User reviews

One of the most important artistic movements in the history of cinema was without a doubt German expressionism, the highly atmospheric style of film-making developed during the 20s in Berlin. Classic movies like "Das Cabinet Des Dr. Caligari." (1920) and "Nosferatu, Eine Symphonie Des Grauens" (1922) were the most famous direct results of this movement, and while the movement didn't have a long life, its enormous influence over cinema can still be felt today, specially in the horror genre. One of the key figures of this style would be director Paul Wegener, director of 1920's "Der Golem, Wie Er in die Welt Kam", as in his debut as a filmmaker, seven years before the making of that classic, he was already making experiments with expressionism in film. That early prototype of German expressionism was incidentally, another horror film: "Der Student Von Prag".

"Der Student Von Prag" ("The Student of Prague"), is the story of Balduin (Paul Wegener), a student with the reputation of being the best fencer in Prague, but who always find himself with financial troubles. One day, Balduin rescues the beautiful countess Margit (Grete Berger) from drowning in a lake after her horse drop her by accident. Balduin falls immediately in love with her and tries to see her again, but soon he discovers that he'll have to compete with her rich cousin, Graf Von Schwarzenberg (Lothar Körner), who also wants to marry her. Knowing that he can't offer her much, Balduin wishes to be wealthy, and this is where a sorcerer named Scapinelli (John Gottowt) enters the scene. Scapinelli offers Balduin infinite wealth in exchange of whatever he finds in his room. Balduin accepts the proposal, only to discover in horror that what Scapinelli wants is his reflection in the mirror.

Loosely inspired by Edgar Allan Poe's short story "William Wilson" and the classic legend of "Faust", the story of "Der Student Von Prag" was conceived by German writer Hanns Heinz Ewers, a master of horror literature and one of the first writers to consider scriptwriting as valid as any other form of literature. Written at a time where cinema in Germany was still being developed as an art form, "Der Student Von Prag" shows a real willingness to actually use cinema to tell a fully developed story beyond a camera trick or a series of scenes. Like most of the scriptwriters of his time, Ewers screenplay is still very influenced by theater, although "Der Student Von Prag" begins to move away from that style. While a bit poor on its character development (specially on the supporting characters), Ewers manages to create an interesting and complex protagonist in the person of Balduin.

While "Der Student Von Prag" was Paul Wegener's directorial debut and Stellan Rye's second film as a filmmaker, it's very clear that these two pioneers had a very good idea of what cinema could do when done properly. Giving great use to Guido Seeber's cinematography, the two young filmmakers create a powerful Gothic atmosphere that forecasts what the German filmmakers of the following decade would do. Wegener would learn many of the techniques he would employ in his "Golem" series from Seeber and Rye. Despite having very limited resources, Rye and Wegener manage to create an amazing and very convincing (for its time) visual effect for the scenes with Balduin's reflection (played by Wegener too). Already an experienced stage actor at the time of making this film, Wegener directs the cast with great talent and also attempts to move away from the stagy style of previous filmmakers.

As Balduin, Paul Wegener is very effective and probably the best in the movie. It certainly helps that his character is the only one fully developed by the writer, but one can't deny that Wegener was very good in his role as the poor student who loses more than his mirror reflection in that contract. John Gottowt plays the sinister Scapinelli with mysterious aura that suits the character like a glove. Few is said about Scapinelli in the film, but Gottowt makes sure to let us know that he is a force to be feared. The rest of the main cast is less lucky, with Grete Berger being pretty much average as countess Margit, and Lothar Körner making a poor Graf Von Schwarzenberg. However, it must be said that Lyda Salmonova was pretty good in her expressive character and Fritz Weidemann made an excellent Baron Waldis-Schwarzenberg, showing the dignity that Lörner's character should have had.

Considering the movies that were being done in those years in other countries and the fact that its remake (made 13 years after this film) is superior in every possible way, it's not difficult to understand why "Der Student Von Prag" hasn't stood the test of time as well as other early films. The movie's main problem is definitely its extremely low budget, as it resulted in the film being considerably shorter than what Ewers' story needed to be fully developed. This makes the plot feel a bit too vague at times, or even incomplete, as if there was something missing in the narrative (of course, there's also the possibility that the existing print is really incomplete). However, "Der Student Von Prag" is a very interesting early attempt at a complex tale of horror and suspense in film that, while inferior to what other filmmakers were doing at the time, left a powerful impression in history.

As the direct predecessor of the German expressionist movement, it's hard to deny the enormous importance that "Der Student Von Prag" has in the history of German cinema, probably in the history of cinema in general. It may look dated even for its time, but considering the limited resources its director had, it's truly better than most films from that era. As the movie that started Paul Wegener's career, and with that German expressionism, "Der Student Von Prag" is a must see for everyone interested in this slice of film history. 7/10

"The Student of Prague" is an early feature-length horror drama or, rather, it is an "autorenfilm" (i.e. an author's film). It's a piece of a movement of many movements that tried to lend cultural respectability to cinema, or just make a profit, by adapting literature or theatre onto the screen. Fortunately, the story of this book with moving pictures is good. Using Alfred de Musset's poem and a story by Edgar Allen Poe, it centers on a doppelgänger theme.

Unfortunately, the most cinematic this film gets is the double exposure effects to make Paul Wegener appear twice within scenes. Guido Seeber was a special effects wizard for his day, but he's not very good at positioning the camera or moving it. Film scholar Leon Hunt (printed in "Early Cinema: Space, Frame, Narrative"), however, has made an interesting analysis on this film using framing to amplify the doubles theme: characters being split by left/right, near/far and frontal/diagonal framing of characters and shots. Regardless, the film mostly consists of extended long shots from a fixed position, which is noticeably primitive. Worse is the lack of editing; there's very little scene dissection and scenes linger. None of this is unusual for 1913, but there were more advanced pictures in this respect around the same time, including the better parts of "Atlantis" (August Blom, 1913), "Twilight of a Woman's Soul" (Yevgeni Bauer, 1913) and the short films of D.W. Griffith.

An expanded universal film vocabulary by 1926 would allow for a superior remake. Furthermore, the remake has a reason for the Lyduschka character--other than being an occasional troublemaker and spectator surrogate. Here, the obtrusively acted gypsy lurks around, seemingly, with a cloak of invisibility. I know their world is silent to me, but I assume, with their lips moving and such, that their world would not be silent to them, so how can Lyduschka leer over others' shoulders and not be noticed?

Nevertheless, this is one of the most interesting early films conceptually. Wegener, who seems to have been the primary mind behind it, in addition to playing the lead, would later play the title role and co-direct "The Golem" in 1920--helping to further inaugurate a dark, supernatural thread in German silent cinema.

(Note: The first version I viewed was about an hour long (surely not quite complete) and was in poor condition, with faces bleached at times and such. I'm not sure who was the distributor. I've also since seen the Alpha DVD, which, at 41 minutes, is missing footage present in the aforementioned print and also has fewer and very different title cards, but is visually not as bad. The repetitive score is best muted, though.)

I watched Alpha's DVD of this, which was only about forty-one minutes long. I don't know if it was missing scenes, or run at a faster speed, or what, to account for the difference from the running time IMDb has. As with Alpha's DVD of the remake, I didn't particularly care for the musical score they'd added. I think it's possible they also missed some of the intertitles; one of the other users mentions something Balduin says after his reflection is taken that wasn't in the copy I viewed.

A renowned fencer asks a man named Scapinelli to procure him a winning lottery ticket, or a woman with a large dowry. The opening credits indicate Scapinelli is a sorcerer; he isn't used much in this film, and we don't know really anything about him when we first meet him, or what relationship Balduin has with him. In the remake, Balduin doesn't ask for those things, just wishes for a rich woman (not expecting the wish to come true), and Scapinelli promises to deliver.

A rich woman who is riding horses with her fiancé (also her first cousin) falls off her horse into a body of water, and Balduin saves her. In the remake, it's clear that Scapinelli guides her horse to Balduin and then causes the horse to act wildly, until Balduin scoops her off it. Here, it's unclear that Scapinelli had anything to do with it.

There are many scenes here that are reproduced in the sequel. Possibly even some of the same camera shots are copied.

The ending is not as powerful as the ending of the sequel. Still, this was interesting to watch and at the price of Alpha's DVDs, a bargain. Perhaps a better edition will come out sometime in the future.

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.

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.

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.

This film marks the beginning of the Golden Age of Silent Horror movies emanating from Germany, though its style is not yet what would come to be defined "Expressionist". I had watched it many years ago on Italian TV and remember liking it quite a bit though, in retrospect, it suffers in comparison with the superior 1926 remake (not least because that one is more than twice its length!); it's still well worth watching and remains full of interest today, also because it led directly to Paul Wegener's trademark role of The Golem in a famous trilogy, which unfortunately is almost impossible to re-evaluate today since only the third entry in the series seems to have survived! The accompanying synthesizer score on the Alpha DVD was quite unnerving in its relentless repetitiveness which, in hindsight, perfectly suited the doppelganger theme of the movie.

This is definitely one one the best pre-WWI movies! Still, if you are looking for the typical German expressionism, you will not see a lot of this. The movie is great in its use of the Prague locations (remember- those were still the days of Austria-Hungary). You see some of the city sights and also the famous Jewish cemetery but not in a tourist fashion, it all serves the romantic atmosphere of the movie: romantic in the fashion of Hoffmann and the German doppelgänger idea. Paul Wegener is far away from a modern day movie star, but he was one of the top German theater actors of the days. He fully embraced the concept of movies and even directed some. The author Hanns Heinz Ewers produced some dangerous Nazi books later on, but this one is a major achievement.

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.

The Student of Prague tells the story of young Balduin, a charismatic and devoted "swordsman" who is a bit out his luck in the financials and gets a bit morose as a result. Along comes creepy old Scapinelli who eventually (20 minutes into the film) strikes a deal with Balduin which grants him anything he wants in exchange for a large sum of gold. This is the real meat of the story, but unfortunately seems more like a subplot to the romance that too often takes centre stage between Balduin and a rich countess named Margit. What results is a sporadically engrossing "horror" movie mixed with a very slow-moving and tepid romance which goes nowhere. By the time we get to the film's inevitable conclusion, we realize it could have been told in half the time and with greater results had it not devoted much of its time to going nowhere with a love story that neither develops nor endears. Sure, Paul Wegener's loose adaptation of Edgar Allan Poe's William Wilson is an important one in terms of independent, expressionist cinema, but is it worth watching now? Not really. You're better going straight to Caligari rather than stopping by to read the history of each bus stop on the way. It's occasionally interesting, and somewhat of a maverick for the times, but too mundane and plodding on the whole to make it the classic it ought to be.

A stupid young man becomes obsessed with a woman--so obsessed that he loses perspective and common sense. An evil magician approaches him and informs him he can give him great wealth that he can use to win the lady's heart IF he agrees to give him anything he wants that's within their room. The dumb guy agrees and the magician steals the man's reflection out of the mirror--and bad things naturally occur as a result.

If this film had been made just a decade later, I am sure I wouldn't have been so charitable in reviewing and scoring this film. After all, the film's plot is a bit vague in spots and the acting is, at times, a bit stilted. However, when you consider that in 1913 "full-length" films were rare--and often only 20 to 30 minutes long! Plus, the whole idea of a complex story like you get in this film is very unusual--as stories were very short and broadly acted. So, given the limitations of the time, this film is pretty good and is one of the earlier horror films known.

Those engaging the movie camera so early in the century must have figured out some of its potential very early on. This is a good story of a playboy type who needs money and inadvertently sells his soul to Satan for a lot of money. Unfortunately, the soul is his double and he must confront him frequently, tearing his life apart. There are some wonderful scenes with people fading out and, of course, the scenes when the two are on the stage at the same time. The middle part is a bit dull, but the Faustian story is always in the minds of the viewer. One thing I have to mention is the general unattractiveness of the people in the movie. Also, they pretty much shied away from much action which would have at least given some life to the thing. I first was made aware of this movie about 25 years ago and have finally been able to see it. I was not disappointed.

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)."

Student of Prague, The (1913)

** 1/2 (out of 4)

A poor college student (Paul Wegener) falls in love with a rich woman so he makes a deal with a sorcerer. The sorcerer pays him 100,000 gold pieces for anything in the student's room. The sorcerer decides to steal the student's soul. This is a pretty good horror film that manages to have a few very creepy scenes including the first scene where the soul is taken. The rest of the film is pretty weak working itself up towards the very good ending. This is still a very important film for horror fans to seek out.

You can check my review of the remake here as well.

The film "Der Student von Prag", directed by Herr Stellan Rye in the silent year of 1913, is certainly a suitable film for the Schloss theatre. That's due to the many daring elements that the oeuvre provided this German count.

The film has poor commoners, more precisely, a student commoner. He dreams of richness and of hobnobbing with top people. On the other side, there are idle aristocrats who spend their time riding and a rich heiress who is engaged to her cousin. However, he's a man who obviously she doesn't love, preferring her to be wooed by the student. That student is now a rich man thanks to a strange pact with a strange old man.

Ah, what glorious clichés!!.

But there is even more! In the film are beautiful outdoor sceneries ( the filming locations were obviously in Prague ) and elegant indoor aristocratic sceneries. But the most important thing in the picture ( besides the ones mentioned by this Herr Von ) is that the picture deals with the myth of the Doppelgänger, or the vision of the evil side of oneself!.

Ah, what a wonderful sinister folklore!!.

The film is starred by Herr Paul Wegener who certainly suffered a terrible experience with his Doppelgänger in the city of Prague. Prague is a beautiful but obscure Central-European city where from time to time another strange being walked up and down the streets. That would be the Golem a screen creature that years later would also use Herr Wegener for his evil deeds. But this is another and completely different story.

And now, if you'll allow me, I must temporarily take my leave because this German Count is waiting for Herr Doppelgänger and Herr Golem to take tea.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com

A poor student (Paul Wegener) rescues a beautiful countess (Grete Berger) and soon becomes obsessed with her. A sorcerer (John Gottowt) makes a deal with the young man to give him fabulous wealth and anything he wants, if he will sign his name to a contract.

The film is loosely based on "William Wilson", a short story by Edgar Allan Poe, the poem "The December Night" by Alfred de Musset, and Faust. The Faust elements are obvious, the other two less so (though the Musset quotation might give it away). This is really a great early example of horror literature on screen.

Cinematographer Guido Seeber utilized groundbreaking camera tricks to create the effect of the Doppelgänger (mirror double), producing a seamless double exposure. Hanns Heinz Ewers was a noted writer of horror and fantasy stories whose involvement with the screenplay lent a much needed air of respectability to the fledgling art form.

Widely considered to be the first "art film" ever made, The Student Of Prague tells the story of Balduin, the school's best swordsman and biggest ladies man.

Sad that he's poor...he makes a Faustian deal with the devil in the form of a man named Scapinelli...so that he can get himself a sugar mama...despite the fact that the coolest girl in school actually adores him.

What a dunce.

One day, he happens to save a young woman who had fallen off her horse, into a river...and this girl turns out to be a wealthy countess- how convenient.

Their love is, however, forbidden, because he's just too damn poor.

So Scapinelli offers Balduin a deal: 100,000 pieces of gold for anything in his dorm room.

Thinking he has nothing worth anything, he agrees...not suspecting that the devil will actually take his reflection.

He uses the gold to buy some sick new threads, and a little bling, so that he can impress the countess's father enough to let them hang...not realizing that his doppelganger- and the girl from school- is stalking his every move.

Cause, obviously she's concerned for his well being.

Despite not having the baron's permission to hang with his daughter, the two plan to meet secretly anyways...in the Jewish cemetery.

But they are confronted by the doppelganger, so she's understandably freaked out.

Prior to this, the baron was trying to get his daughter to marry her cousin...but Lydushcka- his stalker- rats them out.

So now the cousin is pissed off, and wants to duel the young swordsmith.

But his relatives try to stop him, because he's the only remaining male heir in the family.

And Balduin is definitely going to ruin him.

However, he can't get over his ego, so the baron begs Balduin not to kill him.

But before Balduin even gets to the duel...the cousin has been killed by his doppelganger.

So the baron cuts off access to his daughter.

Lyduschka uses the oppourtunity to try and win him over...but he's too stricken with heartbreak...and has been cursed with the obsession of having a rich wife.

So he can't see a good thing when it's right under his nose...and, thus, remains alone...as he continues to be haunted by his doppelganger.

Which drives him to break into the palace so that he can see the countess again...only for her to discover that he has no reflection...as it has become his doppelganger.

This fate drives him toward madness...as he plans to kill the doppelganger, once and for all.

But can you kill a manifestation of your own reflection without also killing yourself?

This was a landmark moment in cinematic history as it was the first time a single actor- Paul Wegener- was seen playing two roles on the screen at the same time.

Having been made prior to the German expressionist movement- and shot by Danish director, Stellan Rye.- the film has a much more traditional theatrical vibe.

But it has some pretty sweet location shooting, that captures a glimpse of turn of the century era Prague.

A real time capsule, whose narrative is a syncretization of Faust, Alfred de Musset's poem. The December Night, and Poe's short story William Wilson, that's oddly entertaining.

6 out of 10.

A good film, and one I'll watch a number of times. Rich (the previous commenter)is right: there is much more going on here than is clear from the title boards, and I have to wonder how much has suffered in translation. Were there more in the original? Or was a native-language audience expected to lip-read more? Or -- since the screenplay was written by the author of the novel on which this was based -- was this a currently popular story with which the audience was already very familiar? In short, very worth a look, but it probably requires more work from contemporary viewers than the original 1913 audience had to put into it.

The Alpha Video release touts the new organ score, but the music is not matched to the story progression in any way. Sure, it starts promisingly, but degenerates into a repetitive, Phillip-Glass-like monotony that reflects nothing of the action on the screen. After listening for a while, I turned off the sound and simply watched: much better!

This "Student of Prague Collection (1913 & 1926 Versions) (Silent)" is a good starting place for your real "Student of Prague Collection" which can include (1913 Paul Wegener), (1926 Conrad Veidt), (1935 Anton Walbrook), (1990), and (2004 Filip Dyda) at the time of this review. You can buy them separately or together.

It was suggested in my German class and has been worth not only knowing the story but for cultural literacy. It is something that you can reflect on.

It is a romantic drama in four acts.

Balduin, a student Scapinelli, an old adventurer Lyduchka, a daughter of travel Countess Margit von Schwarzenberg Count von Schwarzenberg, her father Baron Waldis-Schwarzenberg, her cousin and fiancé

The Student of Prague AKA A Bargain with Satan. Has one of those Faust type themes. Based on "William Wilson" by Edgar Allan Poe. I do not want to go into too much detail as it is fun for you to watch the story unfold.

Taking a different direction, it is also a study of cinematography.

The 1913 presentation shows the actors, their characters, and pictures up front. More films should do this.

I hope in the future to see remastered and higher definition with voice-over commentaries. Oh wait, they did remaster to the 1913 version in 1987 and retrieved the German intertitles.

Set in the early 19th-Century and based on literary classics this pre-war release is one of the earliest film's of the fabled German Expressionist genre and one of the best and most innovative. Using cutting-edge technology and a depth unseen on the big screen "The Student of Prague" (Der Student von Prag) utilizes dark tones and an eerie vibe. A young man agrees to a deal with a creepy and mysterious stranger to attain what he wants and gets more than he bargains for. Overly theatrical and exaggerated acting and a slow pace coupled with being a silent may deter the film from being appreciated by 21st-Century viewers but silent fans and hardcore film lovers will appreciate this.

One of Paul Wegener's greatest works and a milestone for both horror and artistic cinema. In horror-like scenes, this horror film tells of high spirits, vanity and fear. Loss of control and madness round off the end. What remains is a veteran of psychotic horror in a historical Prague setting that should not be missed.