THE HANDS OF ORLAC
(1924).
“Vasseur has been dead
for years – but his hands are alive!”
This
deliciously grisly premise sums up director Robert Wiene’s 1924 Austrian horror
film starring Conrad Veidt (Wiene’s Cesare in THE CABINET OF DR CALIGARI). It’s
an atmospheric, enjoyable tale based on the novel ‘Les Mains d'Orlac’ by
Maurice Renard that mixes Expressionist acting and set design with naturalistic
attitudes and locations.
Veidt plays
Paul Orlac, a celebrated French concert pianist who almost dies in a terrible
railway crash. His wife Yvonne (an emotive, suffering Alexandra Sorina) is desperate
to save his “beautiful, tender hands”
and begs a surgeon to save them. He does so, but by transplanting those of an
executed murderer, Vasseur. The knowledge of this sends Orlac into a constant
waking nightmare of believing his new hands are possessed with homicidal
tendencies. Veidt is well cast as Orlac, channelling his physicalisation skills
convincingly to portray the terrifying separation he feels from his murderous hands,
and those searing eyes that this time engender sympathy rather than fear, his
inner pain radiating poignantly through them. He pleads to have the surgeon
undue his work, but is told that only the head and heart rule a person’s hands.
Mysteriously, he comes across Vasseur’s x-engraved murder knife and tries to
hide it in his piano, knowing that the incriminating finger-prints upon it are
now his.
Bold expressionism
dramatically conveys Orlac’s mounting madness such as when an enormous fist
descends on him across the bedroom to awaken him in terror. The set design for
the film is mostly naturalistic but in his home there’s an effectively creepy
sparseness – only the bed and a foreground pool of light are picked out in that
barren room. The hallway too is notable only for a large highlighted vase. These
elements, coupled with the eldritch energy taking over Orlac, isolate his state
and unease, compounding his innermost fear that Vasseur will take him over
again.
While Orlac
struggles with his secret, Yvonne tries to keep creditors at bay. She appeals
to Paul’s father, a cruel remote man whose challenged refusal to help causes
him to spit “Yes, I want to! I hate him”.
When Orlac goes himself, to his horror he finds his father stabbed to death and
somehow by the found weapon. To make matters worse, Orlac is now approached by
a villainous figure with a permanent sneer who claims to be Vasseur and
blackmails him for a million francs – or he will tell the police it was Orlac
who murdered his father. Such is the increasingly fractured mind of Orlac that
Vasseur has him believing that the surgeon gave this baddie a transplant as
well – of a new head onto Vasseur’s body.
The police
at the elder Orlac’s murder scene voice the stunned line that begins this
review. Orlac, with his doting wife at his side, confesses what he knows of the
crime and manages to suspend the cops’ incredulity in turn enough to convince
them to stake out the money drop. When they apprehend the blackmailer, it turns
out, Scooby Doo-style, that he is Nera, a known con artist who had pretended to
be Vasseur, making wax impressions of the executed man’s finger-prints to ‘finger’
Orlac. The pianist’s manipulative maid, who was also in on the plot won’t
escape justice either. On finding that Nera had also framed Vasseur, meaning he
was executed in innocence, Orlac studies
his hands in wonder. Now he can safely touch his wife, knowing that the evil
self-induced spell over him is broken…
THE HANDS OF
ORLAC can be counted as the first of the ‘hands with a will of their own’ horror
plot device that was subsequently remade as MAD LOVE (with Peter Lorre), THE
BEAST WITH FIVE FINGERS and least successfully inspired the poorly-conceived THE HAND by
Oliver Stone starring Michael Caine.
Intriguingly
the film almost became banned on its release when German authorities considered
a request for suppression over concerns that it might reveal too much about finger-print
techniques and other police forensic methods. Fortunately, the submission didn’t
get far, presumably because it was realised that no-one can create wax prints,
as well as the unlikeliness that criminals would take influence from a hugely enjoyable,
far-fetched horror movie for their future escapades.
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