Also known as: Orlacs Hände (original German title)
Release Date: September 24th, 1924 (Berlin premiere)
Directed by: Robert Wiene
Written by: Ludwig Nertz (play), Maurice Renard (book)
Music by: Pierre Oser
Cast: Conrad Veidt, Alexandra Sorina, Fritz Kortner, Carmen Cartellieri, Fritz Strassny, Paul Askonas
Pan Films, Berolina Film GmbH, 92 Minutes, 113 Minutes (restored), 105 Minutes (2013 cut)
As big of a fan of Robert Wiene’s The Cabinet of Dr. Caligari as I am, I actually hadn’t seen any of his other films until now.
I’ve known of this one for quite some time but I never came across it until it started streaming on The Criterion Channel, recently. Being that it was only on there for a limited time, I had to check it out. Plus, it starred the legendary Conrad Veidt and all of his silent films showcase his great talent for acting in that very expressive style.
Like Caligari this film utilizes the visual style of the German Expressionist movement. It features a high contrast chiaroscuro aesthetic while also having a visually surreal quality. Everything feels dark and dreamlike and for Wiene, you can see a more refined style than what he showed just four years earlier with Caligari.
Honestly, this feels like a more mature and plausible film. It’s less fantastical, more gritty and it taps into the psyche a bit deeper, providing a sense of dread and horror that eclipses that more popular and widely known Wiene picture.
The story is about a pianist who loses his hands. So he’s given hands that could’ve possibly belonged to a killer. While he doesn’t get back his ability to play music, weird things start to happen that have the man believing that the hands are taking over his body and causing him to kill. There are some twists to the plot and there’s a big reveal scene at the end but even though this is a very old film, I didn’t find it to be predictable and it had a satisfying ending.
I don’t think that this film could’ve been as good, though, without Conrad Veidt in the starring role. He gives us some of his best work, as you really start to buy into his worst thoughts about himself while feeling for the guy, as he could possibly be an innocent victim, possessed by evil hands.
While I don’t like this as much as Caligari, it feels like it utilized the knowledge Wiene gained while working on that film, as well as his others that predate this one.
Additionally, it also features one of the best Veidt performances I’ve ever seen.
Pairs well with: other silent era horror films, especially those with the German Expressionist style.