The Indian Tomb

In the end of Der Tiger von Eschnapur the two lovers were in the middle of a sandstorm.Harald Berger (Paul Hubschmid), the German architect and his Indian lover, dancer Seetha (Debra Paget) were chased through the desert by shikaris (cavalry) of Eschnapur's maharajah Chandra (Walter Reyer).They get into a Shiva temple, where a spider weaves a web so the trackers won't look for them in there.But Seetha is caught inside.He has to try and survive alone, and to safe the one he loves.But it's not going to be easy.His sister Irene (Sabine Bethmann) and her husband, architect Walter Rhode (Claus Holm) are suspicious,after Chandra has asked him to build a tomb for Seetha, who is still alive.She won't believe that her brother has died on a tiger hunt.Meanwhile, prince Ramigani (René Deltgen) wants to seize Chandra's throne.Das Indische Grabmal (1959) was the second last film Fritz Lang directed.His Indian epic is based on work he did forty years earlier on a silent version of Das Indische Grabmal.He wrote the screenplay with his wife of the time, Thea von Harbou, who also starred Die Nibelungen movies.It based on Harbou's novel of the same name.Both of these adventure films offer many thrills.The subterranean scenes are very thrilling.And to see Harald chained, trying to fight his way into freedom.It's a very sexy scene where Seetha dances to charm the cobra in that most revealing costume.The conclusion of this story is well told.

This is the first part of Lang's storybook romance between an architect/adventurer in India falling for an exotic temple dancer belonging to the Maharajah. It's an exotic B-movie with low-budget charm and expert craftsmenship, a throwback to old-time matinee adventures. Lang's gift for stylized storytelling is evident throughout. This is part one of two, THE TIGER OF ESCHNAPUR continues the story right where this one leaves it; so be sure to obtain both films.

I was wary of purchasing Fantoma's 2-Disc Set of "Fritz Lang's Indian Epic" after being somewhat let down by the 1921 Silent original (co-scripted by Lang himself) and also its less-than-stellar reputation. For this reason, when the second part of the saga turned up on Italian TV a couple of years ago, I decided to check it out just the same so as to get an inkling of what to expect! I recall thinking it pretty kitschy and unworthy of Lang's enormous talent, but Fantoma's sale (through their website) of their entire DVD catalog a few months back made it an irresistible acquisition! Well, having now watched the entire saga (with dialogue and in color, as opposed to the rather static Silent version directed by Joe May - although hearing the Indian-garbed characters talking in German took some getting used to), I was pleasantly surprised by how genuinely engaging and sheerly enjoyable it all was! Though it was sold as an epic production (to the point of concluding ESCHNAPUR with the promise that Part II would feature greater thrills and even more spectacle) at a time when such films were all the rage, the saga was actually a pretty modest undertaking by eclectic (and prolific) German producer Artur Brauner. Despite the two films' exotic, handsome look (not least in the provocative dances of Debra Paget), the budgetary constraints were painfully obvious in the special effects department, especially the hilarious appearance of a 'ropey' cobra which is intended to 'test' (the scantily-clad) Miss Paget's faithfulness to the Maharajah!! All in all, even if these films hardly constitute Lang's greatest work (though he harbored an evident affection throughout his life for this particular tale, which was originally conceived by his former wife Thea von Harbou), they have great - and enduring - appeal for aficionados of old-fashioned, serial-like adventure stories tinged with romance and mysticism.

Even so, while I don't subscribe to that school of thought myself, there are some film critics (Tom Gunning, Jean Douchet and Pierre Rissient among them) who think very highly of Lang's Indian diptych - the first considering it one of Lang's towering achievements and the last two numbering it among the ten greatest films of all time!!

The second part of "der Tiger von Eschnapur" begins with a de rigueur summary .Although it's the same movie divided into two for business concern,"das Indische Grabmal" surpasses its predecessor and makes it sometimes look like a trailer.

All promises are fulfilled ;Everything Lang threatened to achieve in "der Tiger " materializes here.Here the two worlds (the luminous world of the maharajah and the subterraneans where the darkest secrets are hidden ) play an equal part .How can't we think of "Metropolis" when the lepers come up the stairs and force their way in the light of day?The maharajah is much more than a comic strip character here.He appears as a tortured man -the actor who plays this monarch is actually a German one,the one who plays count Andrassy is the "Sissi" saga-.Little by little ,we discover that he's in fact the real hero of the story-Mercier is absent during an hour in this part-:his evolution is downright intriguing .At the end of the story he found peace of mind in a completely unexpected way.

Remarkable scenes :the spider that spins its web and thus protects the lovers;their enemies seen behind this providential shield.Paget's erotic dance in front of the snake (which echoes to the long scene in the first part when Mercier watches her dancing).And mainly, mainly,these labyrinthine subterraneans which may represent the dark side of the mind .The two worlds (he said that in "die Nibelungen" (1924),there were four worlds!) are a permanent feature in Lang's canon:of course "Metropolis " springs to mind.But think of the underworld of "M";the double life of Andrews in "beyond a reasonable doubt" ;the child's world and the adults' one in "Moonfleet";the "normal "side of life and the secret one beyond the door in the eponymous movie;real life and dream (but where is the frontier?) in "woman in the window" .

Fritz Lang's holiday homework is actually his testament.He would do one more movie ("die tausend Augen des Doctor Mabuse"),but it seemed that,like his hero,he had found peace of mind in this movie.You can forget,unless you're a highbrow,his part in Godard's notorious "le mépris".

Like John Huston or Joseph Mankiewicz ,Lang finished his career brilliantly.

I just watched this on DVD--I wasn't aware of two important factors when I did. One, that this was a remake of a 1938 film, and two that it was actually the last part of a typical Lang epic-length film! I wonder how both films were ever condensed into a mere ninety minutes for domestic release? What an extraordinary feat in itself!

I can see the influence on Speilburg and Luca quite clearly. This does have numerous external similarities to TEMPLE OF DOOM, as well as several motifs common to other Lang films.

There are some amusing blunders. The Priest talks about Allah, then a few scenes later, cautions that THE GODS will be displeased. Islam is monothestic!

There was a line uttered by the Priest: "There will be darkness over Eschanpur." That would have been a most intriguing title, nothing so bland as THE Indian TOMB, and would have also linked TIGERS OF ESCHANAPUR to this film. Both were released in that one 90 minute Americanized version, JOURNEY TO THE LOST CITY. As far as I could tell from this half, the city was far from "lost"! The Maharajah is proclaimed as RAJ of this state and that, master of the realms of Yadda-Yadda, and so on. I got out my map of India and was easily able to locate the areas he mentioned.

I thoroughly enjoyed this film, and recommend it highly, especially to those who love a good rollicking adventure. I intend to secure the rights and bring this to the screen, before all the tigers are extinct.