After Siegfried's dead, Kriemhild marries Etzel, the King of the Huns. She gives birth to a child, and invites her brothers for a party. She tries to persuade Etzel and the other Huns, that...
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Siegfried, son of King Sigmund, hears of the beautiful sister of Gunter, King of Worms, Kriemhild. On his way to Worms, he kills a dragon and finds a treasure, the Hort. He helps Gunther to... See full summary »
Kay Hoog wants to stop the organisation "Die Spinnen" to get a certain diamond, that will give the owning woman the crown of Asia, but the man, who should be the owner of that diamond, ... See full summary »
During the 1960s Germany, criminal mastermind Dr. Mabuse is using hypnotized victims and the surveillance equipment of a Nazi-era bugged hotel to steal nuclear technology from a visiting American industrialist.
The Buddhist priest wants the Daughter of the Daimyo to become a priestess at the Forbidden Garden. The Daimyo thinks if he were in Europe that his daughter should decide on her own, but he... See full summary »
After Siegfried's dead, Kriemhild marries Etzel, the King of the Huns. She gives birth to a child, and invites her brothers for a party. She tries to persuade Etzel and the other Huns, that they kill Hagen, the murderer of Siegfried, but he is protected by her brothers. A fierce battle begins to force her brothers to give Hagen to her. Written by
Stephan Eichenberg <email@example.com>
Attila'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. See more »
At roughly 1:14:25 as the Hun are exiting the caves, they reuse the same shot twice. They film them coming out of the caves, cut to a shot inside, then back outside of the cave. It is the same shot but shorter. See more »
This film portrays revenge on an operatic scale. But do not confuse with Wagner's opera Das Ring des Nibelungen. Although both the film and Wagner's opera are based on related Norse and Icelandic sagas, Wagner devotes attention to Brünnhilde's reaction to the death of Siegfried rather than on Siegfried's widow Gutrune's (i.e. Kriemhilde's) reaction to the murder of the hero. Both the film and the opera are romantic in style. But unlike the 19th century opera, the film has elements of early 20th-century German expressionism. Everything about this film is perfect. The acting is over the top, as it needs to be. The sets are sublime. The crowd scenes are powerful. Imagine a film where the heroine makes Attlla the Hun (Etzel) seem like a reasonable, sympathetic host.
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