Pair of Fritz Lang's late German films -- THE TIGER OF ESCHNAPUR and THE INDIAN TOMB -- make Blu-ray debut

Fritz Lang "completists" are sure to want to include this (for the most part) very good Blu-ray transfer of two of his last films made in Germany, once the director had tired of filmmaking in Hollywood and returned to his home country, after the Nazis had been defeated (and/or relocated to South America, the USA and elsewhere).

The place of Herr Lang (shown in portraiture/caricature at right) in filmmaking history seems pretty secure to TrustMovies, and so, when I say that these two later films are not particularly good, this certainly should not take away from the fellow's work (Metropolis/M, earlier in Germany; Man Hunt/The Big Heat, while in Hollywood.

THE TIGER  OF ESCHNAPUR together with THE INDIAN TOMB -- available this coming week on Blu-ray in a new two-disc set, with some nice Bonus Features -- should certainly find their way into the collection of Langophiles, particularly those who must have everything. For the rest of us, however, we may watch and watch and find ourselves wondering if maybe the filmmaker's style, as well as his intelligence, had partially deserted him.

The pacing is snail-like, with exposition poured upon more exposition until, as with so many soap operas, you could miss an episode and not have missed anything at all. One the plus side is an extravagant budget (for its day and for post-war Germany), with India seen in much of its glory in a Blu-ray transfer that is quite good, for the most part.

Unfortunately, the first of the films, The Tiger of Eschnapur, is by far the weakest, with the titular tiger(s) the best thing in the movie. German star Paul Hubschmid, as the hero, is rather wooden, but American actress Debra Paget (below) as the temple dancer/love interest proves beautiful and a decent enough actress to somewhat counteract her co-star. Better yet is Walther Reyer (in royal garb, bottom left) as the initially-nice-turned-nasty Maharajah, full of contradictory impulses.

The movie drags and dawdles until you may find it hard to stick around. If you do, good news: The second film moves faster and is more fun, as our hero and heroine escape the Maharajah's clutches (for awhile). The plot thickens a bit and speeds up considerably, and so The Indian Tomb proves more event-filled -- always a good idea for an adventure melodrama.

Ms Paget gets another dance number with a very fake snake (above) in which she is even more scantily-clad (these dances owe a hell of a lot more to Hollywood than to India), Mr. Hubschmid (below) takes his shirt off, and those gorgeous tigers barely make an appearance at all. But the palace intrigue among family, army and priests does hold our interest, at least.

According to history (and the Bonus Features), these 1958 films were actually released here in the USA in 1960 -- crunched together into a single 90 minute feature (each individual movie was longer than that in its original release!) by American International Pictures. Yet considering how slow and repetitive the movies are, one wonder if this more concise version might not have been the best way to view this Fritz Lang passion project. Sometimes, even Samuel Z. Arkoff knew what he was doing.

From Film Movement, in German with English subtitles and running 203 minutes, The Tiger of Eschnapur and The Indian Tomb combo hits the street this coming Tuesday, December 10 -- for purchase and/or rental. Among the several Bonus Features, don't miss the delightful and informative video essay by Mark Rappaport, Debra Paget, For Example. It's a keeper, even if the actual movies may not be. 

Blu-ray debut of a 1952 camp classic: Crawford and Palance in David Miller's SUDDEN FEAR

TrustMovies had heard about, though never actually seen, SUDDEN FEAR -- that early 1950s film with Joan Crawford in danger and loving every minute of it. Now that he has finally viewed the movie, he can understand why. Unaccountably drawing some good reviews at the time of its release (and later re-release) (and garnering four Oscar nominations!), the film mostly points up the utter gullibility of mid-20th-Century audiences and critics.

Interestingly enough, Sudden Fear pops along quite smartly and believably for its first 20-30 minutes, as we see a Broadway play in rehearsal, with the playwright (Ms Crawford), having to give a thumbs down to her leading man (Jack Palance, above) and finding a replacement -- over the objections of her producers and director (or maybe agent?) and of course the actor himself.

During this opening period (and even beyond it), the acting is excellent -- from everyone concerned (even Crawford comes off as real) -- and so is the movie's pace, storyline and direction (by David Miller). When the playwright later encounters the actor on a train bound for San Francisco (above), an apology ensues, and a relationship starts to bloom. So far so fine. Mr. Palance is especially sexy and even romantic and endearing (qualities he rarely showed on screen). But, of course, there is much more afoot here.

When the shoe finally drops (in a clever, even-if-we've-been-very-obviously-set-up manner), the idiocy begins. Logic goes the window, while Crawford gives in to every bad acting habit in which she had ever indulged -- and then doubles down on them. The movie quickly turns into unintentional camp of a particularly high order and can be enjoyed in this manner, if not for the increasingly stupid twists and turns of the plot -- which resolves itself in every bit as ludicrous and coincidental way as has all that's come before.

In the cast are luminaries like Gloria Grahame (above) and Mike Connors (when the latter was still known as "Touch"), and the cinematography apes noir, but the movie is so thoroughly heavy-handed and over-the-top that it goes well beyond noir (and all else).

The film also runs 110 minute -- too long for this kind of B-movie nonsense -- and the plot machinations are fed to us in such as obvious, did-you-get-that? Are-you-absolutely-sure? manner that they drag out what ought to be fast and furious into a snail-paced slough.

Still, Sudden Fear is fun -- if you're in a certain mood. After all, no less than François Truffaut is said to have declared the film "A masterpiece of cinema." (But, then, the French can be so perverse, can't they?)

From the Cohen Film Collection,in a new 2K restoration (that looks OK but nothing spectacular), and featuring an audio commentary by film historian Jeremy Arnold, the Blu-ray hits the street this Tuesday, December 13 -- for purchase or rental.