From the Chicago Reader (November 16, 2001). — J.R.
Fritz Lang’s first real blockbuster was this 1924 two-part silent epic — Siegfried and Kriemhild’s Revenge — based on the 13th-century German legend that also inspired Wagner’s Ring cycle. In part one, Siegfried (Paul Richter), the son of a Norse king, wins the hand of the beautiful maiden Kriemhild (Margarethe Schon) and uses a magic sword to battle a fire-breathing dragon in the forest. Part two occurs after the death of Siegfried, when his widow accuses her half brother Hagan of murdering him. Her revenge entails marrying the king of the Huns and bearing him a son, and culminates in a bloody feast. These stunning, seminal features, restored to something resembling their original form and length in 35-millimeter by the Munich Film Museum (part one is 143 minutes, part two is 129), are even more impressive in their mythical splendor than Lang’s much better known Metropolis, anticipating everything from Fantasia (one lovely segment in Siegfried is animated) to Batman to Star Wars while showing Lang’s plastic gifts at their most impressive. Very highly recommended. David Drazin will provide live piano accompaniment, though unfortunately he won’t be performing the stirring 1924 score by Gottfried Huppertz.… Read more »
Part of what makes this wartime Hollywood drama (1942) about love and political commitment so fondly remembered is its evocation of a time when the sentiment of this country about certain things appeared to be unified. (It’s been suggested that communism is the political involvement that Bogart’s grizzled casino owner Rick may be in retreat from at the beginning.) This hastily patched together picture, which started out as a B film, wound up getting an Oscar, and displays a cozy, studio-bound claustrophobia that Howard Hawks improved upon in his superior spin-off To Have and Have Not. Then again, we get Humphrey Bogart, Ingrid Bergman, Claude Rains, Paul Henreid, Conrad Veidt, Sydney Greenstreet, Peter Lorre, Marcel Dalio, and S.Z. Sakall, and Dooley Wilson performing “As Time Goes By”. PG, 102 min. (JR)
Andrei Konchalovsky’s feature — about inmates in a Russian insane asylum near the Chechnyan border who become further disoriented when Chechen soldiers take over the establishment as their temporary headquarters — is said to be based on a true story, but the writer-director is clearly pursuing some higher, allegorical truth. His lead actress, the freckle-faced Yuliya Vysotskaya, is good as a delusional patient who believes herself engaged to Canadian pop singer Bryan Adams (who plays himself in her dreams) and later transfers her fixation to one of the occupying soldiers, but her performance can’t compensate for all the pat ironies of the plot. Still, this is obviously a sincere undertaking, and there’s a certain homemade charm to the special effects used in the combat scenes (2002). 104 min. In Chechen and Russian with subtitles. (JR)