孟加拉虎

　　Fritz Lang returned to Germany on the eve of the 1960s to direct this enchanted penultimate work, a redraft of the diptych form pioneered in such silent Lang classics as Die Spinnen; Dr. Mabuse, der Spieler.; and Die Nibelungen. Although no encapsulating title was lent at the time of release to what is, effectively, a single 3-hour-plus film split in two, the work that has come to be referred to in modern times as “the Indian epic” (consisting of Der Tiger von Eschnapur and Das indische Grabmal) proved to be one of the legendary director’s most adventurous achievements. It was also one of the most popular successes Lang was to experience in his native land.


　　A German architect (Paul Hubschmid) is commissioned by an Indian maharaja (Walter Reyer) to construct a temple on his palatial grounds. After saving the life of a bewitching dancer (Debra Paget) on whom the maharaja has spousal designs, the hero is pulled ever deeper into a hazardous maze of traps, perhaps the purest realisation of Lang’s obsession with a labyrinthine ‘house of death’ – that is, Man challenging Fate.


　　Like Lang’s following final work Die 1000 Augen des Dr. Mabuse, the Indian epic charts new territory for the director, as it strikes out into the über-melodramatic tenor of his early silents while inciting the colours of the emulsion into adopting a lurid, sometimes gaseous palette. Arriving in the wake of The River (Renoir), India matri bhumi (Rossellini), and Black Narcissus (Powell & Pressburger), Lang’s Indian epic stands among the remarkable mid-century contributions of Western filmmakers who have contemplated India. The Masters of Cinema Series is proud to present Lang’s films on DVD in the UK for the first time.

　Fritz Lang returned to Germany on the eve of the 1960s to direct this enchanted penultimate work, a redraft of the diptych form pioneered in such silent Lang classics as Die Spinnen;

异域风情vs西方人的人文主义优越感。白人男子高大勇敢机智，从印度王子手里夺走混血印度美人心，欧洲血统要回到欧洲。画面拍的是美，眼花缭乱、极尽浮华。但整体真的很平庸，60年代耗资巨大的商业片。Debra Paget太美了，每次她不在屏幕上的时候就盼着她出场。这片在当年的卖点是thrill，horror和action…

4K修复版，可对比迈克鲍威尔黑水仙（1947）雷诺阿河流（1951）罗西里尼印度（1959），兼赋了冒险娱乐和东方（印度）风情的猎奇， 种种探秘迷宫和异域背景的视觉奇观，仿佛原始真实版的大都会再现，当然，还有包括突然出现的被称为“creature”的lepers，这种隐藏在阳光、炫彩世界之下的未知的恐怖；

弗爷后期的作品，这时候的他已经基本没有了前期作品中那股不可抑制的锐气，不过一位年近古稀的西方老头仍有勇气去尝试陌生的东方异域文化，也着实令人钦佩。这是上半部，下半部叫《印度坟墓》，两部故事相连，水平也很一致。其实弗爷早期作品《三生计》里曾尝试过中国题材，不过那段故事有点瞎搞。

1921默片版的《印度坟墓》是Joe May导演，朗和他老婆编剧，小说也是他老婆写的。朗从好莱坞回德国后又重新拍成了有声彩色版本，人物做了些小改动，故事侧重点也放在了白人和印度舞女的爱情和冒险上了。

此为上集，《印度的坟墓》是下集。单就上集而言完全是大师的拙劣之作，说是剧情片吧，它多半都是风光与民俗，说是风光片吧，它多半又是工作室的布景。片中唯独苦行僧的表演一段还能让人眼前一亮。

朗的异域奇观大作，绝妙的摄影和美工布景，女神像下两段充满魔力的舞蹈都拍得令人难忘，一切都是对观者感官的爱抚，这个被文明争端点缀的冒险故事被朗调度得美妙绝伦。【1959十佳No.5】

搭讪好狗血……三角恋和大场面什么的呃~~~为毛每个场景一出来我就联想到尼伯龙根了撒！你不是说史诗片什么，在德国玩过以后就不玩了么？那这部算啥？还彩色的一刚！

当成猎奇风光片看还行，大银幕看修复版实在太美了。不止Debra Paget，整部片都很to-be-looked-at

欧洲视角下的印度还真是古老又神秘呐，想到了让雷诺阿的the river和大卫里恩的印度之旅，片中的异国情调都一样美

7。虽然在文化理解上不如罗西里尼，但朗的表面功夫确实做的很足，从建筑、布景、服装到大漠、老虎、宫殿都很新鲜。

白人的异国艳遇和冒险，对孟加拉国王的形象塑造还算好，故事感觉很老套和无聊，女主是坚持看下来的动力。