Neil Doyle I much prefer watching the Peter Lorre remake, MAD LOVE ('35) which tells the same tale of the pianist who has his hands replaced by those of a murderer after an accident severs them. At least that version had some pace, some sense of cinematic flow and was not subjected to the wild silent screen acting that all but consumes THE HANDS OF ORLAC.Even a great actor like CONRAD VEIDT cannot save this one from looking absurd much of the time. The players all suffer from silent screen direction which means they hold their frantic poses for long stretches of time while the camera focuses only on them.Even the train wreck scene suffers from lengthy excesses before the camera even gets to the victim. You almost feel like saying, "C'mon, let's get to the point," before the scene is over.Frankly, I found it an insufferable silent film, a poorly paced example of German expressionism in a film full of shadows and static camera shots.

CaligulaAzrael I must say I was pretty disappointed while watching this one. It's one of the classic movies from the age of German Expressionism, but I cannot call this a masterpiece. Wiene was a director of remarkable "Kabinett des Doktor Caligari" and "Orlacs Hände" doesn't seem to be as successful as this great picture. The action is quite interesting, acting is very good, idea is inspiring but it's also very naive. Specially the ending was too childish and I found myself hard to believe in it. But, I should also admit that Wiene's movie has some kind of intriguing atmosphere, which makes the whole thing worth watching. If you're enthusiastic to German cinema of the decade you should watch this one, but don't expect too much.

FerdinandVonGalitzien Ah, what aristocratic days are these!!... These modern times of the new 21st century have many similarities to the old youthful times that Herr Graf spent in Deutschland at the beginning of the ancient 20th century; that is to say, during those days the world had a tremendous financial crisis not to mention the menace of a world flu pandemic. It seemed appropriate then that Herr Von decided to revisit those memories by watching at the Schloss theatre a strange, oppressive film, a picture that reflected those times and the aristocratic mood. A perfect soirée, indeed!... The film was "Orlacs Hände" (1924) by Herr Robert Wiene.It was a pleasure ( you have to know that German aristocrats have fun in a different and dark way .. ) to watch again such a classic Expressionist masterpiece. Thanks are owed to the longhaired youngsters at Kino who did an excellent restoration of this old nitrate which includes a bearable music score by Herr Paul Mercer that helps one to suppress the memory of the terrible score that was included some time ago in another release of the film; that music was scarier than the film itself. Even today, to watch "Orlacs Hände" is a disturbing experience aside from appreciating its Expressionist values. Early in the film, the train crash sequence is full of dark and impressive shots that capture the confusion, warning the audience that this is a special oeuvre. It bespeaks a terrible chaos, uncertainty and darkness that engulfs the viewer in an oppressive, tormented atmosphere.Due to the train crash, Herr Orlac ( Herr Conrad Veidt ) our hero will suffer horrible wounds to body and soul. The physical scars heal up but the psychological wounds are more difficult to overcome, especially when Herr Orlac discovers that his new hands belonged to an assassin. This marks the beginning of a terrible "tour de force" between body and soul that will torment Herr Orlac throughout the film. His fragility is challenged by pain and suffering and though solace and calm ultimately prevail he must first face constant uncertainty, delirium and the threat of insanity.The Expressionist shadows, appropriately enough, surround the main characters ( The performances by the great Herr Veidt and Dame Alexandra Sorina are also in the Expressionist manner ) and their habitats; their home, at the hospital, and in the streets. An oppressive, morbid, gloomy atmosphere prevails and suits perfectly a story of wicked impulses and disturbed minds.Hands demanding crimes, the weakness of the human will, blackmail from an unscrupulous criminal, a medical experiment, a father who hates his son… such are the subjects in "Orlacs Hände", an unnerving masterpiece and the perfect aristocratic silent film choice for a cloudy soirée in these 21st uncertain times.And now, if you'll allow me, I must temporarily take my leave because this German Count must lend a hand in this time of crisis by drinking only a glass of Rhine white wine instead of the whole bottle.Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

Levana One of the real classics of Expressionism -- even the Americans think so, to judge from the fact that they've remade it (badly) several times. To be sure, the premise won't stand examination (but then, it's horror), and a modern viewer may find it hard to adjust to the actors' Expressionist grimacing. However, the movie is consistently suspenseful due to its heavy dark atmosphere and communication of mental torment. The fear of one's own body is a dynamite theme if it's as well presented as it is here.