Die Nibelungen: Siegfried (Siegfried's Death) - Movie Reviews - Rotten Tomatoes

Die Nibelungen: Siegfried (Siegfried's Death) Reviews

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rubystevens
Super Reviewer
½ July 27, 2008
lord of the rings of the silent era. a lavish production of the norse sagas filmed at ufa between 'dr mabuse' and 'metropolis'. siegfried slays a dragon, steals the dwarves' treasure and wins the hand of the fair kremhild...and this is only part one! interestingly all of lang's silent epics and early sound films were written by his then wife thea von harbou, who stayed behind in germany and joined the nazi party
Super Reviewer
½ December 11, 2013
If you like The Lord of the Rings Trilogy, you may want to check out this German silent fantasy epic. Richard Wagner composed an opera cycle based on the same Medieval Norse epic poem. The costumes and sets are grandly operatic! Fritz Lang and his, then, wife, Thea von Harbou, split the tale into two parts. The script evidently is not an adaptation of Wagner's version, though. The word Nibelungen refers to a group of dwarves protecting a treasure. This first part, which is better than the second, contains a full-scale dragon puppet (not a miniature model), some dark animation, and plenty of fantasy magic effects. The hero, Siegfried, forges a magic sword and becomes invincible after slaying the dragon. However, he inherits a curse on the Nibelungen's treasure when he takes it. Siegfried finally arrives in the Kingdom of Gunther intending to marry Gunther's sister, Kriemheld. The duplicitous Gunther puts Siegfried through several challenges, but he and his one-eyed, winged-helmet wearing advisor Hagen of Tronje never trust Siegfried and eventually conspire to kill the hero. Thus, we are led to part two, Kriemheld's Revenge.
Super Reviewer
½ March 17, 2008
Fritz Lang's adaptation of the epic "Die Nibelungen" poem is so massive that it's intimidating to even review it. It's almost five hours long, spanning two separate films, and its scope makes even "Intolerance" look unambitious. The sets are consistently dazzling, and the cast is enormous. If the first half is "The Lord of the Rings," then the second half is Kurosawa's "Ran." The scale is that big.

First, I must emphasize a misconception which I myself had: The film is not based on Richard Wagner's famed opera cycle, nor does it contain any of Wagner's music. It only shares the same source material. The gist of the tale: Heroic Siegfried is raised as a swordsmith. He leaves home to stalk and kill a notorious dragon, and learns that bathing in the dragon's blood will make him invincible. But alas, a leaf quietly falls on his shoulder amidst the shower, leaving him with one vulnerable spot. Shortly thereafter, Siegfried is ambushed in the woods by Alberich, the king of the dwarves. He bests Alberich, and Alberich promises his realm's vast treasure in exchange for his life. Siegfried takes the bounty, and becomes a king of multiple lands. Soon he joins forces with another king, Gunther, who recruits him to use shape-shifting magic to win the defiant warrior-queen Brunhild in marriage. In trade, Gunther gives Siegfried the hand of his own sister Kriemhild. But there's a complication: Brunhild eventually learns that Siegfried posed as Gunther to subdue her. She bitterly lies to Gunther that Siegfried took her virtue, and demands Siegfried's death in retribution. So, Gunther begins plotting with the evil, one-eyed brute Hagen to take down Siegfried and seize his treasure. Hagen finally kills Siegfried in an ambush. Kriemhild is grief-stricken.

The second film "Kriemhild's Revenge" begins with Kriemhild being courted by one Margrave Ruediger, an emissary of the ugly but goodhearted Hun king Etzel. Kriemhild accepts the proposal, but only because she hopes to amass allies to avenge Siegfried's murder. Etzel's appearance is frightening (all the Huns have wonderful makeup and costumes), but he proves to be an unexpectedly loving father to their infant offspring. Meanwhile, the wicked Hagen has secretly dumped Siegfried's entire treasure into the Rhine river.

There is no need for further details, but rest assured that the Nibelungen and Hun tribes clash in a massive, extended battle, staged with a panache that any contemporary director would envy. And of course the story is a tragedy, so there are no victors.

"Siegfried" is arguably the better film, mainly due to two spectacular sequences. The dragon-slaying scene is a knockout, and features a dragon (a large puppet, rather than a stop-motion miniature) that is remarkably convincing by 1924 standards. The monster is not particularly fearsome -- in fact, it's almost pitiful -- but it does breathe smoke and fire, and gush blood from its wound. The second amazing segment is when Alberich guides Siegfried into a mountain to gift him the Nibelungen treasure. The image of a giant plate of riches, borne on the shoulders of a ring of dedicated dwarves, is unforgettable.

From there, "Siegfried" is a slight letdown, mostly focusing on various grim conversations staged within castles. There is an intriguing dream sequence about a clash between white and black birds, inventively depicted with sand animation. But the remaining action is a bit on the talky side, and the staggered, expressionist acting can be dated and creaky. Another significant, somewhat amusing, problem: The "beautiful princess" Kriemhild's makeup is so severe (paging Siouxsie Sioux!) that she literally looks like a man wearing a blond wig. The confusion is strong enough that I looked up the cast to see if the person really was a man.

With the second film "Kriemhild's Revenge" (almost identical in length), the emphasis is more on human choreography than sets. Most of the Huns live in caves, so Etzel's palace is the only set which rivals the Nibelungen's extravagant realm. But the battle footage is incredible, and the eventual destruction of the palace is spectacularly apocalyptic.

Fritz Lang's direction and editing are flawless, and the visuals are not as dated as those in the more celebrated "Metropolis." Every silent-film fan should see this unique saga. And please don't be scared by the extreme length -- the story moves fast, beyond perhaps the middle section of "Siegfried." And no one is demanding that you watch both films in a single sitting.
April 12, 2013
Before "The Lord of the Rings," before "Game of Thrones," came "Die Nibelungen," an overlooked masterwork from Fritz Lang-- certainly one of the most ambitious and creative directors of all time. The various episodic adventures that make up this grand tale are a ton of fun, particularly the great sequence near the start where Siegfried battles a dragon. Considering the time period, the gigantic animatronic is impressive, and Lang cleverly uses editing and various angles to ramp up the pace and excitement of the scene. There are countless other memorable moments, particularly Hagen's triumphant line: "The Hunt is Over." Great stuff.

As a side note, the first part of this movie was infamously a favorite of Hitler's, who falsely read allegorical meaning into the story. Lang himself was horrified by the Nazi party and eventually fled Germany when he was offered the opportunity to direct propaganda films for them. Taken as its own film, Siegfried's end could be seen as tragic and martyr-like, but the powerful sequel completes the cycle and makes the true meaning clear.
September 22, 2009
A film created to be viewed on the wall of a giant beer hall whilst busty bar maids serve you tankards of the finest ale.
½ August 28, 2009
The mythical prince Siegfried masters the art of forging weapons and crafts a sword that can split a feather in mid air, weapon in hand he sets off on his journey to the kingdom of burgundy to obtain the princesses hand in marriage. Thus begins the most schizophrenic epic in probably all cinema.

According to Lang Siegfried's adventures are as well known to the German people(to whom the film is dedicated) as something like Custer's last stand, so obviously Lang views the story with some reverence probably more so than something like Metropolis. The mythical aspects of the film hold up incredibly well, whether it be characters turning to stone, crossing a plain of fire, elaborate nightmares or slaying a dragon(and that's no miniature its a 60 long model that required 17 technicians). In light of his career in American film noir many forget that Lang was one of the greatest visual innovators of early cinema.

While the film may seem almost out of place in Lang's career a closer look reveals other wise. Lang indeed looks upon the story with appreciation but there is a precise detachment as there is with his other films, for all the film's glory Lang never seems to take part in any heroic pathos(which elevates him above assholes like DeMille) despite many of its admirers seeing just that particularly Hitler(who would try to enlist Lang in directing propaganda) who probably saw the film as a vision for the uprising he wanted. Lang of course despised that approach and naturally saw the faults in that mindset; which is a testament to Lang's devotion in storytelling that even when addressing a timeless legend he sticks to his guns and never gives into the superficial.

Its hard to review the film in two parts but that's the only way Flixster has in formated so what can you do? Anyway not only does Lang look past stereotypical heroics but also forshadows that the ideas in the myths of these heros will give way to deception and corruption, the same kind Lang is known for and will become his trademark, making Die Nibelugen one of the most significant films of his career.
July 9, 2008
Almost as beautiful and entrancing as Metropolis. The plot is standard folklore-type stuff, but it's told so well that one doesn't mind the lack of originality.
½ April 13, 2016
Fritz Lang's 1st of 2 films based on the Norse myth and Wagner opera. The production is fantastically set with stunning imagery, which stands up still today. Particularly classic is the slaying of the dragon, considered by many the cutest rendition of Fafnir! This is essential viewing for fans of epic silent cinema.
July 17, 2015
A really beautiful looking film that moves extremely slowly. There feels like there's maybe a half hour of plot in the whole film. Still, it's a gorgeous production that like so many of Lang's silent films seems decades ahead of it's time. The only other thing I'd note is that Siegfried comes off as a major dick. He kills a dragon that seems to be nothing except sitting by a pond drinking some water when Siegfried comes along and stabs it in the head. Not cool, Siegfried.
Super Reviewer
½ December 11, 2013
If you like The Lord of the Rings Trilogy, you may want to check out this German silent fantasy epic. Richard Wagner composed an opera cycle based on the same Medieval Norse epic poem. The costumes and sets are grandly operatic! Fritz Lang and his, then, wife, Thea von Harbou, split the tale into two parts. The script evidently is not an adaptation of Wagner's version, though. The word Nibelungen refers to a group of dwarves protecting a treasure. This first part, which is better than the second, contains a full-scale dragon puppet (not a miniature model), some dark animation, and plenty of fantasy magic effects. The hero, Siegfried, forges a magic sword and becomes invincible after slaying the dragon. However, he inherits a curse on the Nibelungen's treasure when he takes it. Siegfried finally arrives in the Kingdom of Gunther intending to marry Gunther's sister, Kriemheld. The duplicitous Gunther puts Siegfried through several challenges, but he and his one-eyed, winged-helmet wearing advisor Hagen of Tronje never trust Siegfried and eventually conspire to kill the hero. Thus, we are led to part two, Kriemheld's Revenge.
March 28, 2014
A stunner of production design and the dramatic punch of the storytelling still holds up today. The first half is definitely the strongest. The powerful story still continues in the second half, but the visuals lose their potency as we keep seeing the same sets used over and over. My favourite scene was definitely Siegfried's battle with the dragon. I couldn't believe what I was seeing - crazily ambitious effects for 1924!
½ March 7, 2014
In every scene Lang amazes and take us to suspense with the adaptation of this masterpiece of german literature.
November 22, 2013
On blu-ray it's simply sublime!
August 23, 2013
Fantastic movie! Fritz Lang was truly a master of that era of film.
April 12, 2013
Before "The Lord of the Rings," before "Game of Thrones," came "Die Nibelungen," an overlooked masterwork from Fritz Lang-- certainly one of the most ambitious and creative directors of all time. The various episodic adventures that make up this grand tale are a ton of fun, particularly the great sequence near the start where Siegfried battles a dragon. Considering the time period, the gigantic animatronic is impressive, and Lang cleverly uses editing and various angles to ramp up the pace and excitement of the scene. There are countless other memorable moments, particularly Hagen's triumphant line: "The Hunt is Over." Great stuff.

As a side note, the first part of this movie was infamously a favorite of Hitler's, who falsely read allegorical meaning into the story. Lang himself was horrified by the Nazi party and eventually fled Germany when he was offered the opportunity to direct propaganda films for them. Taken as its own film, Siegfried's end could be seen as tragic and martyr-like, but the powerful sequel completes the cycle and makes the true meaning clear.
rubystevens
Super Reviewer
½ July 27, 2008
lord of the rings of the silent era. a lavish production of the norse sagas filmed at ufa between 'dr mabuse' and 'metropolis'. siegfried slays a dragon, steals the dwarves' treasure and wins the hand of the fair kremhild...and this is only part one! interestingly all of lang's silent epics and early sound films were written by his then wife thea von harbou, who stayed behind in germany and joined the nazi party
June 23, 2012
This is one Fritz Lang's lesser known works. It's part one of a two-part silent fantasy epic. This one is about a young man (the Siegfried of the title) who makes his way into a royal family through a series of fantastical adventures. As with lots of Fritz Lang's films, the film contains some impeccable visuals and special effects (with the exception of an obviously fake-looking dragon). Though it occasionally drags, the story is often compelling. This is a set-up to what seems to be an even better film.
Super Reviewer
½ March 17, 2008
Fritz Lang's adaptation of the epic "Die Nibelungen" poem is so massive that it's intimidating to even review it. It's almost five hours long, spanning two separate films, and its scope makes even "Intolerance" look unambitious. The sets are consistently dazzling, and the cast is enormous. If the first half is "The Lord of the Rings," then the second half is Kurosawa's "Ran." The scale is that big.

First, I must emphasize a misconception which I myself had: The film is not based on Richard Wagner's famed opera cycle, nor does it contain any of Wagner's music. It only shares the same source material. The gist of the tale: Heroic Siegfried is raised as a swordsmith. He leaves home to stalk and kill a notorious dragon, and learns that bathing in the dragon's blood will make him invincible. But alas, a leaf quietly falls on his shoulder amidst the shower, leaving him with one vulnerable spot. Shortly thereafter, Siegfried is ambushed in the woods by Alberich, the king of the dwarves. He bests Alberich, and Alberich promises his realm's vast treasure in exchange for his life. Siegfried takes the bounty, and becomes a king of multiple lands. Soon he joins forces with another king, Gunther, who recruits him to use shape-shifting magic to win the defiant warrior-queen Brunhild in marriage. In trade, Gunther gives Siegfried the hand of his own sister Kriemhild. But there's a complication: Brunhild eventually learns that Siegfried posed as Gunther to subdue her. She bitterly lies to Gunther that Siegfried took her virtue, and demands Siegfried's death in retribution. So, Gunther begins plotting with the evil, one-eyed brute Hagen to take down Siegfried and seize his treasure. Hagen finally kills Siegfried in an ambush. Kriemhild is grief-stricken.

The second film "Kriemhild's Revenge" begins with Kriemhild being courted by one Margrave Ruediger, an emissary of the ugly but goodhearted Hun king Etzel. Kriemhild accepts the proposal, but only because she hopes to amass allies to avenge Siegfried's murder. Etzel's appearance is frightening (all the Huns have wonderful makeup and costumes), but he proves to be an unexpectedly loving father to their infant offspring. Meanwhile, the wicked Hagen has secretly dumped Siegfried's entire treasure into the Rhine river.

There is no need for further details, but rest assured that the Nibelungen and Hun tribes clash in a massive, extended battle, staged with a panache that any contemporary director would envy. And of course the story is a tragedy, so there are no victors.

"Siegfried" is arguably the better film, mainly due to two spectacular sequences. The dragon-slaying scene is a knockout, and features a dragon (a large puppet, rather than a stop-motion miniature) that is remarkably convincing by 1924 standards. The monster is not particularly fearsome -- in fact, it's almost pitiful -- but it does breathe smoke and fire, and gush blood from its wound. The second amazing segment is when Alberich guides Siegfried into a mountain to gift him the Nibelungen treasure. The image of a giant plate of riches, borne on the shoulders of a ring of dedicated dwarves, is unforgettable.

From there, "Siegfried" is a slight letdown, mostly focusing on various grim conversations staged within castles. There is an intriguing dream sequence about a clash between white and black birds, inventively depicted with sand animation. But the remaining action is a bit on the talky side, and the staggered, expressionist acting can be dated and creaky. Another significant, somewhat amusing, problem: The "beautiful princess" Kriemhild's makeup is so severe (paging Siouxsie Sioux!) that she literally looks like a man wearing a blond wig. The confusion is strong enough that I looked up the cast to see if the person really was a man.

With the second film "Kriemhild's Revenge" (almost identical in length), the emphasis is more on human choreography than sets. Most of the Huns live in caves, so Etzel's palace is the only set which rivals the Nibelungen's extravagant realm. But the battle footage is incredible, and the eventual destruction of the palace is spectacularly apocalyptic.

Fritz Lang's direction and editing are flawless, and the visuals are not as dated as those in the more celebrated "Metropolis." Every silent-film fan should see this unique saga. And please don't be scared by the extreme length -- the story moves fast, beyond perhaps the middle section of "Siegfried." And no one is demanding that you watch both films in a single sitting.
October 10, 2011
Between Mabuse and Metropolis, Lang's ego runneth over with monumental fantasy film-making for UFA.
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