Die Nibelungen: Siegfried

Part one of the epic Fritz Lang Nibelungen double, 1924
Lang creates truly startling images; has he ever created a bad one? They largely remain static. Bright, white of course, is used to pick out key aspects, to keep the eye constantly roving
Complex images are thus created, with heads often very high in the frames. A lesson in studying the full images, how the main ‘point of action’ is often decentered. Usually a lot of information, thrown up in a certain way. Allows for longer takes with no let up of the action
There is also a key use of extremely symmetrical sets here, adding to the expressionist visuals of arrows, oblongs, squares. Lang as a much less jagged, more ‘square’ director than the other expressionists. Uses certain tropes, some shadows and falling light patterns, but not shockingly so. More cubist in a variety of ways
Lang’s brilliance to create complex images, that flash like lightening across every scene is stunning. Use of front and backlighting, these dynamic sides. Often flat images strike us, but not afraid to use depth. Often has characters directly pointing to the camera, or walking towards it
This kind of editing procedure is one example of how this film is not in the tradition of classic continuity. Often breakages of the line. Cuts can cross across geographical space almost arbitrarily. Continuation of a fast story, but this effect of ‘shock’ again makes us look harder, and longer, at the image, as we must decipher the new angle
Saying that, the usual technique remains long shot (adds to the complexity), then cut ins to reveal detail, often with multiple actors in shot. Also the filming of the masses from random overhead, non humanist shots (one of quite a few high angle shots in the film)
The story is a melodrama, with a number of crossing wires; the natural life that is frozen out by the uptight world (costume). One shocking scene of the tree to skull. Dead animals everywhere; petrified nature. Use of harsh shapes recalls Lang’s interest in primitive art; shown here as well. A disgust of nature (the dragon), but it remains to overpower (the knight representing the dragon)
Also the use of doubles and identity; lack of responsibility, others taking on the ‘human’ jobs
One has the feeling that these themes are slightly trapped in a poor plot, that can seem like a bit of an empty container for Lang’s formal, aesthetic, dynamic brilliance. Characters are harsh and geometrical and costume and performance.
But Lang’s technique is in no way cold; his moments of the lingering camera, an occasional coyness (Siegfried behind the rock); touches of nature. Those vast, empty rooms...
Calling Lang a master doesn’t seem like enough. This isn’t his best work (a poor script, slightly cold and formulaic); but it’s still a sensation