Overview
Contact:
View
company
contact information for Die Nibelungen: Siegfried on
IMDbPro.
Release Date:
1924 (Poland)
more
Plot:
Siegfried, son of King Sigmund, hears of the beautiful sister of Gunter, King of Worms, Kriemhild. On his way to Worms...
more
|
add synopsis
User Comments:
Superb fantasy
more
Additional Details
Also Known As:
Die Nibelungen: Siegfrieds Tod (Germany)
Siegfried
Siegfried's Death
Siegfrieds Tod (Germany)
more
Runtime:
Canada:140 min | Germany:143 min (restored integral version) | Germany:97 min | USA:100 min
Aspect Ratio:
1.33 : 1
more
Fun Stuff
Trivia:
The dragon in the film is not a miniature. It is a full-scale puppet 60 feet long.
more
FAQ
This FAQ is empty. Add the first question.
more
Message Boards
Discuss this movie with other users on
IMDb message board for Die Nibelungen: Siegfried (1924)
more
Recommendations
Related Links
I saw this on the big screen with live organ accompaniment (from the original film score) last night and I'm glad I did. Most people don't know Fritz Lang for anything before *Metropolis*, but this is a film which, to my mind, matches the best of what he has done. It's incredible to see what they were able to do with the wild set design. The score was suitably intense at moments. And the story was a pretty touching one about the fall of Siegfried.
The scenes I was amazed by in particular are: the dragon-slaying sequence (which, at first, elicited laughs because of the obvious artificiality of the creature but then got sounds of pity as he lay slain with blood shooting from his torso); Kriemhild's dream sequence, which has to be the earliest example of animation I've seen (the animation and accompanying music are pretty dark and disturbed--they gave me the creeps); and the approach to Brunhilde (with an incredible sea of fire). What I've come away with is even more of an appreciation for what filmmakers were capable of in the silent period. It seems clear after a film like *Siegfried* that silent film was not an infant technology waiting for sound but was an artform of its own.
All in all, I'd say this is a must-see. It's clearly not just preparation for the "great" films of Lang to come (like *Metropolis* and *M*), but is on par with any of the best of his stuff. This and *Dr. Mabuse, the Gambler*, both Lang films which are rarely screened, should be caught if at all possible.