Siegfried, son of King Sigmund, hears of the beautiful sister of Gunter, King of Worms, Kriemhild. On his way to Worms, he kills a dragon and finds a treasure, the Hort. He helps Gunther to... See full summary »
After Siegfried's dead, Kriemhild marries Etzel, the King of the Huns. She gives birth to a child, and invites her brothers for a party. She tries to persuade Etzel and the other Huns, that... See full summary »
Kay Hoog wants to stop the organisation "Die Spinnen" to get a certain diamond, that will give the owning woman the crown of Asia, but the man, who should be the owner of that diamond, ... See full summary »
The Buddhist priest wants the Daughter of the Daimyo to become a priestess at the Forbidden Garden. The Daimyo thinks if he were in Europe that his daughter should decide on her own, but he... See full summary »
As a young couple stops and rests in a small village inn, the man is abducted by Death and is sequestered behind a huge doorless, windowless wall. The woman finds a mystic entrance and is met by Death, who tells her three separate stories set in exotic locales, all involving circumstances similar to hers. In each story, a woman, trying to save her lover from his ultimate tragic fate, fails. The young lady realizes the meaning of the tales and takes the only step she can to reunite herself with her lover. Written by
Doug Sederberg <email@example.com>
The excellent atmosphere and absorbing story make Fritz Lang's "Der Müde Tod" (or "Destiny") one of the little-known gems of the early 1920s. In most other movies, the top-quality special visual effects would be the strongest part of the film, but here they are really just a valuable addition to a story that already had a lot to offer.
The atmosphere and the story also fit together very well, with the foreboding, Gothic tone and the expressionistic settings complementing an involved story of life, death, fear, and love. The plot is creative and quite interesting in itself, and it also suggests some important themes in the decisions that the characters face.
Lil Dagover gets what might be her best role, as she gets the opportunity to do quite a few different things with her character. Bernhard Goetzke excels in his forbidding role. Between the two of them, they get most of the best moments, with Lang's wonderfully conceived settings and camera tricks giving them plenty to work with.
Because it has so much going for it, this is a movie that works well both as entertainment and as a statement about humanity.
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