Il sepolcro indiano (Das indische Grabmal) , regia di Joe May, è la prima versione per il cinema del romanzo di Thea von Harbou. Come tutti sanno, la sceneggiatura, dal romanzo di Thea von Harbou, corrisponde a Fritz Lang (in collaborazione con l'autrice), che voleva dirigere il film lui stesso, ma si dice Joe May, which in turn had no intention to miss such an opportunity e. .. won the game. A few years later, in 1959, Fritz Lang to direct the third version.
This first release (production year 1921) was presented to the Italian censorship in the early months of 1922 ... and was soundly rejected. After a few months, and some cutting, Italians came out in theaters very late (and very successful). The Italian version of the captions, the work of the writer and journalist William Giannini, did everything possible to hide the gaps, but we can see that he could not completely hide the work of Madame Anastasia (which is called in Italy as Mrs. complaint) and more than one critic made inconsistency on behalf of certain sequences. I suggest one of these reviews, together with the description of censorship cuts.
(Note: I confess publicly that I really like this movie)
THE INDIAN TOMB - Watching the film in three episodes, the novel by Thea Harbou.
WARNING - The author of these chronicles is not responsible for those critical insights that could be his suggested cuts to that, unbeknownst to him, he was involved in the film, the work of the censor, or decay.
first episode. (A prologue and two parts).
Thus begins the summary ... Journal that is distributed at the screening room:
"The temple of Dourgha, the ferocious goddess with eight arms, in whose honor they sacrifice more human lives than to Kali, and that priests no less bloodthirsty fanatics of Tughs, is dug into a mountain in the center of the State of Eschnapur, not far from ' homonymous city, bathed by the waters of Lake Bramingha love, "the valley of the ten thousand sanuriani. How
on the banks of the Ganges, also Eschnapur, crocodiles are considered sacred animals and as such revered, and often, in the dreadful lake, human victims are thrown, to propitiate, to the subjects of the Raja of Eschnapur, the divine spirits of the wild alligators.
The land surrounding the block of granite, which is dug in the temple of the Goddess, is sacred. Nessuno, indiano o bianco, può entrarvi senza l'autorizzazione speciale del gran Sacerdote, di Dourgha, e nessuno a onor del vero, la chiede perché quel recinto è quanto di più sinistro e pauroso si possa immaginare.
Il suolo è sparso di tombe tutte di uguale e semplice forma: una fossa ricoperta da un soffitto di canne e creta. Il cammino è difficile in quella necropoli, e talvolta il visitatore imprudente, precipitato in una delle fosse, vi ha aspettato per lunghi giorni una morte liberatrice.»
Vediamo, sunteggiando il... sunto, quello che accade:
«Nel cimitero sopra descritto arrivano alcuni soldati indigeni, comandati da un capo, che obbedisce ai cenni del Rajà Ayan (Conrad Veidt) . Uncovered a tomb, they draw Raminghani (Bernhard Goetzke) mummified, sleeping for thirty years, waiting for death elevated him to the eternal bliss of Nirvana. The fakir saint was taken to the temple of Dourgha; awakened by priests, called to life. He must now, by divine law, to satisfy every desire of one who has awakened (Raja) is realized his fate, with the aim of demonstrating the weakness and vanity of all human desire, across the meeting.
The Fakir, just woken up, without which the prince sets out his wishes, there is work. Goes before the altar, and with great astonishment of all, it blends with the granite parete, e sparisce». (Fine del prologo).
All'inizio della prima parte, vediamo l'architetto Herbert Rowland (Olaf Fonss) nella sua villa londinese, poco distante da Hyde Park. Pare che costuì si dedicasse a studiare preferibilmente la linea plastica delle donnine del demi-monde e si dilettasse nel protrarre, fino alle ore piccine, la scapigliata gazzarra. (Dico pare, perché questo brano episodico non è stato proiettato. Sia la solita ineffabile censura?).
Finalmente, un bel giorno, congeda il suo entourage e si fidanza con Irene (Mia May) , figlia del professore Amundsen.
Quando, una mattina. Irene viene a invitare il fidanzato per una partita di tennis, costui le racconta that, ten days, does not draw that, unintentionally, mausoleums Indian ... The phone rings and the father of Irene wants it immediately. The architect accompanies his girlfriend to the door and when he returns to find his chair, not knowing which side has come ... Raminghani. Raminghani bearer of a letter from Raja and a booklet of blank chèques signed, to invite the architect to go to India to build a large tomb.
Meanwhile Irene had come from his father, who was ... surprised to see her return so soon.
- I have called you on the phone?
- I, no!
the fakir had been playing his good April Fool's in Irene. Which, frightened, rises above a taxi and fled toward the house of her boyfriend. But Raminghani involved ... And you can see his huge head hanging on the streets of London, following Irene's car, then smaller, enter the hub of the wheel and turn with it, until the wheel ... does not come from the pin. Irene is in cream. I do not remember if before or after, Raminghani performs another miracle. Break ... at a distance, with the power of vision, the architect of the telephone wire, when the future father in law tries to communicate with him to clarify the enigma.
Finally, the architect decides and accepts. Rises above a car with Raminghani, not on the table without leaving his nice letter to Irene. But here is a wall up a diaphanous hand, white, but huge, rain (like that of a Napoleonic ode Manzoni) the loop, grasp the point and shoot with that.
Despair of Irene, by a servant, I can understand that the boyfriend, and the kidnapper, they went to the port. Fly captaincy, the Indian said that a yacht has lifted the anchor. Vane Marconi broadcasts (there is always half of the fakir); room to pray the father to accompany her to India, poor Irene is more desperate than before.
Meanwhile the yacht row to the country spellbound. Raminghani is presented to the architect, is the gift of the ship and handed him the letter from the hand snatched diaphanous:
- Here, there had forgotten.
And he goes, without the architect is made of whether, quell'impresario of new genre, not Satan. The summary content to say that, that night, the European did not sleep.
And so we arrive in India. And here is the wonderful film, that pays for all this jumble of weirdness, which will also be taken seriously by the Anglo-Saxon mentality, remembering that it was the cradle of that romance that populations of Witches 'Sabbath witches' Sabbath and the nights in Germany, which salt, dance macabre transformed the tranquil cemeteries Teutonic, and rang the white streets, lit by the moon, ghosts scary rides, but we can not accept that the Latin on one condition: to laugh about it to crack-skin.
India is wonderful, mysterious, this cradle of humanity and civilization, this endless mine of legendary riches, we see on the screen pass, enlivened by the action of the drama, as if all that is really for us the mystery and legend far, had, in a moment of enchantment, a wonderful reality.
Raja leads in through the palace, the temple, the holy lake, etc. The architect, to see the place where the tomb will be built ... And when it's there, confides his woes ... The grave is for his wife, whom he loves desperately but can not forgive.
At the same time provides for the capture of Mac-Allan, making it prime by an Indian who tells him there in the jungle, a tiger to hunt. Meanwhile
has arrived, with the consent of his father, Irene. Comes in a biplane in the sky Eschnapur, from Bombay, and enter the palace. (It seems that this time, the action at a distance of Raminghani, did not fire). The Prince receives the host, but forbids her to see the architect. He must incorporate India to design the tomb and not be distracted. But Irene disobeys and night, through the halls, stairways, magical gardens, labyrinths, the recess where the fakirs and the lepers twisting atone for the sins of mankind, taken from the horror, he opened a massive door and is ... in the pit of tigers.
Meanwhile, the architect, who had seen her cross the courtyard, the following ... touches a leper, who tells him: "Your white skin will be devoured by leprosy and comes to the door that Irene has swallowed, but can not open it.
provident, Raminghani appears, imposing the beasts ... to bite each other, and leaves Irene.
(continued in next post)
The work of the Censorship:
In the prologue to suppress the impressive scene of the awakening of the fakir, limiting them to a glimpse of the action sufficient to explain the link.
In part 1 Act 1, delete all the scenes where you see first, and then Irene Herbert fakirs of the fence and then into the pit of tigers.
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