The Hands of Orlac (1924)

This is, surprisingly given my somewhat limited experience of silent cinema, the third time I've blogged a film by Robert Wiene. Although, strictly speaking, an Austrian film, with  Wiene and a starring performance from Conrad Veidt this is a somewhat well-known example of German Expressionist cinema, and would go on to inspire a dizzying number of remakes.

The Expressionist sets are less overt than in The Cabinet of Dr Caligari, but the film is drenched throughout in deep emotional passion- much of which is erotic- which is subtly inferred by sets, lighting and cinematograpy and not-so-subtly conveyed through the far from naturalistic style of acting.

The film is over-long and drags in places, but it is difficult to pass judgement on this; the version we see today, in the reverse of the usual situation with silent cinema, is an extended version. Certainly, though, the central decision to replace concert pianist's hands, following his train accident, with those of a supposed murderer feels rushed to the point of elision. Why those hands in particular? Furthermore, even in an age before a basic heath service, surely Paul Orlac could claim some sort of insurance or similar to avoid penury? Either way, this part of the plot feels unconvincing. But on the other, er, hand we have a very clever ending and a touching (and sexualised) relationship between the protagonist couple. It's also refreshing, and effective, that the obvious option of having the hands make Orlac become a murderer is avoided, despite some misdirection, and the film is essentially psychological- and all the better for it.

There's a lot to like about this film and it's main fault, that it is over-long, is a result of modern re-editing. Alas, Wiene died in 1938, so a Director's Cut will not be forthcoming, but the film is nevertheless in the public domain and easy to find online.