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Archived: Nibelungen, Part I: Siegfried's Death

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Nibelungen, Part I: Siegfried's Death

Die Nibelungen: Siegfried, feature film, Germany, 1924

DIRECTED BY: Fritz Lang

CAST: Margarete Schön (Kriemhild), Hanna Ralph (Brunhild), Paul Richter (Siegfried), Theodor Loos (King Gunther), Hans Adalbert Schlettow (Hagen Tronje)

SCRIPT: Fritz Lang, Thea von Harbou

PHOTOGRAPHY: Carl Hoffmann, Günther Rittau, Walter Ruttmann

CONTENT:

Young Siegfried, the son of King Siegmund, heard stories about the kingdom of Burgundy and decided to propose to the princess Kriemhilde there. On the way to Burgundy, he meets a dragon and kills it, and at the instigation of forest birds, it bathes in its blood and thus becomes invulnerable, except in one part of the shoulder. After that, Siegfried made his way to the land of the Nibelung, where he was attacked by the mighty Alberich, king and guardian of the treasures of the Nibelung. Siegfried defeats him, and Alberich, in exchange for his life, offers him a miraculous web that will make him invisible and enable him to transform, and also offers him treasure. Eventually, however, he attacks Siegfried, but is killed in the process, and the dying cast a curse on all future possessors of the treasure of the Nibelung. Siegfried finally arrives in Burgundy and meets Kriemhilda, who she immediately likes, and Hagen Tronje, an adviser to her brother, King Gunther, asks him to use his magical powers to help Gunther win the hand of the Icelandic warrior princess Brunhilde, and in return he gets Kriemhilda's hand. Siegfried agrees, not knowing what fatal consequences will follow…

Increasingly ambitious artistically, Fritz Lang decided to screen a fundamental work of German literature, The Song of the Nibelungen from the Late Twelfth and Early Thirteenth Centuries, after the extraordinary creative achievements of Tired Death and Dr. Mabuse the Gambler. It was a logical move after this central German national myth had been updated, popularized and brought to pompous sublimity about half a century earlier by Richard Wagner with his four-part monumental opera The Ring of the Nibelung, and it is no wonder that future Nazi tyrants, especially Goebbels, loved such a film. 'pedigree'. But unlike the anti-Judaist Wagner, who, according to Nietzsche's critical opinion, smuggled German nationalism into the Nibelungs saga, which was the cause of the beginning of the end of the relationship between the two greats, the atheist and anti-nationalist Lang, which was not exclusively German but general German, including the Nordic character, and did not give (convincing) grounds for racist interpretations. In other words, Lang's Nibelungs, according to the template, are a film version of a heroic song characteristic of all nations and cultures, and they focus on the relationship between illusion and reality, truth and lies, seduction and sincerity, individual and collective, responsibility for deeds. depending on (good or evil) intentions, and above all the power of love as the noblest, but potentially the most destructive feeling. The collaborator on the screenplay was again Lang's wife Thea von Harbou, a future Nazi, whose, however, such inclinations were not (too) evident in 1924, when the film was made.

B / W, SILENT, 150 ′

Portraits: German films by Fritz Lang

We start October with a selection of the 10 most important German films by Fritz Lang! From October 1 to 6, we will show a number of Lang's masterpieces: the omnibus Tired Death (1921), the crime novel Dr. Mabuse, the Gambler (1922, in 2 parts), the Nibelungen legend (1924, in 2 parts), the dystopia Metropolis (1927), the Spy Spies (1928), the sci-fi Woman on the Moon (1929), the sound debut M (1931) and the last film before exile, Testament of Dr. Mabues (1933). An introductory speech on Lang's importance as one of the most influential directors of all time who influenced Luis Bunuel, Alfred Hitchcock, Sergei Eisenstein, Ingmar Bergman, Orson Welles, etc., will be given by our dear guest, filmologist, prof. dr. sc. Nikica GIlić.

The ticket is 20 kuna, for members 10 kuna.

Tickets can be purchased at the box office which opens one hour before the first screening of the day and closes after the start of the last screening of the day.

Ticket reservations are possible on weekdays (at least the day before the screening you want to book), by calling the box office or sending an email to: info@kinotuskanac.hr

Reserved tickets should be purchased no later than the day before the screening …

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Matina Tenžera

Tel: 0917361510

E-mail: info@divan.hr