This is not a great movie, I admit. Certainly the acting is bizarre (though often moving) and the rhythm takes getting used to. But I thought I would put in a good word based on a recent viewing experience. I am not rating it high but I really enjoyed it a lot.6 or 7 years ago I went on a Conrad Veidt spree and bought copies of some his silents from an ebay seller/devotee. The quality varied and I recall that he particularly apologized for this item, which was barely viewable. All you could really see was Veidt's face... The other night TCM showed the Kino restoration and I sat down to see the film "for real." It was a pleasure to be able to take in the wonderful decors and costumes, and to get a relatively coherent version of the plot. The train wreck scene is stirring. And Veidt's face, again, as he progresses from sensitive soul to tormented monstrosity... In short, it was very rewarding.

A famous pianist (Conrad Veidt) has his hands crushed in a train accident, and he receives new ones through an experimental transplant. But whose hands were they before? The hands of a killer!This is a rather long film, probably more than it needs to be. The train wreck shots are beautiful, but go on a while, with the story being relatively simple.The focus here is more on Orlac's mental state, and less on the others in any way, with the love affair angle of "Mad Love" (its remake) completely absent. For fans of "Mad Love", this picture needs to be respected, as they clearly borrowed scenes (noticeably where Orlac meets his donor), but "Mad Love" is the superior film in many ways.

Flirting with a (then) science fictional theme of body part transplantation, the film explores the feelings of a concert pianist, who having lost his hands in a train wreck, receives a new pair of hands that belonged to an executed murderer. Austrian director Robert Weine, who created the landmark 'The Cabinet of Dr. Caligari' (1919) here reunites with and directs its star, Conrad Veidt, as the tormented pianist Paul Orlac.The camera focuses on Veidt's many moods and reactions to his plight -- his hands are not capable of his concert abilities, and he feels that they are taking him over with thoughts and deeds of crime and murder. He does an outstanding job, but too much of the film is slowly paced. From the beginning extended train crash rescue, on through scene after scene of Orlac's, his wife's and the maid's over the top Expressionistic gesturing, the scenes seem to go on too long. This slow pace is exaggerated by the lack of camera movement (everything is mostly wide shots with little tracking), the wonderfully and effectively spooky new musical score (on the KINO 2008 version), that sometimes lacks verve and variety, as well as the extensive time spent on the actors' Expressionist movements.The film certainly has its high points. It's great to see an entire film shot in shadows and low light, all with Gothic sets. This is great German Expressionism. If you can relax and just go with the pace of the film, you can really enjoy the acting of Conrad Veidt-- whose hands keep getting creepier and scarier.If it were cut to about sixty minutes to pick up the pace, it would be easier to enjoy and to see the great care that went into its creation and execution. I'll have to give it a six.

Hands of Orlac, The (1924) *** (out of 4) This German version of the famous story is certainly a lot better than the boring 1961 version with Christopher Lee and is also a step up from the more famous 1935 film Mad Love with Peter Lorre. As the story goes, a concert pianist (Conrad Veidt) has his hands damaged during a train wreck but doctor's do a transplant and accidentally give him the hands of a killer. Soon afterwards the hands take on a life of their own and start killing. Here's another German Expressionism horror film that really takes control of the viewer and takes them for a ride. The director, Robert Wiene, also made the masterpiece The Cabinet of Dr. Caligari and this film serves as one of the more chilling silent horror films. The best aspect is the performance from Veidt who I found just as good here as he was in The Man Who Laughs. He's able to get sympathy out of the character and he also manages to be very menacing during the murder scenes. The film also has some very eerie and creepy moments including the first scene where the hands come to life. This is a rather rare film and various versions are out there. I was able to view the longest cut of the film (93 minutes) but the title cards were in German with Spanish subs. The music score was also quite horrid so I actually turned the sound off while watching this. With a proper screening I'd certainly raise the rating.