The Student of Prague

There are hints of Expressionism on display in Germany's August 1913 "The Student of Prague." Because this was the first motion picture exemplifying an aesthetic found in later Continental movies, historians label "The Student of Prague" as the first Expressionist film. It certainly qualifies as Germany's first art movie.

Based on Edgar Allen Poe's short story "William Wilson," "The Student of Prague" contains several expressionistic features. Its set lighting, especially in the card-playing sequence, where the actors are highlighted at the table while the background is completely dark, was unique in 1913. This contrasting light/dark Chiaroscuro lighting would become a trademark in future German Expressionism films.

Also, the story lends itself to an expressionistic idea: a financially struggling student unwittingly accepts money for what turns out to be a soulless Doppelgänger (a mirror image of lead actor Paul Wegener, the student). Cinematographer Guido Seeber was able to create the double image within a single frame seamlessly, using the special effects split screen to convince his audience the witnessing of a real spiritual being whose ultimate existence is to ruin the student's life.

The director, Stellan Rye, who died early in World War One (November 1914) in a prisoner of war camp, used the landmarks of Prague to make his fantasy tale more believable, another Expressionist imprint. Lastly, the German obsession with traits that are ripe for expressionistic examination, narcissism and greed leading to ultimate destruction, are all addressed here as well as future German classics such as "The Cabinet of Dr. Caligari (1921)," " Nosferatu (1922)," and "Metropolis (1927)."

This early version of the tale 'The Student of Prague' was made in Germany in 1913, starring Paul Wegener (who was also in 'The Golem' a few years later). In this film he plays a dual role (technically impressive for a 95 year old film to see them in the same shot) after meeting a mysterious old man who makes a pact with him for gold - the gold he needs to woo a countess he's previously saved from drowning.

Moving at a fast pace (the film runs just over an hour) and fairly well written and characterised, 'The Student of Prague' has echoes of the Faust legend as well as Dr Jekyll and Mr Hyde, starting as it does with a pact with a mysterious figure of potential evil, and developing into good and evil sides of the same person.

If "The Cabinet of Dr. Caligari" is the father of all horror films (and of German expressionist cinema), this pre-WWI film is the grandfather. The titular student, starving in an empty garret, makes a deal with the Devil-- the Devil gives him a bottomless sack of gold, in exchange for "anything in this room." The Devil chooses the student's reflection in his mirror. He walks off with the student's doppelganger, who commits crimes for which the student is blamed.

The film is marred by some limitations arising out of the technically primitive state of 1913 filmmaking; the plot cries out for chiaroschuro effects, but the film is, of necessity, virtually all shot in shadowless daylight. But the scene where the reflection walks out of the mirror still packs a wallop.

More interesting for the trends it fortells than for its own sake, The Student of Prague is still worthwhile.

Predating the German Expressionist movement in film (predating even World War I), this is the granddaddy of them all: the very first full-length horror movie. Being the first, we do not demand perfection from it; this film is as raw as William Burroughs's debut novel "Junky" or the first Stooges album, and suitably so. But the viewer will be pleasantly surprised that "The Student of Prague" still packs a punch after more than a century. From Paul Wegener's haunted, compelling performance as Balduin to the imposing backdrop of Prague with its spectral spires, there is much to appreciate in this film...and on its own terms, not just in its perceptible influence on numerous later productions. (Those who have seen "The Cabinet of Dr. Caligari", however, will note the visual debt that film's title villain owes to Scapinelli, the leering, top-hatted sorcerer portrayed by John Gottowt in "The Student of Prague".) A must-see for all students of film history.

Director Paul Wegener also stars as Balduin, the student of the title who is short of funds and so agrees to humor the strange offer from Scapinelli (John Gottowt) to sell his reflection for a large amount of gold. Balduin is stunned when, after signing the contract, his reflection steps out of a mirror and follows Scapinelli out the door. Balduin uses his new-found fortune to try and woo the Countess von Schwarzenberg (Grete Berger), but his mirror doppelganger causes much trouble and confusion.

This is fairly primitive stuff, with an immobile camera, stage framing, and zero close-ups or medium shots. There are a number of basic doubling effects used for when Balduin and his evil twin are on screen together that surely wowed audiences of the day. The sets and costumes are fine. I'm not sure this would be of much interest to anyone outside of film historians, though, as it lacks any sense of pacing or even character beyond the most arbitrary.