Orlacs Hände (1924)

User Rating:

7.2/10   

Director:

Robert Wiene

Writers:

Louis Nerz (writer)
Maurice Renard (novel)

Release Date:

4 June 1928 (USA)

Genre:

Crime | Horror

Plot:

Orlac, affermato pianista, perde le mani in un grave incidente. I medici decidono allora di trapiantargli le mani di un assassino condannato a morte...

Plot Keywords:

Expressionist | Murderer | Dismemberment | Expressionism | Based On Novel

Cast

Conrad Veidt	...	Orlac
Alexandra Sorina	...	Yvonne Orlac
Fritz Kortner	...	Nera
Carmen Cartellieri	...	Regine
Fritz Strassny	...	Vater Orlac
Paul Askonas	...	Diener

Also Known As:

Die unheimlichen Hände des Doktor Orlac (Germany)
The Hands of Orlac (USA)

Runtime:

92 min | Germany:90 min | 110 min (restored DVD version)

Country:

Germany | Austria

Color:

Black and White

Aspect Ratio:

1.33 : 1

Sound Mix:

Silent

Filming Locations:

Listo-Atelier, Vienna, Austria

Company:

Berolina Film GmbH

Movie Connections:

Version of Mad Love (1935)

Excellent performances, ponderous pacing needs better musical score

I've been looking for a DVD of THE HANDS OF ORLAC ever since I knew the film existed. Now it's finally here, and like most silent films it's a mixed bag. I find the image on the new KINO disc to be acceptable considering the problematic nature of the source material. There's a loss of definition in some scenes, but there are also moments of sharpness in the restored Murnau Foundation print. It's a shame we can never experience non-talking films the way 1920s audiences did, without washed-out contrasts, image-flickers, frame-jitters, dirt, and print damage. Even the best restorations don't look new.

The plot concerns a concert pianist whose hands are smashed in a train wreck. A surgeon replaces them with the hands an executed criminal. Soon the pianist is obsessed with thoughts he might be a killer. The performances are generally excellent in the Expressionistic style. Conrad Veidt's exaggerated grimacing as his character Paul Orlac approaches madness is tempered by moments that are extremely moving.

The score of mostly string music on the KINO disc is creepy and works well for a while, but is so monotonous over the entire length of an already ponderously paced film that I grew tired of it. This film cries out for music that varies its mood to fit what is happening on screen. Contrasts in the mood of the music would make the creepy parts seem even creepier. An optional score in a traditional style would have been nice. Nevertheless, the Gothic set design and shadow-infested cinematography by Gunther Krampf - particularly the scenes at Orlac's father's house - create the atmosphere we know and love in early horror films. These chiaroscuro light-and-shadow effects just cannot be achieved with color.

However, to evoke fear without the modern cheats of gore and violence - to create what the Germans call "stimmung" (mood) - requires not only imaginative lighting and set design, but time. Unfortunately director Robert Weine spends too much time on the actors' very deliberate expressionistic movements at the expense of pacing.

The ending is likewise unsatisfactory, although it does follow Maurice Renard's novel. I won't give too much away other than to say the ending undercuts an apparently fantastic element, yet makes the "logical" explanation seem almost as implausible. Nevertheless, the build-up to the resolution as well as Veidt's engrossing performance makes this a worthwhile, if uninspired, film.