Frau Im Mond (Woman In The Moon)

Fritz Lang goes on an epic voyage to the moon, in his final silent picture from 1929
We have the bare walls, the expressive shadows and acting, the figures of spies, melodrama, that we have all see in Lang before, especially late-silent Lang
This adopts much longer takes than ‘Spione’, and more complex images, though without the differences n texture and cognitive interest of a ‘Mabuse’ or ‘Siegfried’; the images do have some in them, but can seem quite bare at times. Strange art in the background, as though explosions took over. Something slightly ascetic about the backdrops, even as they are given more time here
The shots are generally medium, and there is more interest in depth and horizontal framing in them than Lang on more commercial form. Less dynamic images; a bit assymetrical, heads not exactly centered, but less tightly framed (especially vertically) and less coiled, tight springs curled to burst across the image, than usual. Relatively sober and neautral. Often uses straight-to-camera angles, which frees up his next shot. Happy to break the 180-rule, but it’s not like there’s a lot of shot-reverse here. As mentioned, longer takes.
Lang’s narrative construction is entirely different from usual; long scenes in one locale, with rather a lot of talking. Perhaps only really 5 or 6 locales in the whole film. Back stories branch off from this, before returning.
Plot isn’t actually all that complicated; the addition of the spies can seem a little half-hearted, the basic idea seems to be that they’re going to the moon for the hell of it. This fits in with the theme of over-stretching themselves; no one really present very attractively, all in their own little worlds, pushing too far, hurting each other
The effects are impressive not just for the time, but retain more than sentimental value for today; not overdone, not overdramatic, but nice and efficient. And the science manages to not appear silly, impressive for a space travel film from the 1920s. Adds a layer of calm, a kind of resignation to the piece.
We have our themes of being forced to do what one doesn’t, but all characters here seem destined to follow their own paths. Themes of disguise are treated almost offhandedly, as to be expected, as not too strange. No real grandeur here. Just obsessions of science, of the women, in filmmaking. Quite self-referential, Lang even acknowledging dept to comic/ Feuilletons in own work.
Ultimately, this is a resigned and perhaps even nihilistic work, without the bite, the sharp despair of ‘Spione’. From the start, in the classic Langian intrigue, an air of fatalism rather than action hangs over. Can appear beautful in only the most detached, intellectual way.
This isn’t Lang’s best lot of images; less striking and complex, or narrative. However, it does retain moments of great beauty, and the overall mood remains a kind of wonder; not so much at the idea of moon travel, but at Lang’s masterful creative capacities, bringing the lovers to the moon, tearing them apart. A strange, barren landscape (home to the film’s finest images) as the outpost for the alienation and at times coldness of this beautiful, strange vision.