Well, it’s been nearly one year now since a new episode of HBO’s hit fantasy drama ”Game of Thrones” has aired, and with the show’s astronomical production value delaying its final season, we have, it seems, another year to wait. As we now push mid-April, we find ourselves around that time when any normal season would be bequeathed upon us, yet what would be ”Game of Thrones” time-slot is now but a lifeless desert, and while ”Westworld” can be fun, it’s just neither song of ice nor fire. So, what can we loyal fans of fantasy watch to quench our Martinian thirst? Fortunately for us, Austrian autor director (Autorstrian, if you will) Fritz Lange has the answer.
Adapted from the 13th century Austrian poem ”Das Nibelungenlied” (The song of the Nibelungs), Lang’s ”Die Nibelungen” (the Nibelungs) tells the story of Siegfried, prince of the Netherlands, as he befriends a race of cave-dwelling dwarves known as the Nibelungs, before setting out win the love of fair Kriemhild, princess of Burgundy. But this proves no easy task, as Kriemhild’s brother, King Gunther, informs Siegfried that he must first journey with him to aid in the wooing of Brunhild, the warrior queen of Iceland. As Siegfried continues along his quest, his chivalrous qualities are slowly diluted in this story that fits right next to ”Game of Thrones” as a legendary tale of political intrigue, love, and betrayal, set in a grounded vision of medieval Europe with a hint of fantasy sprinkled on top.
What it lacks in sound this 1924 masterpiece more than makes up for in every other possible element, as this two-part epic displays Lang’s incredible skill as a filmmaker. ”Die Nibelungen” is nothing short of an achievement in spectacle as the characters and sets come to life over the duology’s five-hour runtime. Not only are the castles and costumes incredible, but even the frightful dragon Fafnir is so well designed, he looks just as real as many of today’s CGI monsters. The production is exquisite, and the way in which it is shot flat-out breathtaking, as Lang circumvents the limitations of an entirely black and white era by bathing the film in a yellow chemical die, effectively turning charcoal to gold. Though many films have done wonderful things with digital coloring, nothing looks quite like ”Die Nibelungen.”
Now these films are, like far too many films, unfortunately not perfect. Lang’s story is very faithful to the original folk-tales, something that doesn’t always work in his favor. Especially in the second of the two films, characterization is performed in accordance to antiquated concepts of honor and duty which just don’t resonate with modern viewers. Moreover, some plot-points are unnecessary without the wider mythology which surrounded the original poem. But these minor flaws don’t make this film any less worth watching, especially if you’re a fan of medieval fantasy. So next time you sit down at your desk wishing for more ”Game of Thrones,” having just re-watched ”The Lord of the Rings,” clicking refresh on news articles about Netflix’s ”The Witcher,” and pontificating on why Guillermo del Toro didn’t get to make his ”Hobbit,” maybe consider giving ”Die Nibelungen” a go.