IMDb RATING
7.9/10
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Princess Kriemhild vows to avenge her husband's murder but must overcome her brothers who swore allegiance to Hagen. She marries Etzel, King of the Huns, and persuades his army to attack Hag... Read allPrincess Kriemhild vows to avenge her husband's murder but must overcome her brothers who swore allegiance to Hagen. She marries Etzel, King of the Huns, and persuades his army to attack Hagen, but she loses more than she bargained for.Princess Kriemhild vows to avenge her husband's murder but must overcome her brothers who swore allegiance to Hagen. She marries Etzel, King of the Huns, and persuades his army to attack Hagen, but she loses more than she bargained for.
- Awards
- 1 nomination
Yuri Yurovsky
- The Priest
- (as Georg Jurowski)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaAttila's castle was built life-size. The fire was started by Fritz Lang himself by shooting an arrow, tipped with burning magnesium, onto the roof.
- GoofsAt 19:38, as you see the treasure in the water, you can see a hand in the reflection to the left of the sword. Presumably it was filmed in a fish tank.
- Alternate versionsA 2012 restoration project completed by the Friedrich-Wilhelm-Murnau-Stiftung has been released by Kino Lorber on both DVD and Blu-ray formats. Both "Die Nibelungen: Siegfried" (1924) and "Die Nibelungen: Kriemhild's Revenge" (1925) are included. The film's running times differ from other versions at 149 minutes and 131 minutes, respectively. This can be attributed to the fact that the restoration utilized some footage from different takes of scenes and slight adjustments were made to the 'frames-per-second' rate perhaps to present a more realistic flow of the action.
- ConnectionsEdited into Fritz Lang, le cercle du destin - Les films allemands (2004)
Featured review
Overall, for film-buffs,[...]a meaningful (true) discovery, the study of which would enrich their understanding of the artform...
Does it "hold up"?, is the mainstream question, for like... new audiences(?); as if any silent movie, no matter how great, still "holds up" with today's audiences! Not even the "hottest" filmmakers of our days, nor critics, seem to be able to bare a sitting through even the most representational and influential films of that era!.. Which silent ones would I recommend had I been-seriously-asked that question? Undoubtedly the ones that pop first to mind aside from the great comedies of Chaplin and Keaton, are the films of F. W. Murnau. From all his contemporaries, Murnau seemed to be the one to grasp the artform better that anybody. He tried what anybody should have set as their major goal: get rid of the title cards!.. This is a visual artform, right? Get rid of the letters and let them be in their own playground-literature. Epics as Nibelungen are opera, thus it's up to you whether you can fathom its exaggerated nature or dismiss it as not your cup-of-tea.
Kriemhild, as any sequel or prequel should, plays as a totally different movie than the first one. Kriemhild proves to be a much more interesting character than her heroic late husband, for the pioneering maestro behind this epic seems to be much more invested in her story; much more interested in capturing the earthly, gorgeous, wildcat's eyes and pressed-together lips of Margarete Schön, than the otherworldly, firelike lionwig of a dull übermensch Paul Richter plays; more interested even than capturing the -still- astonishing set-pieces. No wonder, albeit shots and scenes do, in an operatic fashion, drag on as much as in the first part, one doesn't have as much of a problem to keep up with this story, for one longs to see both the revenge (what the title's promising us) and our anti-heroine's outcome.
Overall, for film-buffs, Die Nibelungen seems as a meaningful (true) discovery, the study of which would enrich their understanding of the artform, renew their appreciation for it, and baffle them on why there's not as much of discussion surrounding this movie, for it has obviously inspired the creation of every saga since.
Kriemhild, as any sequel or prequel should, plays as a totally different movie than the first one. Kriemhild proves to be a much more interesting character than her heroic late husband, for the pioneering maestro behind this epic seems to be much more invested in her story; much more interested in capturing the earthly, gorgeous, wildcat's eyes and pressed-together lips of Margarete Schön, than the otherworldly, firelike lionwig of a dull übermensch Paul Richter plays; more interested even than capturing the -still- astonishing set-pieces. No wonder, albeit shots and scenes do, in an operatic fashion, drag on as much as in the first part, one doesn't have as much of a problem to keep up with this story, for one longs to see both the revenge (what the title's promising us) and our anti-heroine's outcome.
Overall, for film-buffs, Die Nibelungen seems as a meaningful (true) discovery, the study of which would enrich their understanding of the artform, renew their appreciation for it, and baffle them on why there's not as much of discussion surrounding this movie, for it has obviously inspired the creation of every saga since.
- georgiostoymaras-11305
- Dec 12, 2023
- Permalink
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- Release date
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- Also known as
- Die Nibelungen: Kriemhild's Revenge
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- See more company credits at IMDbPro
- Runtime2 hours 9 minutes
- Sound mix
- Aspect ratio
- 1.33 : 1
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By what name was Die Nibelungen: Kriemhilds Rache (1924) officially released in India in English?
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