While still absolutely remarkable from the perspective of visual style, this second part lacks the charm of the first, as the entire narrative is consumed by Kriemhild's unshakeable desire for revenge (perhaps Wagner really understood something when he ended things where he did). Still, the sense these films give of presenting a genuine cosmos (from primeval forest to flame-engulfed castle to orderly civilisation to barbarian horde) is unmatched, and a sign of aesthetic paths yet to be followed.

Going against the grain here with a slight preference for the second half of DN, mostly for the sheer Götterdämmerung-iness of it all. You can make out why Hitler and the Nazi leadership made their dramatic exits the way they did, because they were basically roleplaying these characters.

Beyond the 'exotic' caricature of the Huns, part 2 of Die Nibelungen contains basically none of the elements of fantasy that were so prominent in the first. Instead we have a Shakespearian tragedy of single-minded vengeance at all costs. The lesser of the halves both technically and narratively but still a great film.

Straightforward& i don't know how well it'll hold to a rewatch....until those last 45 minutes which is just 1 long seige battle watching Kriemhild sacrifice more&more&more without remorse to obtain her ultimate goal of taking the life of Hagen.This is where everything comes together and Lang doesnt disappoint.For sheer intensity, for Lang in his element of characters spiralling downward, and for a large scale final battle that rips everything out to burn it all down, Part Two of this saga rocks

A key Ur text of German Expressionism, this painterly, stylized, strikingly composed, grandly operatic film often recalls nothing so much as Eisenstein's Ivan the Terrible work. Sadly, the film only exists in a heavily reconstructed form, but it is still worth seeing for the powerful relentlessness with which it develops its story, as the fearsome Kriemhild sows destruction on everyone and everything around her.

Not as immediately impressive as the first half of the story, Kriemhild's Revenge is still excellent in really every way. It finished the story of the epic Siegfried and his wife Kriemhild. Visually masterful and tells a great tale but all in all, what is so impressive is how accessible it is for a silent film of epic proportions.

Initially it seems to be an engaging if less enthralling follow up to Siegfried. Lang is adept with hard symmetry and choreographed throngs, but this is generally not reaching the magical visual heights of its predecessor, all while displaying an unflattering racism throughout. But the last quarter is a thrilling culmination which is hard to imagine not leaving a huge imprint on Kurosawa. Margarete Schön cuts a mean figure as the single-minded and heart-hardened Kriemhild.

okay movie

(Rating and review apply to both parts.) Though true to the epic in its long-windedness, this is masterfully executed for its era. Yes, performances are exaggerated and some effects are primitive (if not laughable) by today's standards, but Lang honored a timeless tale, adorning it with all the medium had to offer and realizing a dream-like world just beyond the threshold of our own.

I actually liked this slightly more than Part One. The change in protagonist is interesting and this kind of female revenge story is unusual for the time. I didn't really like Siegfried that much in part one--a bit too perfect--and his wife didn't have anything to do, but when she becomes the protagonist she becomes interesting. Good movie that complements the first part very well. The two together are better than the individual parts.

The epic takes a turn to darker places as Kriemhild (bae!) fucking annihilates her entire family for the sake of revenge. Margarete Schön is amazing as a woman scorned who just stares her victims to death. The sets become less epic yet still impressive and the action is a sight to behold with its million barbarian extras.

While not as epic or wowing with spectacle as the first part this is much more of a character study. Kriemhild sacrificing everything including her family for her revenge was intense and the mass battle that takes up nearly half the 2.5 hour running time was as impressive as it was entertaining.

By far the most action pacted silent film I've seen. The Lord of the Rings and Game of Thrones wouldn't be the same without it.

★★★★½ (16) cumulative score for Die Nibelungen: Siegfried & Die Nibelungen: Kriemhild's Revenge

I believe I said in my review of the first part of this movie that I hoped Kremhild would get her shit together here. Instead she just turns into someones warped idea of a "vamp" I guess. But the rest of this movie feels like an entire third act of a superior fantasy piece filling out a whole movie - and I do love me some vikingy third-acty-ness.

Missing the action, excitement, and drama of the first part, as well as the cool editing tricks and interesting set designs. Feels way too long and gets a bit boring at times. Still quite good and has some exciting moments. Probably should have been an hour shorter.

I laughed at all the 'you don't know how loyal Germans are' stuff.

Even if it's less grand and a bit more repetitive than the first part, it's still a really entertaining film. It's a great tale of blind revenge.

Much more driven and atmospheric than its predecessor. But its single mindedness also makes for a less interesting narrative. Kriemhild is categorically what holds this together.

Powerful, atmospheric continuation of the epic. More concentrated than Part I, but less archetypal.

The sets and photography are amazing as all get-out... the influence on Ran is noticeable. But, jeez... it's obvious why Hitler loved this movie. Nationalist to the point of discomfort, Lang presents the Germans as unfailingly noble gods (and the Huns as filthy and savage), and yet they shelter a man who is a total scumbag.

Kriemhild é uma espécie de Antígona germânica, tanto ela quanto Brumhild no primeiro filme são forças femininas contra o patriarcado, essa irmandade masculina que faz com que ambos os filmes só tenham homens pau-no-cu como personagens enquanto as mulheres são esplendorosas em suas fúrias. Não à toa Goebbels era obcecado por esse filme - não tem exemplo mais perfeito de irmandade patriarcal pau no cu do que os nazis. Box Obras-primas do Cinema Expressionismo Alemão Volume 2.