Tags:
Film: The Student of Prague (Der Student von Prag)
Year: 1926
Director: Henrik Galeen
Writer: Henrik Galeen and Hanns Heinz Ewers
Starring: Conrad Veidt, Elizza La Porta and Fritz Alberti
Review:
This was a film that jumped on to my radar when I was compiling my list of horror films from the 1920s. There are a couple of different versions of this film. It was another reason that I knew about it. I’ve seen the version from 1935. I was intrigued to see this one, as I’ve seen other films written by Henrik Galeen. This is the first of his that he’s directed that I’ve now viewed. Seeing that this also starred Conrad Veidt made me excited. This is a Centennial Club watch that is also a Scouring through the Sixes.
Synopsis: Balduin (Conrad Veidt), tired of student life, longs for love but is hampered by his poverty. Indifferent to Liduschka (Elizza La Porta), he is unexpectedly offered wealth by the mysterious money-lender Scapinelli (Werner Krauss), but with a strange caveat.
We start this off with seeing a grave. We learn that it is for Balduin. He was considered the greatest fencer in Prague. He also gambled with evil and lost. We learn what led to his downfall. It is then we see a group of students that are walking along a path. It leads to a pub. They are here for a party. Amongst them is Liduschka who is a serving girl. She’s in love with Balduin. He is down as he’s a poor student. There’s an interesting moment where a guy gets intoxicated and rips Liduschka’s apron. Balduin steps in, challenging him to a duel.
In the area there is a hunting party. This is put on by Count von Schwarzenberg (Fritz Alberti). His nephew is engaged to be married, Waldis (Ferdinand von Alten). His fiancée is a former singer, Margit (Ágnes Eszterházy). The hunt is for a boar, but it seems that they get on the trail of a fox. Watching on is this odd man named Scapinelli (Werner Krauss). It seems he’s using his abilities to control the fox and in turn, causing Margit’s horse to go crazy. She is saved by Balduin who falls in love.
In Balduin's apartment, Liduschka gives him a small bouquet, but he rudely tosses it out the window. He’s upset after Waldis outdoes him in impressing Margit. Scapinelli capitalizes on Balduin's distress, offering him 600,000 gold pieces for any item in the room. Balduin accepts and is shocked when Scapinelli takes his other self from the mirror, spilling what seems like an endless amount of gold from a magical satchel.
Balduin then becomes the talk of the school. He pays his tuition as well as other poor students. This nets him attention from the upper class. He is invited to a party and it is now that he annoys Waldis for outdoing him. Margit writes him a note to meet her by a large cross. Scapinelli uses his influence to ensure that Liduschka sees it. Balduin also sees his doppelganger, walking in his direction with a stoic look. This starts to drive him mad. Things also get more difficult as Waldis challenges him to a duel. What happens next isolates Balduin as he tries to make things right.
That is where I’ll leave my recap and introduction to the characters. Where I want to start is by saying that I’m glad that I checked out this version of the story. What I’ll say is that this seems to follow the story more closely, from my limited research. It doesn’t feel as tight as the 1935 take. Part of the limitations here is that this is a silent film. Another aspect is that the deal here is less Faustian and using the supernatural elements in a different way. I don’t plan to compare outside of bringing this up here for my opening.
Now that I have that out of the way, this is an interesting story. We are seeing a rapid rise from poverty for Balduin, only to have an Icarus-like fall. He falls for Margit upon seeing her. I wonder how much of this is because she is a member of society. She’s also ‘forbidden fruit’. He is missing the fact that right in front of him is Liduschka who is in love with him. Part of his infatuation is the chase. Veidt does a great job with his body language and his facial expressions to convey what is needed here. He was a professional for this silent era.
Where I then want to go would be to the character of Scapinelli. This version is darker to me since all he offered was money. He took the other version of Balduin and in turn drove him insane for 600,000 gold pieces. What is great is that Krauss isn’t made up to look that menacing. I do think that makes it scarier though. He looks like a normal guy who just shows up at different times. I do like this concept that you can’t outsmart the ‘devil’, which this concept is etched on Balduin’s grave stone. I will include that Krauss fits his role well.
Then the other themes that are explored here would include that Balduin’s guilt is externalized by seeing his doppelganger. He also lost his identity in this deal with Scapinelli. That is also fitting since he traded it for social mobility. Despite having the money, he still isn’t accepted. Scapinelli can also be seen as a puppet master. Balduin can’t escape the inevitably of his downfall.
Where I then want to shift over would be to discuss the rest of the acting performances. Veidt is truly the star and he commands the screen when he’s on it. La Porta is good as this young woman who loves Balduin, even when he’s rude. Alberti, Eszterházy, von Alten and the rest of the members of society fit what they need to. Krauss is solid as this villainous role. I do like his ‘wolf’s in sheep’s clothing’ motif. The rest of the cast also rounded this out for what was needed.
All that is left then will be the filmmaking aspects. The film is an example of German Expressionism, utilizing mirrors to represent the fractured self and paranoia. An example is when Margit sees Balduin's reflection isn’t there, a sign of what Scapinelli takes from him. The cinematography, framing, and in-camera effects are noteworthy for early cinema, and the synced soundtrack is adequate. However, the film is overly long, with the prolonged shots ultimately diminishing viewer engagement.
In conclusion, this 1926 version stands as a compelling piece of German Expressionist cinema and an important take on the classic Faustian trope, even if it lacks the tightness of later versions. Driven by a masterful performance from Veidt and supported by the menacing presence of Krauss as the puppet master Scapinelli, the film effectively visualizes the themes of social anxiety, guilt, and the externalization of a fractured identity. While some of the pacing is slow by modern standards, its innovative use of cinematography, symbolism, and in-camera effects solidify its place as a significant horror film of the 1920s that remains worth seeking out for its moody atmosphere and psychological depth.
My Rating: 7 out of 10