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

Die Nibelungen: Siegfried (Siegfried's Death) Reviews

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September 5, 2017
Epic masterpiece! The legend of the Nibelungen couldn't have gotten a better movie version. It's perfect. Combining with expressionism of the period it's one of the greatest achievements of the German screen surpassing even Griffith's Intolerance in scale. The visuals are mind-blowing, the scenery is tremendous in its ingenuity, it's like you are witnessing the story of a bygone era of thousand years ago, it's a magnificent feeling. Fritz Lang is a genius in composing shots and commanding masses of people to make monumental visions. The first part called Siegfried is more of a drama.
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 June 2, 2014
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 9, 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 16, 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.
Super Reviewer
½ June 23, 2012
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 November 12, 2011
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.
½ May 17, 2011
It's an alluring mythic fantasy, but it's hindered by the fact that Siegfried is just your run of the mill perfect hero who slays dragons on a lark, trips over magical treasures, and whose greatest character flaw is a little spot on his back where he's not completely invulnerable to harm. Since characters like these are basically dead weight story-wise, the rest of the cast has to try extra hard just to find something for him to do. There are a number of ways to interpret the moral argument the film presents, you could look at it as brotherly versus romantic love, but to me the basic deception began with Sigfried, and returned to him in the end, proving literally and figuratively that nothing is without flaw. The film looks great for the most part, the sets and costumes are designed with a wonderfully modern geometric aesthetic, the invisibility effects are ambitious and pay off well, but the aforementioned dragon, a life-sized puppet, tends to alternate between impressive and goofy-hilarious. Regardless, as a whole it's a splendid realization of imagination on a grand scale and it's entertaining just in terms of artistry and dedication to a vision.
September 30, 2010
Quite possibly the most epic film I have ever seen; Fritz Lang is undoubtedly a cinematic god.
May 21, 2010
Very interesting Fritz Lang film, part 1 of 2, that starts as fantastical tale of dragons and elves before moving to an unfortunately less compelling revenge tale.
March 26, 2010
A dragon slayer? A devoted king? A manly looking maiden? A lancer? A strong and handsome warrior?! This is all I ever wanted to be when I was a little girl! It's all here!
December 3, 2009
Really captures the essence of German folklore in its acting and art direction.
November 22, 2009
Fritz Lang Spectecular Monumental Masterpiece of the Nibelungen Saga the Myth of the German Folk it's absolutely incredible real tragic and fascinating Great Actors, Great Soundtrack, Great Directions, Great Screenplay, Great Camera and the Dragon looks great too
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