talula1060 This movie was awful. Just as bad or worse than the first one. Same issues as the first one too. Acting was the worst thing about it. All the Indian characters were German with brown makeup to make them look Indian. It was extremely obvious in gorgeous Technicolor. The sole American leading lady was referred to as Indian but she had the features and coloring of Elizabeth Taylor. Apparently Lang thought having black hair and bare feet were the only things she needed to make her look Indian. The prince was terrible and often spoke forcefully for no reason. His makeup was very noticable and very phony looking. Jewelry was often too big for the actor wearing it and very phony looking also. The actors had very limited skills which often made them yell or glare at people regardless of what was taking place. Amateur mistakes. The brother of Berger is awful and often inexplicably shouts his lines. At one point, his employer the prince, removes some architectural models from the room and the brother throws a tantrum, shouting and throwing things. The brother did not want to work on any designs anyway since his partner was missing so why he freaked out is unclear. In another scene, he is instructed by the Prince to build a tomb. The prince angrily tells him all the precious gems he will have at his disposal. He's almost shouting the names of the gems as though the brother had protested the crappy materials. It makes no sense. The leading lady Seetha is only there for eye candy. Her skills are very limited. Perhaps because of this, Lang always puts her in tight fitting tops without benefit of a bra and then will have her stretch and lean in the supposed guise of prayer to this or that goddess. At one point she does a sensual dance with a snake in which she is basically naked with a few week placed bits of cloth. She does a dance with a snake where she flexes her bare legs and even thrusts her hips suggestively over and over. For the time period this is beyond risque. Her face is exquisite to look at and this and the above dance are what make her bearable on screen. Her acting is tough to gauge because she's an American who didn't speak German so all her lines are dubbed by someone else. The writing isn't particularly good either. Characters do things that don't make sense and are never explained. Some of the plot devices are ridiculous and obvious. Like when the Prince steals a coat and smears it in blood to present to the hero's sister to prove he's been killed. This coat had been sewn recently by the hero's sister and had been stored in the closet of her room. Of course she knew it was a lie! Just lazy writing here. The prince is all upset because this woman he liked didn't like him? They barely knew each other and had no arrangement but he acts as though she'd cheated on him. It's far too weak a storyline to be believable as the prince isn't played like an ego maniac who expects everyone to bend to his will. He just wasn't the kind of guy to force a woman to be with him. In any case, i gave it 3 stars for the beautiful color, scenery and costumes. The acting, story, and directing warrant a big fat zero.

Steffi_P Please see also my review of The Tiger of Eschnapur.The Indian Tomb was the second part of a pair of pictures directed by Fritz Lang, his first German productions since the 1930s, adapted from a screenplay he had himself worked on nearly thirty years earlier. The two of them should really be considered one whole work as much as were his two-part epics from the silent era, Dr Mabuse: Der Spieler (1922) and Die Nibelungen (1924). These earlier opuses were among the most prestigious works made, not only in Germany but anywhere in the world at the time. However this Indian diptych of the late-50s, a product of the drastically different post-war German film industry, looks like some cheap and cheerful Euro B-flick, at least at first glance.The Indian Tomb and its forerunner The Tiger of Eschnapur certainly bear many hallmarks of a trashy proto-exploitation feature. The Indian characters are played rather unconvincingly by Europeans in "brownface", the special effects are often laughable (stuffed tigers in part one, which are outdone by plastic cobras in part two), a bit of partial female nudity, and a fast-paced plot of action and romance with more than of a few plot holes, imagination-stretchers, and complete suspensions of logic – the most stupendous of which has to be the unexplained concept that lepers are actually zombies. To make matters worse, the two pictures were cut down into one movie by American International Pictures, Roger Corman's distributor, and for years this was all English-speaking audiences could see of them. Today however we are lucky enough to have fully-restored versions of both parts available to us, including a subtitled German version, which is far preferable to the atrocious English dub, assuming you can get over the illogic of Indians speaking to each other in German. Now at last we are able to rediscover and re-evaluate Fritz Lang's final masterpiece.On closer inspection, these two pictures are not quite so low in their values and appeal as one might think. For a start, the fact that Europeans play Indians is not really so different to westerners playing Arabs in Lawrence of Arabia. And there would be female nudity in Blow-up, and that is considered arty! The cast, while not exactly award-worthy, are uniformly decent, with the standout being Walter Reyer's eerily underplayed portrayal of the unbalanced Maharajah. There's a fabulous musical score by Gerhard Becker, and although admittedly the invented "Uncle Pat" song sounds more like a Gregorian chant than a Irish folk ballad, when Becker interpolates it into the main score on sweeping strings it makes a wonderful, aching love theme. The plot too is more than just your typical fight-a-minute no-brainer. While far from realistic its rip-roaring adventure has many strands to it, such as the political infighting of the fictional eastern province and the Maharajah's descent into jealousy-fuelled madness. It is of course aspects like this that would have been ripe for the chop when the pictures were re-edited in the US.And now let us turn to the contribution of Herr Lang himself. Although he spent most of his twenty years in Hollywood making cheap and sometimes nasty B-flicks, he never lost the flair and professionalism of his early German career, at which time he was rightly regarded as one of the most important talents at UFA studios. He was always at his best presenting adventure stories tinged with a slightly dark, paranoid streak which, while unfortunately being the subject of auterist psychobabble, mainly serves to heighten the sense of danger and excitement. As in The Tiger of Eschnapur the vast, angular sets are given prominence, with shots composed so that the walls seem to press in on all sides. There's often a passage or open door at the back of the room, suggesting that the heroes could be crept up upon from behind at any moment. Early on there's a shot where Walter and Irene are in their quarters, and a net curtain covers one corner of the frame. By cinematic convention this looks like a point-of-view shot, which gives this unnerving feeling that the couple are being watched. The carefully orchestrated action finale, in which all the various elements – the rebellion, Harald's escape, the flooding of the catacombs – reach a crescendo is reminiscent of the climactic scenes of Metropolis and Die Nibelungen. It is really such a good thing that Lang, the man who brought our dreams and our nightmares to the screen with such vibrancy, did not end his career in lower-end Hollywood productions. His Indian epic is a glorious and worthy tribute to his silent-era heyday.

Claudio Carvalho Seetha (Debra Paget) and Harold Berger (Paul Hubschmid) are rescued from the desert by a caravan and brought to a small village. However, the greedy owner of the house where they are lodged betrays the law of hospitality and reveals their location to Prince Ramigani (René Deltgen). The couple tries to escape but is hunted and captured by Ramigani and his men. Meanwhile Irene Rhode (Sabine Bethmann) and her husband Walter Rhode (Claus Holm) suspect that Maharaja Chandra (Walter Reyer) is not telling the truth about Harold's destiny. The conspirator Ramigani forces Seetha to accept to get married with Chandra to provoke the wrath of the priests and get the alliance of Prince Padhu (Jochen Brockmann) and his army. In the meantime, Harold succeeds in escaping from the dungeon and seeks out Seetha to save her. "Das Indische Grabmal" is the delightful conclusion of a romantic adventure in the exotic India. This family movie seems to be a matinée with wonderful moments, like for example, the spider building its web and protecting the lovers after the offering of Seetha to her god Shiva; or the sexy dance of Seetha; or the maze in the underground of the palace; or the dead bodies without gore. The colors are splendidly restored in the DVD released in Brazil by Continental in the beautiful locations and sets, and it is possible to see the strings controlling the snake while Seetha is dancing. My vote is eight.Title (Brazil): "Sepulcro Indiano" ("Indian Tomb")

kirksworks (Spoilers). The Indian Tomb (actually titled The Tomb of Love in the opening credits of the Fantomas DVD release) is part two of Fritz Lang's Indian Epic, and I have to say that this and Part One, The Tiger of Eschnapur, are quickly become two of my favorites of this director, despite their deficiencies. As I said in my notes about Tiger, this two part production has a lot going for it, not the least of which are the remarkable locations, cinematography, Langian screen compositions and costumes. This is eye candy to the max with one amazing image after another, but its modern day Adam and Eve storyline and supernatural microcosm are also noteworthy. Part One set the stage, pitted the characters against one another, and in Part Two, the rivalry between architect Harald Berger and the Maharaja Chandra, and the political intrigue finally explode in full force. In Part Two the pacing also picks up. Speaking of that, I must mention that the first time I watched both films, I found them rather slow and uneventful, particularly Part Two - but something about them brought me back and about a year later I re-watched them. The second viewing was a very different experience. I saw things I completely missed the first time around. The clever irony, the emphasis on the spiritual world, the correlation of animals to the main characters and the Gods, the existence of a subversive underworld, and the interplay of opposing forces all came into focus in the most poetic fashion. On first viewing I think I preferred the first part, but I now feel they are equally strong. In Part Two, the plot to overthrow the prince and the arcs of the key characters (particularly Paget's Seetha character) carried more weight on second viewing. As someone else said, the films are structured in a cliff hanger serial style, not unlike the Indiana Jones films. Unlike Spielberg, however, Lang's Indian Epic isn't afraid to take its characters seriously. There is humor, but the romance of character, locale, theme and story take a front seat. There is more going on here than just a fantastic adventure. At the end of Part One, the hero, Berger, and the Indian dancer, Seetha, beaten by the sun in the desert, collapse, and Berger shoots his gun towards the sun in an act of defiance against God. This theme of defiance towards God develops throughout Part Two. And Part Two also has Debra Paget's erotic dance of death (with an unfortunately fake snake). As I mentioned in my comments about Tiger, Paget basically runs away with the whole show, and her erotic dance in this part certainly adds to it. With her many jeweled costumes contrasted by her dark makeup, she never radiated on screen more beautifully. She is truly one of the great faces of that era. Her scant gilded costume is very risqué for 1960, and I can't image it didn't get censored back then. Yet, the dance is beyond erotic, for it also intelligently expands the drama of the story. Lang's compositions speak volumes about the characters and an entire essay could be written about them. Suffice to say, even if the meaning of the shots don't hit you, you'll still be blown away by the exquisite colors, production design, and costumes. The use of white is astounding. And let me mention the music by Michel Michelet. It's quite a stylish score, rich with exotic instrumentation, Indian marches and fanciful dances. Like the exquisite images, the score adds considerably to the alluring atmosphere. If you're a Fritz Lang fan, and you don't mind silent film pacing, you're probably of an age and mind-set to appreciate this epic. It made me wonder what Lang would have done with Metropolis had he shot it in 3-strip Technicolor. There are some deficiencies I must mention, however. Some of the visual effects are less than satisfactory (the aforementioned snake being the worst offender), and a few of the sets look like sets. Also, some of the Indian characters (Chandra, for example) are not Indians but white actors in makeup. Such was the times, but even as recently as 1982's Gandi, white actors (Ben Kingsley) were playing non- whites. Nevertheless, the broad strokes performances work well in this kind of adventure. The Fantomas DVD of Lang's Indian Epic has both German and English language available. Even though the dubbing is regrettable, the English version is preferable (unless you speak German), since the subtitles avert your eyes from the spectacular imagery. If you approach this with an open mind, Lang's Indian Epic will sweep you away to a wondrous world.