Customer Reviews

Warning Shadows - A Nocturnal Hallucination

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The full title of this German 1923 silent classic is "Warning Shadows: A Nocturnal Hallucination" and what better subject for an experimental Expressionist film than a play with light and shadows which cause intense emotions and confusion in the characters involved! The 1920s saw some revolutions in cinema style and technique, and German Expressionism was at the forefront with its artistic and surreal style, using light and shadow extensively and even attempting to eliminate intertitles completely. "Warning Shadows" still stands as one of the success stories of this unique genre, but it might take a little getting used to for those not well acquainted with the style. For a start, the lack of intertitles might seem intimidating at first, but once you get used to the slow and deliberate movements and expressions of the characters, it's possible to follow the characters' thoughts, actions and motives without the usual explanatory intertitles. The highlight of "Warning Shadows" however is its extensive use of shadows which create illusion, and it was so well done that it's still fascinating and impressive to see over 80 years later. The plot is quite simple and obvious for the most part: a husband is jealous of the attention his attractive wife enjoys receiving from several admirers, and tensions reach a climax during a dinner party. A mysterious character - a magician and illusionist who performs a shadow play at the dinner party - causes a hallucination or vision which prophetically shows the tragic outcome of the wife's flirting and the husband's jealous rage; hence the `warning'. It may be difficult at first to discern where reality ends and the hallucination begins, but I found that after more than one viewing I could appreciate and enjoy this unusual film much more. I also found the musical score of mainly piano quite suitable to the mood and unreal ambience, and when the film ends at morning light in the story, it feels like an awakening from a strange vision or hallucination for the viewer as well, which no doubt is proof of the effectiveness and success of "Warning Shadows". It definitely belongs in any collection of German Expressionist film (or perhaps a collection of odd, unique, rare films) and for anyone keen to adventure beyond the normal realms of standard cinema.

That phrase so closely associated with Monty Python makes for an apt description of this legendary 1922 German silent film which has been unavailable in America for many years. Made the same year as F.W. Murnau's NOSFERATU and featuring many of the same performers, WARNING SHADOWS is like a combination of it and THE CABINET OF DR. CALIGARI. It also predates Murnau's THE LAST LAUGH as a silent film without intertitles by a few years. The plot which concerns a mysterious stranger showing various people their potential futures (an idea Gloria Swanson would later use in THE LOVE OF SUNYA) is of secondary importance to the astonishing visuals created by the incredible use of light and shadows as well as closeups (remember there are no title cards) to tell the story of a Count who suspects his wife of infidelity. This DVD version is taken from a composite print made of materials from France and America. It's rather beat up in places (and so 4 stars instead of 5) but is leagues ahead of an old public domain VHS issued by Video Yesteryear several years ago. The color tints though effective are a trifle overdone but not to the detriment of the film and it's a problem that can be easily corrected. Donald Sosin's background score complements the action but is a bit underpowered for my taste. If you are at all into German silent cinema then WARNING SHADOWS is a must have. Early horror film aficionados will also revel in its grotesque imagery. Thanks to Kino and all the restorers involved in bringing this unique, influential film back to life and making it available on home video for lovers of silent film like myself..

Why is this 1923 German film so obscure? I don't recall ever hearing of "Warning Shadows" until I ran across it here on amazon last week. It sounded sufficiently interesting, and although there is very little information on the movie anywhere, it was an impulse purchase. And a good one. This is one of the most fascinating and sexually-charged examples of early world cinema that I've come across. The plot isn't anything spectacular, but as an expressionist piece an intricate plot isn't necessary; there are no title cards, but they aren't necessary, either. The camerawork, the direction and the pacing are nothing short of great, and the acting (while still rooted in the overemote school for the most part) is perfect. "Warning Shadows" has a solid, direct appeal and is more "living" as art than, dare I say it, "Nosferatu". Really.
Highly recommended for all silent film buffs. This is quite a treasure.

"Warning Shadows" is a clever example of German Expressionism. As the title indicates, the artistic elements in the film--the cast introductions where the actors emerge onto a lit-up stage, the images that reveal thoughts and fantasies, the entertaining sideshow, even the cues for the two chapters--focus on shadows. The plot is a jealous husband dealing with his flirtatious wife (introduced simply as "man" and "woman"). They host a dinner. I'm not sure who could have arranged this occasion, but the guests consist solely of four men who are enamored with the woman (and a three-piece orchestra that ends up falling asleep). Seems like poor party planning.

The suitors include three wise-cracking "gentlemen" who have little going for them, including spines. The fourth guest is a handsome "youth" (played by Gustav von Wangenheim who was Hutter in "Nosferatu") who desperately longs for the woman. Shadows that stretch out beyond where the people really are make the angry husband (a scary-looking slovenly guy played by Fritz Kortner) think there is hanky panky going on between his wife and the four men. While things aren't as blatant as the shadows show, the woman (played by Ruth Weyher) certainly thinks she is hot to trot and basks in all the male attention.

At the door comes a "traveling entertainer." He is a cunning and creepy little fellow who reminds one of Knock from "Nosferatu" and, low and behold, is the same actor who played Knock (Alexander Granach). The entertainer specializes in shadow puppets and the husband invites him in to put on a show. At first it is just a story using Oriental figures that, without sound or even intertitles, is rather boring. At one point he has the guests turn around in their chairs to see their shadows stretch out on the floor and then back again. My interpretation of this scene is that, unbeknown to them, they are now entering the world of shadows where passionate lust, raging jealousy, hateful revenge, desperate fear, and murder are played out.

The sets (19th century mansion and the street below) are impressive, the stage and curtain theme is cleverly done, and the acting really puts the expression in Expressionism. The film has no intertitles, so the expressive performances (especially through their eyes), backed by their shadows, carry the story. The actor I was the most impressed with was Fritz Rasp who played the tall, younger servant. He has a Karl Dane style goofiness as well as a sadistic side (he has the look of an evil fascist type). Both "Nosferatu" alums were excellent in this film as well. The film is slow in parts (even the introductions seem to drag however clever they are) and, without intertitles, you really have to pay attention to follow the story. The 90 minute film isn't as long as some silent films in the 1920s (i.e. "Woman in the Moon"), so it doesn't drag to the point of pushing the "2x" or "8x" button. The story also isn't overly complicated or confusing, so it works without explanation. If you like silent films and are interested in different artistic styles, I recommend "Warning Shadows."

this is a classic silent German expressionism film. The plot involves a dinner party given by a married couple that is crashed by a traveling illusionist. Already suspecting his wife may be having an affair with one or more of the party guests, the host is on the edge of his sanity while the illusionist continues to throw fuel onto that fire. Soon you'll be wondering what is illusion and what is reality.

This film is as great as Caligary both visually and by concept. True German silent masterpiece! Just see it!