Alicia I love this movie so much

Lovesusti The Worst Film Ever

SeeQuant Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

Anoushka Slater While it doesn't offer any answers, it both thrills and makes you think.

Steffi_P UFA's Die Nibelungen films have suffered from a problem common to Metropolis, King Kong and Snow White and the Seven Dwarfs, in that they are motion picture classics that also happen to have been favourites with Adolf Hitler. While those others I mentioned tend to be overlooked as coincidences – evidence of nothing more than that sometimes even fascist dictators have taste – the Nibelungen pictures have fared a little worse because of the significance of the legend to German nationalism, as typified in the opera by the German anti-Semite Wagner.However, while the Nazis may have been able to project their racial ideology onto the original story, Fritz Lang's direction of the motion picture version actually breaks with the heroic nationalist reinterpretation. Wagner's opera was calculated to be exciting and rousing. Screenwriter Thea von Harbou would eventually become a nazi stooge, and probably intended a similar effect for the film. The original poem Nibelungenlied though is not intrinsically nationalistic – it is simply a folk tale in a similar vein the King Arthur legend or the Iliad, and Lang recognised this fact. Like those ancient sagas from which it is drawn, his version is lacking in any kind of emotional manipulation, yet is rich in pageantry and poetic imagery. In Die Nibelungen we in fact have a perfect example of how a director's formal technique can shape the tone of a film.Throughout the picture, Lang takes a cool, detached approach to the material. There are few close-ups or point-of-view shots. We know that Lang was not averse to these techniques – look at his previous picture, Dr Mabuse, where the title character is often staring straight into the lens, as if to hypnotise the audience. Let's also compare the dragon slaying scenes from Die Nibelungen and the Douglas Fairbanks Thief of Bagdad (directed by Raoul Walsh). The important difference here is not who had the best dragon (and to be fair they are both pretty naff), but how they are filmed. For the Fairbanks legend to work, you have to get swept up in the action, and Walsh places the camera at the hero's back as he delivers the fatal blow, bringing the audience in for the kill too. Siegfried's fight is staged almost identically yet Lang just matter-of-factly shows it happen, even giving us the dragon's death indirectly with a shot of its tail flopping to the ground.All this is not to say that Lang did not have respect for the Nibelungen story. He had great reverence for it, but again purely in the form of an old legend – an artefact of a bygone era, not something that a modern audience can or should try to relate to, but something profound and beautiful nonetheless. Lang reflects this in the overall look of the picture, forming neat, painterly tableau, encouraging exaggerated, theatrical acting and giving the overall picture a stylised sense of rhythm. Ironically he brings it close to opera in tone, although of course this version was in no other way like Wagner's.Lang's distinctive visual style pervades Die Nibelungen. So far, Lang had made striking use of interiors, but Siegfried's story mostly takes place outdoors. There are no rolling vistas here though. Lang creates a claustrophobic landscape out of crowding forests and overbearing rock formations. In earlier Lang films we can already see how his sets and shot compositions seem to form patterns and paths to hem in the characters and even control their movements, but now the actors almost seem to become part of the scenery. Take for example a shot about two-thirds of the way through, when Brunhild is framed between two curtains – the pattern on her dress matches that on the curtains. Throughout his career Lang first and foremost shoots the sets – the actors are merely a part of them.This thoroughly Langian interpretation of the Nibelungenlied may have brought a tear to the eye of Hitler and Goebbels, but the emotional connection to the material can only have existed in their heads. To the majority of viewers, this picture and its sequel do not encourage any kind of romantic or heroic feeling. They are in a way more of an illustration than a story in their own right. While this detached style does not make for gripping viewing, the films do have an aesthetic beauty to them that makes them watchable.

Claudio Carvalho Canto 1: How Siegfried Slayed the Dragon: Siegfried (Paul Richter), the son of King Siegmund, forges a sharp sword and hears stories from the locals about Princess Kriemhild (Margarete Schön). He decides to go to Worms to win Kriemhild. Along his journey, he kills a dragon and baths in its blood to become invincible. Canto 2: How Bolker, the Bard, Sang of Siegfried in Front of Kriemhild and How Siegfried Came in Worms: Siegfried fights and defeats the dwarf King of the Realm of the Nibelungen Alberich (Georg John) that was wearing his wonder cap that makes the user unseen or in whatever form he wishes. Alberich asks Siegfried to spare his life and in return he gives the Treasure of the Nibelungen and the Balmung sword. Siegfried makes twelve kings as his vassals, and when he asks the hand of Kriemhild to her weak brother King of Burgundy Gunther (Theodor Loos), he advises that he would accept is Siegfried helps him to win the strong Queen of Iceland Brunhild (Hanna Ralph). Canto 3: How Siegfried Won Brunhild for Gunther: Siegfried wears the invisible helmet and helps Gunther to win Brunhild in the proofs of throwing stones and spear and jumping. Canto 4: How Brunhild Enters Worms and How the King Celebrate Their Wedding: Brunhild tells Gunther that she is her captive but not his bride. Gunther asks Siegfried to help him again in his wedding night, and Siegfried takes his form and accidentally brings Brunhild's armlet with him. Canto 5: How After Half a Year, Siegfried's Gift to His Bride, The Nibelungen Treasure, Arrives in Worms and How the Two Queens Quarrel With Each Other: When Kriemhild finds Brunhild's armlet, Siegfried tells her how her brother won the queen. While going to the mass, Kriemhild and Brunhild quarrel and the offended Kriemhild discloses the truth to her brother's wife.Canto 6: How Gunther Betrayed Siegfried: Brunhild lies to Gunther and tells him that she lost her virginity with Siegfried. Gunther organizes boar hunting in the Odenwald Forest and asks Hagen Tronje (Hans Adalbert Schlettow) to slain Siegfried. Hagen lures Kriemhild and she tells the vulnerable part of Siegfried's body where the lime leaf has fallen. Brunhild fasts, Gunther betrays Siegfried, and Hagen impales him with a spear. Canto 7: How Kriemhild Swears Revenge to Hagen Tronje: Brumhild tells Gunther that she lied and he killed his only loyal friend. Then she dies of starvation. Kriemhild swears revenge to Hagen.The magnificent poetic saga of Siegfried is told through seven cantos, in one of the most beautiful fantasies ever. The story has drama, adventure, romance, betrayal and stunning special effects for a 1924 movie, when cinema was very incipient and technology primitive. However, the solid screenplay with a perfect development of the characters, the excellent performances of the cast and the awesome direction of Fritz Lang produced an epic ahead of time. It is inevitable the comparison of this masterpiece with "The Lord of the Rings", both unforgettable fantasies. My vote is ten.Title (Brazil): "Os Nibelungos – Parte 1: A Morte de Siegfried" ("The Nibelungen: The Death of Siegfried")

Lee Eisenberg For those of you who don't know about it, "The Nibelungenlied" is to German literature what "Beowulf" is to English literature. The story of Siegfried, a warrior who must help a prince win a princess, was made into an ultra-cool movie by Fritz Lang. Most people might imagine 1920's cinema as primitive by today's standards, but this was a very good technical production. Whether it's Siegfried (Paul Richter) slaying a dragon, or becoming invisible to help the prince win a contest, every part of the movie has something neat.A strange irony to this movie was what it almost did for Fritz Lang. Adolf Hitler loved the movie and used "The Nibelungenlied" to represent a "strong Germany". Joseph Goebbels asked Fritz Lang if he would like to make propaganda films for the Nazis. Fritz Lang said that he would think about it and quickly fled the country (in the United States, he continued turning out famous movies). Lang's wife, Thea Von Harbou, stayed in Germany and worked for the Nazi propaganda machine.No matter. It's a great movie.

cicero99 This film, and its companion, are a remarkable achievement that captures the story of "Das Nibelungenlied." It combines elements from additional sagas that are not part of the source text to fill in some of the history of Sigfried. For me, it does capture the essence of the saga.The film is a masterful accomplishment for its time with Fritz Lang's trademark vision and a great script by Thea von Harbou.