Horst in Translation ([email protected]) "Das Wachsfigurenkabinett" or "Waxworks" is a German silent film from 1924, so over 90 years old by now. Apparently, several versions exist as the runtime is sometimes stated slightly over 60 minutes while the version I watched had a little bit more then 80 minutes. In retrospective, I have to say I'd have preferred the 60-minute version. Birinsky, Leni and especially writer Galeen have worked on some pretty famous films from that era, but their collaboration here did not result in anything memorable. I thought the production values looked pretty weak here for the most part and this already destroyed every chance at a good horror movie because it is so essential for the genre, especially as they could not make up for it via great dialogue for example. The copy I watched was not of great quality, but I guess that's not the filmmakers' fault. At least, I have seen stuff from decades earlier that was more refined. So despite the inclusion of some pretty big names, this one here was a disappointment. I do not recommend watching it.

Lechuguilla The story premise is quite simple. The owner of a wax figures shop wants to hire a writer "for publicity work in a waxworks exhibition". The hired writer, or "Poet", (William Dieterle) then creates fictional stories for three of the wax figures: Haroun al Raschid, Ivan the Terrible, and Jack the Ripper.The writer places himself and the owner's lovely daughter (who does little more than smile through the whole film) into his fictional scripts. And so what we get is a trio of short stories about these three historical figures with the writer as a central character.The first story, about Haroun al Raschid (Emil Jannings), consumes about half of the film's runtime. The second story runs about thirty minutes. And the third story (about Jack the Ripper) is mostly just an afterthought.The poet role (Dieterle) is fine. But the role played by Jannings is horrid; he's like something out of a nightmare. His bizarre clothing combined with bizarre facial expressions create a character that is quite repellent. Sans grotesque mustache, at times he resembles an inebriated fat old woman. This character is the most memorable image I have of this film, and it is not favorable.Visuals are almost as bizarre ... heavy shadows and, though technically in B&W, hues range from brownish to greenish to bluish and even lavender in a few scenes. Shapes of dwellings trend round and resemble stereotyped imperial places in Russia. Acting is horridly melodramatic.Viewers need to give very old films a lot of latitude. But "Waxworks" doesn't work for me, even making allowances for its age. Other films of the silent era are better.

tomgillespie2002 When a young writer (William Dieterle) sees an advert in the paper requesting somebody with a big imagination, he takes the job and finds himself in a wax museum, where the owner asks him to write stories about his three finest works. His models are of Harun al-Rashid, Ivan the Terrible, and Spring-Heeled Jack, and when Harun's arm accidentally drops off, the writer's imagination starts to wander, and he sets about telling his fantastical tales.Although in essence a horror film, Waxworks is more of an anthology film, juggling genres and tones to fit the mood of the individual piece. While this can be an inventive and successful approach (Creepshow (1982), for example), it can also damage a film's flow if not carefully constructed, risking leaving one story in another's shadow if they also vary in quality. Waxworks suffers for this unfortunately, mainly due to the unevenness in the stories' running times, and the sudden shifts in tone. The stories increase in quality as the film goes on, which is a good thing, but in the case of Waxworks, it leaves a disappointing taste in the mouth given the running time of the final piece is within the blink of an eye.The first story has German silent screen legend Emil Jannings playing Harun al-Rashid, who is informed by his adviser that the most beautiful woman he has ever seen (played by Olga Belajeff) is married to a baker in the city. Rashid goes to win the love of the beauty, but she has set her husband (Dieterle) off to prove himself as a man by stealing the wishing ring from Rashid. Taking a fantasy approach, this story also has a sprinkling of comedy. Jannings if a colossal beast, as you would expect, and brings his dramatic chops to a rarely-seen comedic role. Yet this section drags, and the beautiful expressionist sets don't manage to save it from becoming a silly pantomime.Another German silent icon, Conrad Veidt, plays Ivan the Terrible in the second section, which focuses on Ivan's insane obsession with his potion maker, who can seemingly strike death upon anyone he chooses. It has all the wide-eye operatic tones of Sergei Eisenstein's own Ivan adaptations, with Veidt proving the perfect candidate for Ivan's descent into complete madness. And the final story sees the writer fall asleep at his desk and begin a creepy dream about being stalked by a killer (Werner Krauss) in the streets. It is the final story that remains the most impressive, but sadly only lasts about four minutes.Weimar Germany brought some of the greatest screen icons and most innovative directors in cinema history to the fore during the free- spirited expressionist movement, and although by 1924 the movement was fading away, Waxworks has some fine examples. The winding, claustrophobic staircases of the city streets in the first story evoke the most popular film of the movement, The Cabinet of Dr. Caligari (1920), and in a way, Waxworks almost feels like a homage to Robert Wiene's masterpiece, employing Krauss (who played the titular character) and Veidt who both starred. There is certainly a lot to admire here from a visual standpoint, but even three silent screen giants can't save it from being a slight disappointment, given the promise shown in the final story.www.the-wrath-of-blog.blogspot.com

gftbiloxi In the wake of World War I, German film was sharply influenced by expressionism, an arts movement which is less concerned with imitating reality than in using design to reflect psychology and emotion. THE CABINET OF DR. CALIGARI brought the style to the screen in 1919, and throughout the 1920s many directors would create projects under its influence.German director Paul Leni (1885-1929) was one such--and although he is best recalled for his later Hollywood films, most notably the stylish THE CAT AND THE CANARY, the 1924 German WAXWORKS shows him very near the peak of gifts. It is also very clearly an homage of sorts to THE CABINET OF DR. CALIGARI; not only would Leni cast two of that film's actors in major roles, he drew from the film's style for both sets and cinematography.WAXWORKS is an "anthology" film, a collection of stories bound together by a running thread. A young writer (William Dieterle) is employed by a carnival sideshow wax museum to write stories about several of their figures: a Baghdad Caliph, Ivan the Terrible, and Spring Heeled Jack. As he writes, the film segues into the story the writer invents.The longest of the three stories concerns Harun al Raschid, a Caliph of Baghdad who falls in love with a baker's wife--and then seeks to take her for his own. Featuring the celebrated Emil Jannings as the Caliph, the episode is a mixture of light comedy and Arabian Nights fantasy, particularly noted for the greatly stylized sets that recall the earlier CALIGARI and THE GOLEM to somewhat softer effect. It also offers the very rare opportunity to see Jannings, famed for his dramatic roles, in comic mode, and he proves equally adept with this bit of fluff as with his more "serious" work.The second episode is a fantasy suggested by Russian ruler Ivan the Terrible, who delights in poisoning prisoners but finds himself fearful of his highly gifted poison-mixer. Ivan is played by Conrad Veidt, who appeared as the murderous Cesare in CALIGARI; one of Germany's most popular actors of the silent screen, Veidt was also noted for his gift at playing insanity, and his Ivan is the very incarnation of madness. As in the earlier episode, the sets are also fantastic, although perhaps not so obviously so.Fine though the first two sequences are, it is really the last that is most famous, and justly so. Here Leni sets the story against the carnival itself and presents it in grotesque, dreamlike images that very deliberately recall CALIGARI; moreover, he casts actor William Dieterle, who played Caligari himself, as a menacing killer who slowly stalks his terrified victims. The killer is referred to as both Spring Heeled Jack and Jack the Ripper; clearly, however, he is more akin to the latter. The cinematography in this sequence is particularly fine, using multiple exposures in a way that foreshadows Leni's stylish THE CAT AND THE CANARY.In an overall sense, WAXWORKS is quite fine, and were it not for the fact the final sequence is so short I would easily give it a full five stars. The Kino DVD also offers a very good transfer, complete with original tinting; unfortunately, however, it offers no bonus material except a Leni short--an unexpected but mildly interesting "filmed crossword puzzle." Although some may find the anthology nature of the film a bit off-putting, silent fans will likely love WAXWORKS from start to finish.GFT, Amazon Reviewer