Orlacs Hände

1924 [GERMAN]

Action / Crime / Horror / Mystery / Sci-Fi / Thriller

10
Rotten Tomatoes Critics - Certified Fresh 91% · 11 reviews
Rotten Tomatoes Audience - Upright 79% · 250 ratings
IMDb Rating 7.0/10 10 3906 3.9K

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Plot summary

A world-famous pianist loses both hands in an accident. When new hands are grafted on, he is horrified to learn they once belonged to a murderer.

Director

Top cast

Conrad Veidt as Paul Orlac
Alexandra Sorina as Yvonne Orlac
Fritz Strassny as Der alle Orlac
720p.BLU 1080p.BLU
867.09 MB
970*720
No linguistic content 2.0
Not Rated
Subtitles us  
21.978 fps
1 hr 34 min
Seeds 1
1.57 GB
1424*1056
No linguistic content 2.0
Not Rated
Subtitles us  
21.978 fps
1 hr 34 min
Seeds 9

Movie Reviews

Reviewed by CinemaSerf 7 / 10

This is a great amalgam of genres that

This is a great amalgam of genres that shows off Conrad Veidt's skills to a tee. He portrays a classical pianist ("Orlac"), renowned throughout the world until he is involved in an horrific train crash and only just survives. His hands, however, do not. His distraught wife "Yvonne" (Alexandra Sorina) implores the doctors to do something, so eventually a pair of hands are grafted onto his arms. It doesn't take "Orlac" long to realise that these new hands have a life of their own, that their previous owner ("Vasseur") was a ruthless killer and that the hands rather enjoyed their previous work! When his father is found dead - all the fingerprints point to his errant hands, and together with the sceptical police they must get to the bottom of the mystery before the hands strike again... A small cast work well with Maurice Renard's cleverly devised novel and Robert Wiene keeps the pace moving along skilfully enough. The print I saw could have done with some more light. At times the cast began to resemble a gaggle of pandas - but that wasn't too distracting from this well executed crime thriller that I really quite enjoyed.
Reviewed by Bunuel1976 7 / 10

THE HANDS OF ORLAC (Robert Wiene, 1924) ***

I'm glad I had this chance to check out yet another German Expressionist classic – even if I had to make do with faint Spanish subtitles over the original German intertitles (then again, the narrative is easy enough to follow)! It took me some time to warm up to the film: the pace is extremely sluggish (the aftermath of the train-wreck at the beginning seemed interminable), while the all-important decision to exchange the damaged hands of famed concert pianist Orlac with those of a murderer felt too abrupt.In preparation for this review, I re-read Michael Elliott's comments on the film: while I generally concur with his opinion, at this stage I wouldn't put this above the 1935 Karl Freund/Peter Lorre/Colin Clive remake MAD LOVE (Ted Healy's intrusive comedy relief, to me, is just about the only negative element in that film – while adding Dr. Gogol's obsessive yearning for Orlac's wife, hence the new title). Still, I was surprised by how much the later film actually followed the Silent version – especially the two scenes in which Orlac meets the 'executed' murderer – of the Maurice Renard story; another remake appeared in 1960, co-starring Christopher Lee and which I watched on Italian TV not too long ago but already can hardly remember anything about it! Conrad Veidt's lanky figure and stylized approach to acting perfectly suited the requirements of the leading role (his posture generally echoing that of Cesare the Somnambulist in the same director's THE CABINET OF DR. CALIGARI [1919]); the expressionist sets were also notable but the film's style is generally an internalized one in that it deals primarily with Orlac's state of mind filming him in tight shots whenever possible. However, the avant-garde score which accompanied the Grapevine Video edition I watched was a matter of taste – featuring a female vocalist who frequently attempted to simulate the various characters' emotions with an annoying array of wails, shrieks and faint whispers! It's unfortunate, too, that the backlog I have of unwatched films on DVD doesn't permit me to check out the Kino edition of CALIGARI for the moment – especially since it contains a lengthy condensed version of another intriguing Wiene title, GENUINE: A TALE OF A VAMPIRE (1920)…
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