Metropolis (1927 movie) rewievs and watch it online.: Heart behind the wall

“Revenge” is the second piece of the Fritz Lang’s five-hour Nibelungs colony, separated for the comfort of the viewer. In this discord of Siegfried and the Krimhilds lies the reason for the apparent discrepancies of the plot, the inexplicable behavior of the characters. But in it, if you remove the quotes around the names - the grain of independence "Revenge", its deep, almost cutting difference from the prologue. Siegfried was gone, and the sun went out. Siegfried is gone, and the bright heroic fantasy, which is so similar to the old Soviet fairy tales, transformed into a bloody dark epos.

Seeing on the floor of his master, his beloved, Crimhild will be shaken in the doorway, trying in vain to find a support with weakening hands. The world is scattered around dim shards, and there will be no revenge, no justice. The siblings will stand between her and the murderer, placing the pitiful remnants of their blood-drenched honor above the love of her sister. And she will cry - for the last time. Will pray - for the last time. With tenderness and sadness, she touches a cold brow to her lips - for the last time. The body will be hidden under a mourning gown, the face will harden with a lifeless mask, hands will criss-cross on the chest, surrounding the heart with a wall, sharpening inner pain, denying the very hope of forgiveness and mercy. “Aren't you the man, Mrs. Crimhilda?” They would ask her many years later. “No,” she will answer, never taking her eyes off the palace, where her relatives and friends are dying in a flame. “I died with Siegfried.”

Margarete Schön’s game may seem not only primitively crude, but also comical to the modern inexperienced spectator. In almost every frame, she crosses or imperatively raises her hands, raises a generously black eyebrow and opens her eyes so wide that it seems that they are about to roll out and plop on the shoes of her interlocutors. But as soon as you get used to this grotesque mimic, calculated on the bad quality of the film, comes inexpressible admiration. The actress is actually deprived of the body: instead of him - a shapeless bundle of royal robes, which turns a woman into a kind of mourning matryoshka. Over the “native” face there is a lurid mask covered in, so that the features do not merge into a white spot on the screen. The role appeals to stateliness, immobility, a narrow spectrum of emotions. There is literally nothing to play, but Frau Schön makes his Crimhild surprisingly deep, real with a few graceful strokes.

"Revenge" in full reveals not only the actors who reach here the true heights of drama, but also the master himself. In Siegfried, Lang focused on the wonderful component of the myth. The fruit was the kingdom of the Amazons, burning fields, mysterious dreams and the first in the cinema touching and defenseless dragon. Here he steps on the familiar and so beloved ground of the terrible human world, where creatures of flesh and blood concentrate on each other with unbearable pain. His “Nibelungs”, devoted to the German people, became classics of cinema due to their epicity, large size, grandeur, unsurpassed at that time scope, prepared by two years of painstaking efforts of artists and carpenters, but impressive even today mass scenes, giant scenery, skillful stunts and other epic Action in the second half of the story looks like a wrapper. And under it - in a Langian manner the dark, hopeless and tense story of a woman who is forced to live in the strange world of men who think about honor, glory and the “German spirit” more than about simple things like love and hate.

Another would have adapted, found the strength to love the great Attila and the newborn Stallion, who will cover the world. But there is no Siegfried, and none of the living will replace the fair-haired demigod, filled to the brim with light, passion, the joy of life. She will reject the honor - and will become stronger. Deny dignity - and bathed in the blood of enemies. Denying femininity, chastity and motherhood, to once say, standing knee-deep in the stumps of bodies: "Never was my heart so full of love as at that moment" ... Just look at it.

9 out of 10

среда, 5 декабря 2018 г.

Heart behind the wall

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среда, 5 декабря 2018 г.