Satan | |
---|---|
Directed by | F. W. Murnau |
Written by | Robert Wiene |
Produced by | Robert Wiene |
Starring | Fritz Kortner Conrad Veidt Sadjah Gezza Martin Wolfgang [1] |
Cinematography | Karl Freund |
Distributed by | Viktoria-Film |
Release date |
|
Running time | 54 minutes |
Country | Germany |
Languages | Silent German intertitles |
Satan (German : Satanas) is a 1920 silent German drama film in three parts, directed by F. W. Murnau, written and produced by Robert Wiene. [2] It was one of Murnau's first directorial attempts, and along with his 1920 Der Januskopf, is today considered a lost film. The film starred Fritz Kortner, Sadjah Gezza and Conrad Veidt. [3] Karl Freund was the cinematographer.
Only a brief fragment of the film is kept in the Cinémathèque Française film archive. [4] Although most of the film no longer exists, it does not seem to be a true horror film, in that allegedly only the third segment of the film deals with the Devil. Robert Wiene probably had more control over the film than Murnau did, since he wrote the screenplay. Murnau hired Conrad Veidt to work with him in his next film, the 1920 Der Januskopf (which also featured Bela Lugosi). [5]
The film is divided up into three separate short stories. The first segment involves a love triangle between an ancient Pharaoh named Amenhotep, Nouri (the girl he loves) and his young rival Jorab whom she loves. The second segment is an adaptation of Victor Hugo's Lucrezia Borgia. The third story deals with an idealistic young revolutionary named Hans Conrad, who is goaded into violence by a strange man named Grodski (Veidt), who seems to be Satan in human form. Only the third story appears to have had any supernatural overtones.
This is an overview of 1924 in film, including significant events, a list of films released and notable births and deaths.
This is an overview of 1922 in film, including significant events, a list of films released and notable births and deaths.
The year 1920 in film involved some significant events.
The year 1919 in film involved some significant events.
1917 in film was a particularly fruitful year for the art form, and is often cited as one of the years in the decade which contributed to the medium the most, along with 1913. Secondarily the year saw a limited global embrace of narrative film-making and featured innovative techniques such as continuity cutting. Primarily, the year is an American landmark, as 1917 is the first year where the narrative and visual style is typified as "Classical Hollywood".
The year 1916 in film involved some significant events.
The year 1915 in film involved some significant events.
1913 was a particularly fruitful year for film as an art form, and is often cited one of the years in the decade which contributed to the medium the most, along with 1917. The year was one where filmmakers of several countries made great artistic advancements, producing notable pioneering masterpieces such as The Student of Prague, Suspense, Atlantis, Raja Harischandra, Juve contre Fantomas, Quo Vadis?, Ingeborg Holm, The Mothering Heart, Ma l’amor mio non muore!, L’enfant de Paris and Twilight of a Woman's Soul.
The year 1912 in film involved some significant events.
The year 1911 in film involved some significant events.
The year 1910 in film involved some significant events.
Dr. Jekyll and Mr. Hyde is a 1920 horror film directed and written by J. Charles Haydon, starring Sheldon Lewis, based on the 1886 novel Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson. The Sheldon Lewis version was somewhat overshadowed by the 1920 Paramount Pictures version starring John Barrymore, which had been released just the month before.
L'Homme qui vendit son âme au diable is a 1921 French silent film comedy directed by Pierre Caron. The plot was similar to Faust and The Student of Prague, about a man who makes a diabolical deal with the Devil.
The Hunchback and the Dancer is a 1920 silent German horror film directed by F. W. Murnau and photographed by Karl Freund. This is now considered to be a lost film. The film was written by Carl Mayer, who also wrote The Cabinet of Dr. Caligari (1920). Karl Freund later emigrated to Hollywood where he directed such classic horror films as The Mummy (1932) and Mad Love (1935). It premiered at the Marmorhaus in Berlin.
Friedrich Feher was an Austrian actor and film director. He first entered the film business in 1913, starting out as an actor but quickly gravitated toward directing.
Figures of the Night (German:Nachtgestalten) is a 1920 German silent horror film written, directed and produced by Richard Oswald and starring Paul Wegener, Conrad Veidt, Reinhold Schünzel and Erna Morena. It is based on the novel Eleagabal Kuperus by Karl Hans Strobl. Strobl was the editor of a German horror fiction magazine called Der Orchideengarten which was said to have been influenced by the works of Edgar Allan Poe. Strobl was an anti-Semitic and later willingly joined the Nazi Party, which may explain why he has become an obscure literary figure today.
Madness (German:Wahnsinn) is a 1919 German silent horror film directed by Conrad Veidt and starring Veidt, Reinhold Schünzel and Grit Hegesa. The film's art direction was by Willi Herrmann.
The Sorrows of Satan is a 1917 British silent fantasy film directed by Alexander Butler and starring Gladys Cooper, Owen Nares and Cecil Humphreys. Made at Isleworth Studios, and based on the novel of the same name, the plot involves a poverty-stricken author so depressed that he agrees to sell his soul to the Devil.
The Lost Shadow is a 1921 German silent film directed by Rochus Gliese and starring Paul Wegener, Wilhelm Bendow and Adele Sandrock. The cinematographer was Karl Freund. The film's sets were designed by the art director Kurt Richter. It was shot at the Tempelhof Studios in Berlin. For some reason, the film was only released in the US in 1928. It is today considered a lost film.
Kurfürstendamm is a 1920 German silent drama film directed by Richard Oswald and starring Conrad Veidt, Asta Nielsen, Erna Morena and Henry Sze. It is set on the Kurfürstendamm in central Berlin. It is now considered a lost film.