Don't listen to the Hype. It's awful

A Masterpiece!

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

By the time the dramatic fireworks start popping off, each one feels earned.

There can't be a review giving this silent movie any proper judgement. One star is as possible as ten stars are since you are guessing anyway, because whatever version you watch, it is incomplete: The longest version up to date, being merged from Russian and Italian analog material, is still missing 400 m. Especially a dance performance of vanguard artist Valeska Geert is totally lost, among other scenes. And this might also explain why we don't see laboratory scenes of Alraune's making. So this movie lacks coherence, though the acting of Wegener and Helm is superb and subtle, unlike common silent movies. Still, if you are not (yet) into silent movies or Brigitte Helm's eyes, better start with one that wasn't so much tampered with. But if you'll watch this one, then you are to enjoy a great allegory about humanity being proud of a creation of its own making, then falling for it which works on the destruction of its creator.

Being a product of the Silent era, this German variation on the Frankenstein theme actually preceded the definitive James Whale pictures; a rare (the copy I acquired was culled from an old Italian TV broadcast that I somehow missed out on) and still very little-known film – despite the involvement of Henrik Galeen (THE GOLEM [1914 and 1920], NOSFERATU [1922] and THE STUDENT OF PRAGUE [1926]), Brigitte Helm (METROPOLIS [1927]) and Paul Wegener (THE STUDENT OF PRAGUE [1913], THE GOLEM [1914, 1917 and 1920] and THE MAGICIAN [1926]) – this is probably due to the fact that, in spite of some clear Expressionist trimmings, the plot is mainly treated as sophisticated melodrama! Especially disappointing for genre buffs is the fact that the creation scene is completely by-passed – shown only in a split-second flashback towards the end when Alraune (Helm, a veritable femme fatale spawned from the mandrake root by ambitious alchemist Wegener) discovers her unnatural origin when she happens upon the scientist's diary! Galeen, however, demonstrates a sure eye for pictorial detail throughout (particularly when dealing with the carnival and casino settings) and the basically 'incestuous' relationship between creature and creator is treated with amazing sensitivity and depth for its time. The ending, then, is equally non-horrific as Alraune, resigned now to her soulless existence, goes away with her creator's long-infatuated nephew while Wegener pays the price for his tampering with nature by being left all alone.

I've just seen the world theatrical premier of the Munich Filmmuseum's restoration of this classic, presented by University of Chicago's Documentary Film Group in cooperation with Chicago's Goethe Institute and Lufthansa. Live piano accompaniment was provided by the excellent Aljoshe Zimmerman with an introduction by Stefan Drößler, director of the Filmmuseum. Zimmerman composed the score for the Filmmuseum and additionally accompanied "Nosferatu, eine Symphonie des Grauens" (also restored and presented as a double feature). The restoration was pieced together largely from surviving reels from Russia and Denmark, which focused on Alraune's mother and father, respectively. The restoration sports quite a few intertitles, in German, some of which were present in the original. Absolutely remarkable, and a must for anyone who appreciates excellent cinema.

ALRAUNE is another spectacular piece of early German cinema, surprisingly overlooked by film buffs and historians alike. The film is not "expressionist" in the way of CALIGARI or METROPOLIS, but fans of those films will enjoy it regardless.The plot (without spoilers) is creepy to begin with: a scientist (Paul Wegener) decides to experiment with humanity by creating a woman from the seed of a hanged man impregnated into a prostitute. Using two reprehensible creatures as parents, as well as artificial insemination (which is implied in the film, not stated as some articles on the film have indicated), the doctor aims to see if an individual's humanity is the product of nature or nurture.The woman he creates, called Alraune (although called "Mandrake" in the english title cards, a name ill-fitting the overtly feminine character) is played by Brigitte Helm. No better casting for this part could have been made at the time: Helm's performance here far surpasses that of her most famous film role (the robotrix from Fritz Lang's METROPOLIS) and (I feel) solidifies her position as top femme fatale of that era. Her sensuous, provocative movements, gestures, stares and sneers even outshine those of Marlene Deitrich in years to come. There are moments where Helm slips into the silliness that harms her role as Maria in METROPOLIS (flailing about wantonly), but these are kept to a minimum by the director.Paul Wegener, as the doctor, also proves to be an actor out of time. His performance would stand up to modern criticism, as it lacks the usual melodramatic facial manipulations or exaggerated movements of many silent film male stars. Rather, Wegener tells us his characters thoughts and feeling swith subtle glances, almost imperceptible lip movements, and ingenius body posture. Wegener, you may recall, played the great clay giant Der Golem in his film of the same name; to see Wegener play this role, sans makeup and gravitas, is to understand the strength of his abilities.Overall the film is very good, although suffers from an ending not in keeping with all that builds up to it. A seduction scene between father and "daughter" is outrageous even by today's standards. But Alraune/Mandrake is presented as almost soulless, and this is much diluted by the end, although not truly explained. Was it nurture after all? Possibly, but the doctor's role in Alraune's maturation is almost nonexistent (she is raised in a girl's school, and spends the rest of the time running away from "father.") The film fails to answer the questions is presents. However, this may be one of the few negative symptoms of German silent films, which seem to universally fall apart at the resolution, backing away from the horrors they presented throughout.I am not sure if the version currently available on video is complete, but seems to soft-pedal the insemination issue (some viewers will think mandrake root was used as opposed to the hanged man's seed.) The title cards are few and far between, allowing the visuals to tell the story, not the dialog.For fans of the Frankenstein myth, Alraune presents another take on the tale of scientific hubris gone awry. An excellent film, it should be sought out in favor of the later (weaker) "Unholy Love" remakes.