When a storm strands a group on a Massachusetts island where the only dwelling is an old hotel supposedly haunted by the ghost of a former German actress (Knef), the result is the standard ... See full summary »
Three stories. A solitary sailor falls from his boat and washes ashore on a tropical island. While seeking rescue, he's found by a nearly naked woman who is playful and compliant. He ... See full summary »
A serial killer named The Shark is terrorizing London by killing his victims with a speargun and then, dressed in a scruba-diver's wetsuit, using the city's sewer tunnels to make his ... See full summary »
A military doctor in Berlin is falsely accused of illegal dealing in drugs. Determined to prove his innocence, he escapes from the MPs and ends up holding up in the apartment, rented by his... See full summary »
The nephew of a murdered millionaire decides to track down his uncle's killer. He faces many life-threatening dangers as he tries to break into the inner circle of the sinister criminal "The Tortoise."
Boudu, a tramp, jumps into the Seine. He is rescued by Mr Lestingois, a gentle and good bookseller, who gives shelter to him. Mrs Lestingois and the maid Anne-Marie (Mr Lestingois' mistress... See full summary »
This Pandora's Box Remake is, Unfortunately, Weaker than the Louise Brooks Version
This 1962 remake of Pandora's Box by Austrian director Rolfe Thiel is a lesser vehicle than the 1929 silent version. Nonetheless, it is competently made with good use of black and white cinematography imparting the atmosphere of the Weimar Republic.
Nadja Tiller is by no means incompetent in the lead role but she is by no means as iconic as Louise Brooks. Making her a blonde was probably a good idea to reinforce the notion that this is a different film with a different Lulu but it also makes her that much less memorable than Louise with her trademark appearance.
Liberal use is made of soft-focus photography, emphasising that the film is set in the part and highlighting the vulnerability of its lead.
Overall, though, scenes are less well-orchestrated than in the previous version. There is no ambiguity here as to whether or not Lulu pulls the trigger to kill her lover and there is little tension at the end when Jack the Ripper appears. The murder happens so quickly, one feels the film is very much anti-climactic.
The narrative is told in a straightforward, realist manner and lacks bravura. It is a competently-made film and, perhaps an overlooked one but it is difficult not to compare it to its predecessor and it pales by comparison.
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