The Indian Tomb (Das indische Grabmal in its original German) is a 1959 West German-French-Italian adventure drama film. It was produced by Artur Brauner, directed by Fritz Lang, and stars Debra Paget, Paul Hubschmid, Walter Reyer, Claus Holm, Valéry Inkijinoff, and Sabine Bethma.
The Indian Tomb | |
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![]() German theatrical release poster | |
Directed by | Fritz Lang |
Screenplay by | Thea von Harbou Fritz Lang Werner Jörg Lüddecke |
Based on | Das indische Grabmal by Thea von Harbou |
Produced by | Artur Brauner |
Starring | Debra Paget Paul Hubschmid Walter Reyer Claus Holm Valéry Inkijinoff Sabine Bethmann |
Cinematography | Richard Angst |
Edited by | Walter Wischniewsky |
Music by | Gerhard Becker Michel Michelet |
Production companies | Central Cinema Company Rizzoli Film Regina Production Critérion Film |
Release date | 1959 |
Running time | 102 minutes |
Countries | West Germany France Italy[1][2][3] |
Language | German |
It is the second of two feature films, comprising what has come to be known as Fritz Lang's Indian Epic; the first is The Tiger of Eschnapur (Der Tiger von Eschnapur). Both are based on the novel Das indische Grabmal, written by Lang's ex-wife, Thea von Harbou, who died in 1954. In 1960 American International Pictures obtained the rights to both films and combined them into one heavily-edited, 90 minute long feature renamed Journey to the Lost City. After both were dubbed into Spanish, they were shown as separate films, when in fact the second was a direct continuation of the first.
Interiors were shot at the Spandau Studios in West Berlin with sets designed by the art directors Helmut Nentwig and Willy Schatz.
The film is probably best remembered today for Debra Paget's erotically charged "snake dance scene".
On review aggregation website Rotten Tomatoes, the film had an approval rating of 88% based on 8 reviews.[4] Die Welt wrote: "Here lies Fritz Lang, once creator of important films like Metropolis and M. The 'Indian tomb' is his own." [i.e, grave as a filmmaker][5] In contrast to those earlier opinions, contemporary American film critics are positive about the film.[6]
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