REVIEWED BY DAN STUMPF:         


UNNATURAL. Carlton-Film, Germany, 1952. Also released as Alraune. Hildegard Knef, Erich von Stroheim, Karlheinz Böhm, Harry Meyen, Rolf Henniger, Harry Halm. Based on the novel by Hanns Heinz Ewers. Director: Arthur Maria Rabenalt.

ALRAUNE Hildegard Knef

    Perhaps the best film of that recent flurry of horror movies I watched was a much-maligned, badly-dubbed little thing called Unnatural (Germany, 1952). Or maybe it’s called Alraune; it was released under both titles and generally ignored no matter what they called it.

    Hard to say just what it is about this film that draws me so irresistibly. Maybe it’s the atmosphere of romantic depravity — it’s certainly not the choppy editing or the atrocious dubbing, though they add an element of dream-like unreality to the experience, particularly when the camera cuts from a scene filmed on some elaborate set or colorful location to one obviously shot in front of a painted backdrop — or even, in one case, on an empty black soundstage.

    Scenes seem to start and stop for no discernible reason: the film may come in on the middle of an argument or cut away before it’s resolved, yet it somehow still tells its twisted story.

ALRAUNE Hildegard Knef

    The story. Yes, the story. Well, in 1911 when Hans Heinz Ewers wrote the source novel, Artificial Insemination was a relatively new science, practiced only on animals, and ripe for exploitation by Science Fiction.

    Ewers became a major figure in the heady days of early German silent movies, and his story prefigures the morbid fascination with science and sex found there so often. Alraune tells of a woman created by artificial insemination (purest Sci-Fi back then) who has no soul: innocent herself, but compelled to drive those who love her to recklessness, crime and self-destruction.

    Well, we’ve all known someone like that. I think I went out with her a few times in College. But Ewers gives it to us in its purest form, and this film (the fourth made from the novel) relates it with a strange, syrupy romanticism: like what you’d get if Max Ophuls directed Texas Chainsaw Massacre.

    Like I say, I’m not sure why I find this so rich and watchable. Maybe it’s the patently ersatz innocence of Hildegard Knef (sometimes looking alarmingly like Eve Arden!) as Alraune, set against the relaxed depravity of Erich Von Stroheim as her creator: complementing rather than contrasting.

ALRAUNE Hildegard Knef

    But mostly I think it’s the rich imagery. The photographer of Alraune was himself a veteran of the German Silent Cinema, having worked with Lang and Murnau, and he makes this film a delight for the eyes as he picks out unsettling details in the background, or sets up a love scene in dark, sinister lighting.

    There’s a splendid final montage, dissolving from a dead figure to a withered root, which assumes the shape of a twisted man and finally settles on the image of one ascending the gallows as Alraune’s destiny works itself out. Pure abstract cinema and a film I’ll revisit.

Editorial Comment:   There is a three-minute clip on YouTube (follow the link) that demonstrates quite successfully Hildegarde Knef’s mesmerizing effect on a smitten suitor. A recent DVD of the film is apparently out of print, but copies are available (on Amazon, for example).