I realize this movie was a true original. Well, kind of, anyway. Maurice Renard wrote the novel in 1920, and he wrote the original mixed-up transplant novel in 1908 about organs being transplanted not just from human to human but to animals, plants, and even machines. One wonders what it must have been like to be Maurice Renard's room mate. But, in fact, maybe the whole business began with Mary Shelley's "Frankenstein" and lasted at least through the latest version of "The Fly" and "Robocop." Anyway, yes, I realize the film is an original and that it was directed by the same guy, Robert Wiene, who had earlier given us "The Cabinet of Dr. Caligari," which I truly believe was dreamed up on some kind of amusement park ride.
But, man, this is one slow slog. Example: Conrad Veidt as Orlac has discovered his hands have been transplanted from a murderer and he sits brooding on the couch. Behind him stands his wife, Alexandra Sorina, staring at him without his realizing that she's there. I tried to time the motionless scene in which she stares at his back and he sits, but my LED clock was in shadow and I couldn't read it. It must be thirty full seconds. Nothing happens. Finally she drops -- verrry slowwwly -- to her knees and creeps towards him until she's able to nuzzle his hand. Veidt jerks it away in disgust.
I hate modern movies that are stylishly edited so that each shot lasts a fraction of a second, but this was like watching actors move inside a huge vat of corn syrup. Sorina overacts too. Everybody is expected to overact in a silent movie but this goes a bit over the edge. Veidt, the central figure, has a handle on his role and projects emotions exquisitely. The doctor too reins himself in, though that doesn't stop him from looking like a chump from the Keystone Cops.
There's none of the loop-the-loop quality of "Dr. Caligari." There aren't any surprises in the set dressing or the story itself, once we get the picture. Although it's dark, it's been beautifully photographed. Superb use is made of lights in night-for-night shots. The musical score is hard to assess. It sounds like The World Saxophone Quartet for strings, full of extended shimmering dissonant chords and occasional weird shrieks and squeaks. I kind of enjoyed it.
It was more or less remade ten years later as "Mad Love" with Peter Lorre in the role of a crazed doctor who performs the transplants. The victim is treated coincidentally. "Mad Love" goes nuts at the end. At least this one is grounded, given the initial fantastic premise.
But, mind you, it IS slow.
But, man, this is one slow slog. Example: Conrad Veidt as Orlac has discovered his hands have been transplanted from a murderer and he sits brooding on the couch. Behind him stands his wife, Alexandra Sorina, staring at him without his realizing that she's there. I tried to time the motionless scene in which she stares at his back and he sits, but my LED clock was in shadow and I couldn't read it. It must be thirty full seconds. Nothing happens. Finally she drops -- verrry slowwwly -- to her knees and creeps towards him until she's able to nuzzle his hand. Veidt jerks it away in disgust.
I hate modern movies that are stylishly edited so that each shot lasts a fraction of a second, but this was like watching actors move inside a huge vat of corn syrup. Sorina overacts too. Everybody is expected to overact in a silent movie but this goes a bit over the edge. Veidt, the central figure, has a handle on his role and projects emotions exquisitely. The doctor too reins himself in, though that doesn't stop him from looking like a chump from the Keystone Cops.
There's none of the loop-the-loop quality of "Dr. Caligari." There aren't any surprises in the set dressing or the story itself, once we get the picture. Although it's dark, it's been beautifully photographed. Superb use is made of lights in night-for-night shots. The musical score is hard to assess. It sounds like The World Saxophone Quartet for strings, full of extended shimmering dissonant chords and occasional weird shrieks and squeaks. I kind of enjoyed it.
It was more or less remade ten years later as "Mad Love" with Peter Lorre in the role of a crazed doctor who performs the transplants. The victim is treated coincidentally. "Mad Love" goes nuts at the end. At least this one is grounded, given the initial fantastic premise.
But, mind you, it IS slow.