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.
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；
浓郁的色彩，异国的风情，我爱死这种表现主义的调调...
朗回归德国拍摄印度史诗的前半部.布景对东方风情有所考据异域奇景的场面表现得很好.
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！
可以理解好评，但好像不太能欣赏。
