Die Nibelungen (1966–67 film)
Two-part West German fantasy remake of Fritz Lang's silent classic.
Die Nibelungen is a West German fantasy film from 1966 and 1967, split into two parts: *Siegfried von Xanten* and *Kriemhilds Rache* (Kriemhild's Revenge). Harald Reinl directed it, Artur Brauner produced it, and the cast included Uwe Beyer, Karin Dor, and Herbert Lom. The two films remake Fritz Lang's 1924 silent classic *Die Nibelungen*, which itself drew from the epic poem *Nibelungenlied*.
In the first part, Siegfried, the hero from Xanten, finishes training with the dwarf Mime, forges a sword, and kills the dragon Fafnir. Bathing in the dragon's blood makes him invulnerable except for a spot on his back where a leaf landed. He then takes the Nibelung treasure and a magic helm from the dwarves. After helping King Gunther win Queen Brunhild in a contest in Iceland, he falls in love with Kriemhild, sister of King Gunther of Burgundy. To win her hand, Siegfried helps Gunther defeat Brunhild in three trials using his strength and helm, and later takes her ring and belt while she is wrestling Gunther on her wedding night. Kriemhild later reveals Siegfried's role publicly, enraging Brunhild, who demands his death. During a hunt, Hagen von Tronje—guided by a cross Kriemhild sewed on Siegfried's tunic to mark his vulnerable spot—kills him with a javelin. Kriemhild swears revenge.
In the second part, Kriemhild distributes the Nibelung treasure to turn the people against Gunther and Hagen, but Hagen steals the rest and sinks it in the Rhine. After her son with Siegfried is kidnapped and dies, Kriemhild marries King Etzel of the Huns to gain power for revenge. Years later, the Burgundians are invited to Hungary for the baptism of Kriemhild's new son, Ortlieb. On the journey, water fairies tell Hagen that only the chaplain will survive; Hagen tries to drown him but fails. At the banquet, Kriemhild provokes a fight, and Hagen kills Ortlieb. A massacre follows. Kriemhild offers to spare Gunther and her relatives if they hand over Hagen, but they refuse. She sets the palace on fire. Rüdiger fights his son-in-law Giselher, and both die. Dietrich von Bern and Hildebrand capture Hagen and Gunther. Gunther bleeds to death before Kriemhild, who then kills Hagen with Siegfried's sword Balmung and takes her own life.
Quick Facts
- Director
- Harald Reinl
- Producer
- Artur Brauner
- Writer
- Harald G. Petersson, Harald Reinl, Ladislas Fodor
- Starring
- Uwe Beyer / Karin Dor / Herbert Lom
- Music
- Rolf A. Wilhelm
- Cinematography
- Ernst W. Kalinke
- Editing
- Hermann Haller
- Studio
- CCC Filmkunst, Avala Film
- Distributor
- Constantin Film
- Released
- 1966 · part 1 · 1967 · part 2
- Runtime
- 91 minutes (part 1) / 90 minutes (part 2)
- Country
- West Germany
Facts from the source article.
Lore & Background
The film was produced by Artur Brauner's CCC Filmkunst in cooperation with Avala Film, and both parts were shot back-to-back in Yugoslavia. Brauner had originally wanted Fritz Lang to remake his own silent film in the late 1950s, but Lang resisted, feeling it would imply he had nothing new to say. Lang instead made three other films for Brauner, and it took six more years for Brauner to find the right director. Harald Reinl was chosen after the box office success of his Karl May Winnetou films, as Brauner needed a disciplined director experienced with large numbers of extras and shooting in Yugoslavia.
Reader's Guide
Die Nibelungen (1966/1967) is significant as a major West German fantasy film that directly remakes Fritz Lang's 1924 silent epic. It represents a continuation of the Nibelungenlied tradition in cinema, adapting the medieval poem for a new generation. The film's production history highlights the challenges of reviving classic material, with Lang himself declining to direct his own remake. Harald Reinl's direction brought a commercially successful approach, using impressive landscape shots and a symphonic music score to add gravitas. The film's two-part structure and adherence to the original story, despite a new screenplay, ensured its place as a notable entry in German fantasy cinema, though it remains less famous than Lang's original.
Did You Know?
- The film was released in two parts: Siegfried von Xanten and Kriemhilds Rache.
- It was directed by Harald Reinl, who had previously directed commercially successful Karl May Winnetou films.
- Fritz Lang, director of the 1924 original, declined to remake his own film, saying it could be interpreted as him 'not having anything new to say'.
Frequently Asked Questions
What is Die Nibelungen (1966–67 film)?
It is a two-part West German fantasy epic released across 1966 and 1967, split into Siegfried von Xanten and Kriemhilds Rache. The narrative follows the hero Siegfried's rise to glory and the devastating vengeance Kriemhild carries out after his death.
Who directed and produced Die Nibelungen (1966–67 film)?
Harald Reinl directed both installments, while Artur Brauner handled production. The lead cast features Uwe Beyer as Siegfried, Karin Dor as Kriemhild, and Herbert Lom in a supporting role.
How does the story of Die Nibelungen (1966–67 film) end?
The second part, Kriemhilds Rache, builds around Kriemhild's relentless campaign for revenge following Siegfried's murder, ultimately triggering a catastrophic war that obliterates the Burgundian court. The tale closes with the destruction of the heroes and the bitter fulfillment of her vendetta.
What is the connection between Die Nibelungen (1966–67) and Fritz Lang's 1924 silent film?
The Reinl production is a straightforward remake of Lang's landmark 1924 silent epic, drawing from the same Nibelungenlied source material. It reinterprets the myth for a 1960s West German audience while keeping the core plot beats of the original.
Why is Die Nibelungen (1966–67 film) notable in the sword-and-sorcery genre?
It stands as a significant mid-1960s West German effort to bring the Nibelung legend back to the big screen for a new generation of viewers. Produced by the prolific Artur Brauner, it sits at the crossroads of European fantasy filmmaking and the broader wave of sword-and-sorcery cinema of that era.
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