Showing posts with label Conrad Veidt. Show all posts
Showing posts with label Conrad Veidt. Show all posts

10/15/2026

Silent movies - Eerie Tales

Today's film is sliiiightly longer than the last two and so is the post (sorry). We will stay in the Halloween spirit with it.
I just wanted to say that I didn't have one like it on my blog before, but then I remembered "Waxworks" - it's another anthology film, bonus point is it's also with Conrad Veidt (and Anita Berber and Reinhold Schünzel)!
Welcome to "Eerie Tales" from 1919 (the original title is "Unheimliche Geschichten" or "Grausige Nächte").


Here's the plot or really the plots as we have a frame story and five episodes within it.

We are in a used bookshop shortly before closing time.
There are three huge paintings on the walls, "The Devil", "The Harlot", and "Death".


As the shop owner has left, the three emerge from their frames and start reading.


1. "The Apparition" by Anselma Heine

Dr. Riedhammer walks through the park and helps a young woman who is assaulted by a man - her husband as she tells him later. They check into two rooms at a hotel. Although they feel attracted to another and kiss, he then leaves her alone as she isn't feeling well.


Riedhammer spends the evening with friends, but goes to the woman's room when he comes back.
He finds it completely empty, she is gone, all the furniture is gone. The wall looks like blood and as if the paper has been torn off it.


When he asks for her the next day, everyone tells him that he has checked in alone, and the room looks normal again, too. At the police where he also gets attacked by her husband, they also tell him that they are informed and that he has been alone.
He's beginning to doubt himself, but then he's told by an undertaker that she had been taken away secretly because she died of the plague that night ...

2. "The Hand" by Robert Liebmann

Two men are in love with a woman.


When she dances with another man, they get jealous, go home, and decide to roll the dice for the right to court her.
The loser can't bear it, though, and strangles the winner, then escapes after he has pried the dead man's hand from his sleeve.


Years later, he meets the woman again, she invites him to her first dance performance, but there he has hallucinations seeing his opponent. Then they invite him to a séance and the dead man comes back ...


3. "The Black Cat" by Edgar Allan Poe

A man is interested in a drunkard's wife. When the husband notices, he takes it out on his wife's beloved black cat, but doing so, he kills her instead and then walls her body up in the cellar.


The man hears rumors about the drunkard's wife having disappeared. He calls the police and they search the house. When they come to the cellar, they hear a strange wailing noise ...


4. "The Suicide Club" by Robert Louis Stevenson

A man joins a special club. You join the regular way, but you leave it only by death. Whoever draws the ace of spades, well, you know ... and unfortunately the new member is the "lucky winner".


The president locks him in his chair by pushing a button (don't ask me how that works) and tells him that he will die at midnight. Then he unlocks the chair and leaves the panicking man behind going through a passage in the clock.


And then the man dies, killed by the fear. Or does he?

5. "The Specter" by Richard Oswald

A cavalier has an accident with his carriage and is taken to a castle where he immediately starts flirting with the owner's neglected wife.


Then the husband has a plan ...


The bookshop owner comes back, shocked to find the three in his shop. He fetches the police and is relieved to see the them back in their paintings. When the policemen are gone, however, they come back to life and he runs off.

Let's have a look at the stories behind the stories now.

Anselma Heine was a German writer.
Her novella "Die Erscheinung" from 1912 has a lot of atmosphere and explores the Dr. Riedhammer's feelings when he first sees Johne Stevens in a cloud of dust looking like an apparition, then meets her on his ship slowly growing closer to her, and then his shock when Johne suddenly disappears. I was glad to find it online and really liked it.
As we have three leads, that episode adds the strange husband, who is just mentioned in the novella, and also leaves out the backstory.
In my opinion, it's the strongest and eeriest story of the five.

Robert Liebmann was one of the most successful scriptwriters in the Weimar Republic.
The story is a classic, a guilt-stricken man being haunted by his victim, but not before he meets the woman again who was the reason for his crime. Also, he's not the only who can see him.
A special treat is that Berber actually has a short dance scene in this episode. You may (or not) know, for example through the famous painting of hers by Otto Dix, that she was an icon in the Berlin clubs as a dancer and known for the scandals in her short life.


I don't think I have to say anything about Edgar Allan Poe.
Knowing the story, I was wary about watching this episode (while the animal abuse was toned down and no cat was killed, I still wasn't happy at all about the way the drunk husband treated the black cat in one scene).
We have another triangle to allow for the three actors.
The ending could have been more dramatic, but I thought it was okay given you couldn't hear the wailing cat.

I haven't read "The Suicide Club" (actually there are three stories about the club) by Stevenson yet, but from the synopsis that I skimmed they really just kept the concept of the club for this episode.
There's a very nice twist at the end.

The last story was written by the director and, how should I say it, it's not eerie, but seems more like comic relief to me.
Frankly, I thought it was boring because you mostly saw the cavalier and the wife smiling at each other weirdly, uhm, I meant flirting with each other.
I don't know what the director intended with this one, but think the movie would have been better off by putting the episode first or leave it out completely. The costumes are nice, though.

All in all, I enjoyed the movie. Putting eye makeup on Veidt would make any movie eerie, don't you think?
Seriously, though, 
he did a fine job. Schünzel, on the other hand, was a little too dramatic for my taste as the crazy or drunk husband. Berber was best as the cat loving wife (no, I'm not saying that because Gundel made me!).



Further reading:

1. Fritzi Kramer: Eerie Tales (1919) - A Silent Film Review. On: Movies Silently, September 22, 2024
2. ?: Movie Review - Eerie Tales (1919). On: The Revenant Review, October 27, 2015 (interesting more for the part about the leads than the short review)

2/05/2026

Silent movies - The Last Performance

Two weeks ago, we had "the profile", today I'm bringing "the eyes" back - Conrad Veidt.


The movie is from 1929 and it's called "The Last Performance".


Let's start with the plot and some spoilers.

Stage magician and hypnotist Erik the Great is in love with his pretty and much younger assistant Julie, but she doesn't really seem to be in love with him although he regards himself to be engaged to her.


One night, a burglar enters Erik's suite to steal food. Everyone including Julie and Buffo, Erik's second assistant, come running, but Erik assures them everything is alright and even offers Mark a job as his assistant on suggestion of Julie.


Erik plans to announce his engagement on Julie on her 18th birthday, but before the celebration starts, the jealous Buffo tells him about the secret love between Julie and Mark.


So instead, Erik announces the engagement of Julie and Mark, much to the guests' surprise and Buffo's anger.

During their next stage appearance, Buffo gets killed in a chest and sword trick Mark performs.
At the murder trial (with Sam de Grasse of villain fame from four movies I covered before as the prosecutor), Julie implores Erik to help Mark.


Erik asks the judge to let him perform the trick. He shows how he deceived the audience into thinking that Mark did the deadly stab by showing a bloody sword, but how actually he killed Buffo with a dagger he had hidden in his sleeve.
He explains having hoped that Julie might be coming back to him if he got rid of the disloyal Buffo and took Mark out of the picture by blaming him.
Then he kills himself with that dagger in front of a shocked audience.


Veidt was 36, Philbin was 27 at the time. Actually, this movie came out only one year after they had been a very believable couple in "The Man Who Laughs" (a post of mine that sadly didn't get any comments at all although I thought the movie was really fascinating).
So I didn't get the ick feeling from this that I've had from other movies before, not just because I'm a Veidt fan, even if they put the makeup and silver temples on thick to drive the idea of a huge age gap home. 


The movie was made on the set of "The Phantom of the Opera" and had two versions. The one that was part sound - we are at the end of the silent movie era and Veidt went back to Germany after this film - is considered lost (in the Hungarian version Bela Lugosi dubbed for Veidt).
The silent one included scenes that are considered lost.
I watched the print with Danish title cards which has a runtime of about an hour, so maybe some of the development is a little rushed.
I read there was one scene in which Erik had a breakdown. That must have worked well because it's hard to believe how he could have stayed so calm throughout the whole movie, well, except at the end of course.

Although it was quite predictable that Julie would end up with Mark, I definitely wasn't rooting for them even if that was probably what they wanted the audience to do.
Oh look, the old guy taking advantage of the young girl who only stayed because he had done so much for her.
I think I could have felt that more if Erik had been played by an older actor.
This way, I just felt sorry for him, well, until he killed Buffo. He should have fired him because he was annoying throughout the movie, but killing was a bit over the top.
I also didn't like Mark from his first whiny scene after Erik surprised him in his suite.
Another thing that made me wonder was how no one seems to have considered Buffo's death to be an accident. After all Buffo could/should have left the chest during the sword stabbing. A clear failure of Mark's lawyer.

So the highlight for me was really Conrad Veidt. In my opinion, they could have made more of the movie if they hadn't just concentrated on his sinister, hypnotic look that much. Like I said, though, maybe the missing footage would have made a difference.
Why some call this a horror film I don't know, by the way.
Anyhow, thanks to him I enjoyed the movie anyway while the other three didn't convince me that much. It made me even wonder how Julie's and Mark's story would have continued, they both didn't seem very capable to deal with life.

Would I watch it again? I think I would, but there are more Veidt movies to watch!


Sources:

1. Fritzi Kramer: The Last Performance (1929) - A Silent Film Review. On: Movies Silently, August 20, 2014
2. "Monique classique": The Last Performance (1929). On: Conrad Veidt Forever