MartinHafer Have you ever gone to a country where you don't know the language and sat and listened to what was going on around you? If so, then you might have some idea what it's like watching "Warning Shadows". All sorts of things happen on the screen but the viewer is left wondering what this all means--and there is no explanation nor context nor any intertitle cards explaining anything. While I noticed a lot of people gave this one 9s and 10s, I just can't see it as the film seemed boring and incomprehensible.Normally in a review I talk a bit about the plot, but in this one I have no idea WHAT is going on. There are a lot of men wearing early 19th century clothing and they all hang about a woman in a strange mansion. Periodically, they amuse themselves with shadow plays projected on sheets. What else is occurring? I dunno."Warning Shadows" has been described as an example of German Expressionism--the same odd sort of style typified in "The Cabinet of Dr. Caligari". However, "The Cabinet" is a wonderful film and uses it's odd surreal look to the fullest. Here in "Warning Shadows" the sets just come off as simple or cheap. Additionally, I'd prefer to think of it as German OVER-expressionism because the acting is so overdone. Characters roll their eyes, stare and make a billion and one expressions using their eyes as well as wildly gesticulating to show emotions. Arty? I dunno--it just looks bad.Aside from some nice costumes, I cannot find much of anything to admire about this film. While I have seen and reviewed hundreds (if not thousands) of silents and greatly appreciate them, this film seems like an artsy-fartsy mess--and a dull one to boot.

cstotlar-1 I caught this at the Cinematheque a couple of times in Paris. It is a film with no intertitles (except at the beginning for identifying the characters) and, like "The Last Laugh", depends on the camera and editing to tell the story. The action in both films, then, would have to be slow as not to confuse the viewer. This is the lesser of the two but the Murnau film has long been an established masterwork. Frankly I don't know much about Art(h)ur Robison. He was an American working on German-looking films in Germany during the Expressionist phase.This film does indeed feature shadows and the lighting is necessarily bright. What I particularly enjoyed was being pulled into the action of the shadows along with the guests. In this respect the film was quite brilliant. The acting is really quite good and despite the slow speed of action, the film has barely dated at all.Curtis Stotlar

chaos-rampant I shudder to think what might have been of the German school if Caligari and Nosferatu had been among the lost films. There's just not a whole lot that has reached us from this movement, much less truly great works. Recently restored by the Murnau foundation, this is meant to be one of the most evocative ones, a great title we had been missing. Most of it passes with little notice, a night of erotic angst, rivalry and a marriage falling apart with the lavish mansion of a baron as the stage of the theater. The prospective lovers feign and thrust, eventually really thrust; we get to see this in shadows. Shadows, a nocturnal hallucination as the title goes. It's the arrival of a shadow-player that is the most intriguing here. Oh, eventually his magick tricks were all serving a benign purpose, domestic bliss is salvaged from desire most foul, the soul restored into proper order.The trick is that he gives the parties involved a vision of what might unfold, the dangers involved. His small audience wakes up from the cinematic illusion dazzled, baffled, rubbing their eyes with disbelief. And we pull further back in the final shot to see curtains falling on this level that we experienced as reality.Is everything inside the nested story so artificial because it was the times still inflected by theater, or because the shadow play is inherently artificial? Is the shadow player the protagonist himself, made from his mirrored image, and so conjuring for himself a wish-fulfillment illusion where everything is made alright?If you were looking to come to this for German expressionism, you might want to reconsider. There is a great shot of the illusionist pushing back, elongating the shadows of his players. But it's serving and is part of the great self-referential tradition of cinema, films about the illusion of watching films.

sean4554 "Warning Shadows" shouldn't work as well as it does. There are no titles, causing the plot to be confusing if not closely paid attention to; the Expressionistic elements are abundant but also strangely removed in style; the acting is often tongue-in-cheek, and the overall artiness is seemingly self-conscious. However, those same elements also contribute to this film's majesty and originality. There is simply no other film (that I'm aware of, anyway) that approaches the beauty and sheer erotic oddness of this obscure classic. I cannot adequately describe exactly what it is that makes "Warning Shadows" one of my all-time favorite motion pictures, so...just see it. It's available on DVD from our great friends at Kino.