FRITZ LANG: ‘THE
SLEEP-WALKING CERTAINTY’
The quality
of unlikely sympathy earned by a perceived monster connected Murnau’s NOSFERATU
and the mournful, apologetic presence of Death in the first Expressionist film
by Fritz Lang - DESTINY.
Fritz Lang
had run away from his family home in Vienna as a young man to become a painter
in Paris. Whilst waiting for his call-up to the Austrian army in World War One,
he worked in cabaret writing a couple of film scripts for early silent films
before he served his duty. Lang avoided front-line action due to near-sightedness
but was still wounded, and on returning from the war as a near-penniless
Lieutenant in 1918 wondered how he would make ends meet - until Peter
Ostermeier offered him a lead role with his theatre company. He was recommended
to Erich Pommer (producer of THE CABINET OF DR CALIGARI) who took him on as a
dramaturg - essentially a ‘story doctor’. Although Lang had written films that
were produced, he had no knowledge of movie production or the mechanics, and
yet he soon went from writing a script in four days to shooting one in the same
time-frame and here began his career as a director.
DESTINY (1921). After his first features THE
SPIDERS: PART I and II, the opening two of an abandoned serial of four films
dealing with a criminal gang, Lang made his first stand-alone film DESTINY,
(‘Der Müde Tod’ – literally ‘The Tired Death’) - one of the earliest ‘portmanteau’
multi-story horror films. It was essentially a fantasy but the reccurring
physical character of Death and a haunting atmosphere of sombre dread earns it
a place within the horror genre.
DESTINY was
written by Lang with his wife Thea Van Harbou and produced by Erich Pommer. It
concerns a young honeymoon couple where the husband vanishes into the
sealed-off graveyard bought by a mysterious black caped and hatted stranger
(Death, played by Bernhard Goetzke). In trying to find him, the man’s wife (Lil
Dagover) is offered a chance by Death to return her husband if she can save his
life across three historical periods in Persia, China and Venice. Each failure
extinguishes a candle in the hall of Death designed by Fritz Arno Wagner.
What
makes DESTINY so striking is the almost regretful demeanour of Goetzke’s Grim
Reaper, a touching performance and an ideal sombre face of gaunt, high
cheekbones and heavy-lidded eyes. There is also fun to be had in spotting which
role he hides in during each unfolding episode in the test.
No comments:
Post a Comment