which interested me because it was based on one of my favorite novels. As I have expanded my silent horizons, I have discovered that the artistic quality of many early films ranks easily with the great works of the later parts of the 20th century.
During the inter-war depression in Germany, the economics of the horribly weak German mark put the German film industry in the enviable position of paying their people in marks and selling the films abroad for dollars and pounds sterling. This allowed the most extravagant productions and virtually eliminated artistic restrictions on German filmmakers.
Die Nibelungen is a great example of what could be done. It is huge in scale with fabulous sets and costumes that might rival many modern spectacles. The story is, of course, the great German epic myth of Siegfried, though the plot is much much more along the lines of the medieval epic poem than the more Nordic version of Wagner's operas. It is original in concept and Lang's direction is superb. The photography is beautiful. The characters develop fully, taking good advantage of the nearly 5-hour length. Full of complex themes - love, hatred, a strange medieval concept of loyalty, and especially vengence - this film has the capacity to draw the viewer in and strain the emotions. I just couldn't stop watching, even though I was emotionally exhausted at the end.
Of course, one must make allowances for the special effects - this was the early 1920's. The dragon was described by my daughter as laughable, which I suppose it was. But if you can at least try to look past the technical limitations of the time, you will find an exquisite classic film that is well worth the time investment.
I have discovered a whole world of fine films by learning to see silents within their own context. Many of them, and Die Nibelungen is near the top of the list, are truly great works of art, and must not be dismissed by the modern SFX-glutted audience. Yes, they are black and white. Yes, they are silent. Yes, they have primitive special effects. But the photography is often gorgeous, the acting can be superb, the production values sometimes rise to equal the best of the modern films, and some of the old directors could mold a really fine product. Die Nibelungen is one of the best I have seen.
A mythical icon June 20, 2004
4 out of 8 found this review helpful
With this movie Fritz Lang show once more why the movies can be a genuine proof of art in its purest expression.
Think just fifty years before when Wagner built Bayreuth for showing us all his works.
And the most powerful of them , the quintessential of the set was precisely The Ring .
Lang made a sublime adaptation of this work . 1924 was the year of this landmark picture.
Inspired in the powerful mythologic essence , Lang keeps the expressiveness, the force and the soul of this legend.
Believe or not , but I've always thought that you never will be capable to appreciate in his wholeness Metropolis , if you are not involved by the mythical spirit of this film.
A must for all the viewers really interested not only in the cinema evolution , but in the soul of the art.
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