Film: Der Tiger von Eschnapur / Das Indische Grabmal
Year of production: 1959
UK Release date: 18th April 2011
Distributor: Eureka!
Certificate: PG
Running time: 201 mins
Director: Fritz Lang
Starring: Debra Paget, Paul Hubschmid, Walter Reyer, Claus Holm, Luciana Paluzzi
Genre: Adventure/Drama/Romance/Thriller
Format: DVD
Country of Production: West Germany/France/Italy
Language: German
Review by: Tim Molton
In 1921, Joe May, an Austrian-born film director took the reigns on a project titled Das Indische Grabmal (The Indian Tomb) for which the screenplay was co-written by Fritz Lang and his then wife, Thea Von Harbou. Almost forty years later, Lang himself returned to Germany to direct a more visually aesthetic and modernised remake of this production, dividing the film into two separate adventures, Der Tiger von Eschnapur (The Tiger of Eschnapur) and Das indische Grabmal (The Indian Tomb).
The film begins with the German architect Harald Berger (Paul Hubschmid) travelling through India en route to Eschnapur. On his journey, he meets the beautiful young dancer Seetha (Debra Paget). We soon learn that both Harald and Seetha have been commissioned by the ruler of Eschnapur, Chandra the Maharaja (Walter Reyer), for their differing skills. Harald has been requested in Eschnapur to build a temple for the Maharaja and Seetha to dance in the Maharaja’s presence.
When a tiger attacks the carriage in which Seetha and her servant are travelling, Harald’s heroics earn him the eternal gratitude and friendship of Chandra, and the love of Seetha. It soon becomes evident, however, that the Maharaja too has deep feelings for Seetha, and has invited her to the Palace in order to acquire her admiration and, subsequently, her hand in marriage.
When Chandra’s devious brother Prince Ramigani (Rene Deltgen) becomes aware of his intention to marry Seetha, he sees it as an opportunity to overthrow the Maharaja, and so begins his underhand scheming in an attempt to win over the support of the various disapproving factions within the Palace.
The Maharaja inevitably learns, however, that Harald and Seetha have been having a secret affair behind Chandra’s back. He consequently realises that despite his most humble and sincere efforts, Seetha’s heart belongs to Harald. Chandra’s love for Seetha, and indeed his admiration and respect for Harald, both quickly diminish upon this realisation, until all that remains is a deep and bitter hatred for both.
When Harald and Seetha flee the Palace in order to escape persecution at the hands of Chandra, a fleet of soldiers is sent to seek them out. Their instructions are to return Seetha to Chandra, and to kill Harald.
Harald’s sister Irene Rhode (Sabine Bethmann) and her husband Dr Walter Rhode (Claus Holm), also architects, arrive at the Palace to further assist the Maharaja with his plans, just as Harald and Seetha have escaped. Chandra informs them that the plans have changed and that they will now be building a tomb for Seetha. As Harald and Seetha escape into the desert, their demise is quickly sought by the bitter Maharaja, whilst Irene and Dr. Rhode try to discover their whereabouts, and save them both from execution…
When Fritz Lang took the decision to return to Germany in the late 1950s and direct the film he had co-written many years prior, it was evident that there would need to be some significant changes in order for the movie to be a success. Firstly, Joe May’s 1921 feature was a silent film; not a common characteristic of movies released in the 1950s. Secondly, the film lasted approximately three-and-a-half hours, which was no longer an endurable timeframe for contemporary audiences.
Lang, therefore, created the film as he had envisioned, by dividing the script into two separate features (now known collectively as The Indian Epic) and by using distinctive sound and music to compliment the beautiful, vibrant imagery. These decisions were, in reality, a necessity if the films were ever to be a success, but nevertheless Lang’s skill in executing these decisions should not be understated.
The screenplay itself, co-written by his wife Thea von Harbou, is comparable to many infamous Shakespearian plays, in that it contains all of the ingredients necessary for an enthralling adventure feature, including jealousy, betrayal, tragedy and, of course, love. Lang must be given a great deal of credit here for not only creating a brilliant storyline, but also for refusing to filter out any of the scenes in an attempt to reduce either the expense or the running time of the production.
The pace of the film is very much dictated by the tempo of the music, and whilst this may be an obvious way for viewers to predict the tone and even the outcome of each scene, it generally has the desired effect. Audiences may occasionally let their minds wander and lose interest momentarily when the music is slow and the scene apparently stagnant, but, likewise, they will find it very difficult not to feel a rush of excitement when the pace of music increases or the beat of the drum gets louder.
The imagery and backdrops used by Lang are as beautiful as the focal character herself. Whilst evidently studio sets are used for many of the scenes, the utilisation of palaces and temples in India provides the film with an almost other-worldly and enchanting feeling. Such settings contribute not only to the aesthetics, but also to the plot itself, as the continuing theme that magical things can occur in India becomes ever more convincing throughout.
The characters are excellently cast, and each is played to its full potential.
Hubschmid portrays the love-stricken and heroic architect brilliantly, and in such a way that audiences will take an instant liking to him. He is seen to be strong and brave, yet vulnerable to the charming and seductive Seetha.
Debra Paget, despite her lines being dubbed, is perfectly suited to the role of Seetha, the sensual dancer who falls for Harald. Indeed, the theme of eroticism, which is so ever-present in Lang’s work, is never more evident nor captivating than when Paget dances to the beats of the Indian drums. Although her acting is largely faultless throughout, it is her dancing that will be remembered from this feature, performing two of the most erotic and captivating dances seen on film during this period.
The film won’t be to everybody’s taste, purely because it was released so long ago - the quality of the feature is always going to be reduced, whether because of the special effects, the stunts or for many other reasons. However, Lang has directed a feature which relies not merely on special effects, but rather a fantastically compelling script, seductive arts and fine performances from the cast.
This is a very difficult feature to fault, particularly given that it was written prior to 1920, released in 1959 and still contains all of the ingredients which appeal to a modern day audience. It is not only visually engrossing, but also an intelligently woven script, which contains as much charm, seduction and edge-of-the-seat excitement as the Temple of Doom. Highly recommended. TMO
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