Alraune (1952 film)
A scientist creates a beautiful but soulless woman.
Alraune, later renamed Unnatural: The Fruit of Evil, is a 1952 West German horror science fiction film directed by Arthur Maria Rabenalt. It stars Hildegard Knef and Erich von Stroheim, and is based on the 1911 novel by Hanns Heinz Ewers. The film is the sixth adaptation of the novel and was controversial upon release due to its themes of artificial insemination and its depiction of a soulless woman.
Quick Facts
- Director
- Arthur Maria Rabenalt
- Producer
- Günther Stapenhorst, Carlton-Film, Deutsche Syria Film GmbH
- Screenplay
- Kurt Heuser
- Based On
- The novel, Alraune, by Hanns Heinz Ewers
- Starring
- Hildegard Knef / Erich von Stroheim / Karlheinz Böhm
- Music
- Werner Richard Heymann
- Cinematography
- Friedl Behn-Grund
- Editing
- Doris Zeltmann
- Studio
- Deutsche Styria-Film GmbH / Carlton Film GmbH
- Distributor
- Gloria-Filmverleih GmbH
- Released
- 23 October 1952 · Germany
- Runtime
- 92 minutes
Facts from the source article.
Lore & Background
The plot follows Professor Jacob ten Brinken (Erich von Stroheim), who loses his university position due to his interest in artificial insemination. He artificially impregnates a prostitute with sperm from a hanged murderer, and raises the resulting child, Alraune (Hildegard Knef). As an adult, Alraune becomes involved with medical student Frank Braun (Karlheinz Böhm), who initially loves her but later recoils after learning of her ability to lure men to their demise. Alraune then uses her sexual appeal to manipulate men, leading to several deaths. Eventually, Frank returns and accepts her, but after a final confrontation, Alraune dies, and ten Brinken is arrested for his role in the events.
Reader's Guide
Alraune (1952) is significant as the fifth film adaptation of Hanns Heinz Ewers' novel, and for its controversial reception. The church spoke against the film due to its topic of artificial insemination, and the script went through 16 versions to balance the 'magically demonic element' with Catholic sensibilities. The cast was considered all-star, with Erich von Stroheim, a renowned silent film director, and Hildegard Knef, who had international fame. The film's English-dubbed version was released in 1957 as Unnatural: The Fruit of Evil. The film's legacy includes its influence on later works, such as a character named Professor Ten Brincken in Kim Newman's vampire novel The Bloody Red Baron, and a comic book miniseries Alraune (1998–2004) by Tony Greis.
Did You Know?
- The film was originally titled Alraune and later renamed Unnatural: The Fruit of Evil for its 1957 English-dubbed release.
- Erich von Stroheim had the right to write his own dialogues, and he submitted new pages of text each morning during filming.
- The film's soundtrack includes two songs sung by Hildegard Knef, with lyrics by Robert Gilbert.
- The film depicts Alraune's face fading into a grotesque mandrake root, reflecting the plant's folklore associations with both good fortune and death.
Frequently Asked Questions
Who directed Alraune (1952 film)?
Arthur Maria Rabenalt helmed this 1952 West German horror science fiction picture. It premiered in German cinemas on 23 October 1952 under the Gloria-Filmverleih banner.
What is Alraune (1952 film) based on?
The screenplay adapts Hanns Heinz Ewers' 1911 novel of the same name. It marks the sixth time that particular story has been brought to the screen.
Who stars in Alraune (1952 film)?
Hildegard Knef and Erich von Stroheim carry the lead roles. The picture was later re-released in the United States in 1957 under the title Unnatural: The Fruit of Evil via the Distributors Corporation of America.
What is the basic premise of Alraune (1952 film)?
A scientist employs artificial insemination to bring a breathtakingly beautiful woman into existence, yet she is entirely devoid of a soul. The narrative then follows the unsettling fallout of his experiment in a blend of horror and science fiction.
Why was Alraune (1952 film) controversial upon release?
Audiences and critics objected to its frank treatment of artificial insemination and its depiction of a woman stripped of inner life. Those provocative themes made the film a divisive topic in 1950s West German cinema.
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