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How Die Nibelungen: Kriemhild's Revenge was received

1924 · Fritz Lang · Die Nibelungen: Kriemhild's Revenge on Sightlines

The arc

In 1924 it was the darker, less crowd-pleasing half of Lang's two-part national epic, overshadowed by Siegfried's fairy-tale spectacle; today cinephiles routinely flip that verdict, hailing Kriemhild's Revenge as the harder, more radical film — the half that 'goes off,' especially since the 2010 Murnau Foundation restoration.

What’s debated

The forever-debate is twofold: is part two secretly better than Siegfried, and can you untangle the film's monumental crowd aesthetics from Kracauer's famous charge that they rehearsed the imagery fascism would later weaponize?

Its footprint

It's a founding text of the two-part screen epic — modern reviewers love calling it the original split-in-half fantasy blockbuster — and its ornamental mass choreography became Exhibit A in Siegfried Kracauer's 'From Caligari to Hitler,' linking Weimar spectacle to Nazi pageantry. Tellingly, the Nazis re-released Siegfried in the 1930s but had no use for this apocalyptic second half.

Where it stands

A Weimar-canon staple living in the shadow of Metropolis and M, with a devoted 'the second part is peak silent Lang' contingent among Letterboxd's silent-film crowd.

Did you know? Attila is played by Rudolf Klein-Rogge — screenwriter Thea von Harbou's ex-husband — meaning Lang spent the shoot directing his own wife's former spouse, a trio that reunited for Metropolis.

A Deleuzian reading of Die Nibelungen: Kriemhild's Revenge →