The Student of Prague: A Cinematic Exploration of the Doppelganger Myth

Introduction

"The Student of Prague" is a title that echoes through the history of cinema, representing not just a single film, but a series of explorations into the darker aspects of the human psyche. The original 1913 film, "Der Student von Prag," holds a significant place as cinema history’s first feature-length horror film, and has been argued to be the first feature-length film in general. Drawing inspiration from literary works like E.T.A. Hoffmann’s "A New Year’s Eve Adventure" (1814) and Edgar Allan Poe’s "William Wilson" (1839), as well as the Faustian mythos, the story revolves around a student named Balduin and his unsettling encounter with a doppelganger. The film's influence extends beyond its immediate success, impacting the German Expressionist movement and inspiring numerous remakes and adaptations.

The 1913 Original: A Landmark in German Cinema

Directed by Stellan Rye and Paul Wegener, the 1913 version of "The Student of Prague" introduces us to Balduin, a struggling scholar at the University of Prague in 1820. Balduin, portrayed by Paul Wegener, is depicted as the city's wildest carouser and greatest swordsman. The narrative unfolds when Balduin, desperate for funds, encounters a mysterious figure named Scapinelli. Scapinelli offers Balduin a magical change-purse which produces endless amounts of gold coins in exchange for anything in his mostly barren boarding room. The student agrees to exchange anything in his room to a mysterious man named Scapinelli in return for a magical change-purse which produces endless amounts of gold coins. To Balduin’s horror, Scapinelli chooses the young man’s reflection and commands the doppelganger to ruin the real Balduin’s reputation and good name. This sets in motion a series of events that explore themes of identity, morality, and the consequences of one's desires.

Technical Innovations and Visual Style

"The Student of Prague" (1913) is notable for its pioneering use of camera effects, particularly the creation of the doppelganger. The scenes in which Balduin interacts with himself through use of split screen look great, actually better than most other films I’ve seen that attempt this same illusion. Cinematographer Guido Seeber utilized groundbreaking camera tricks to create the effect of the Doppelgänger (mirror double), producing a seamless double exposure. This technique, while predated by Georges Méliès, achieved an unparalleled level of realism for its time. The effect was achieved with a nearly seamless double exposure that can only be noticed when there is some kind of movement across the doppelganger. This technique stretches back to Georges Méliès, but the effect created by cinematographer Guido Seeber was unparalleled. It was incredibly ahead of its time, and it wasn’t really outdone for even years afterward. The stationary camerawork and wide angles used here sometimes leave you squinting to see just who is on the screen and what they’re doing. Overall, aside from the doppelganger effects, the direction takes a great deal from the stage, perhaps too much, as it’s still early in German filmmaking whereas American filmmakers like Griffith had already begun to master and evolve the film medium to a considerable degree.

Thematic Depth and Psychological Interpretation

The film delves into complex themes, inviting psychological interpretations. Unlike the source materials which inspired the story, or the popular contemporary interpretations of Dr. Jekyll and Mr. Hyde, Balduin’s double does not represent an unsavory element of his personality. The real horror of the tale is that Balduin’s decency means that he is wholly undeserving of the malicious machinations which haunt him. Otto Rank, a colleague of Sigmund Freud, analyzed the film in his 1914 article "Der Doppelgänger," suggesting that the doppelganger represents a defense against sex, as it consistently thwarts Balduin's romantic pursuits.

The Influence of German Expressionism

Shot on location in Prague, though the film influenced post-war German Expressionism it is distinct from it in important ways. Notably, the realism of the locations is emphasized - the supernatural is seen to be imposing on a believable reality. This is typical of a story inspired by Hoffmann, whose writing attempted to produce the same effect. "The Student of Prague" (1913) lacks some of the more outrageous aesthetics of the films (and art and architecture) associated with the movement, but it flirts with the visuals canonized by THE CABINET OF DR. CALIGARI (1920) and NOSFERATU (1922). And it certainly tells a story darker and more mature than most anything else cinema had seen to that point. Balduin’s room is a bleak location, and the streets of the town do carry some sharp angles and architecture reminiscent of the post-World War I movement. The use of chiaroscuro, with its sharp contrasts between light and shadow, further enhances the film's proto-Expressionist mood.

The 1926 Remake: A Refined Vision

The 1926 remake, directed by Henrik Galeen, builds upon the foundation laid by the original, incorporating advancements in filmmaking techniques and a more pronounced Expressionist aesthetic. The movie follows the same story-line and structure as Stellen Rye’s original movie but with understandably more flair and sophistication as filmmaking had advanced considerably in the intervening years. He incorporates a Romantic use of natural locations, cinematic subject shots and montage, studio-built landscapes of the mind, chiaroscuro lighting and camera-sensitive acting. Whereas Rye in 1913 staged scenes in a single static shot, like illustrations to a storybook, Galeen marshaled all of the arsenal of cinema to involve the audience emotionally in each moment.

Henrik Galeen's Direction

Henrik Galeen, who wrote and co-directed 1915’s The Golem and co-wrote Wegener’s 1920 classic, wrote the screenplay for Nosferatu (1922) and Waxworks (1924), and wrote this screenplay as well. The film is directed by Henrik Galeen, who wrote and co-directed 1915’s The Golem and co-wrote Wegener’s 1920 classic, wrote the screenplay for Nosferatu (1922) and Waxworks (1924), and wrote this screenplay as well. In 1928 he would go on to direct Alraune.

Casting and Performances

This film once again reunites Conrad Veidt, who plays Balduin, and Werner Krauss, who plays Scapinelli, both of whom had appeared in The Cabinet of Dr. Caligari (1920) and Waxworks (1924). Seeing Krauss commanding Veidt’s slow-moving double draws direct parallels to their earlier Caligari and somnambulist roles, both in their spirit and in their mannerisms. Veidt, in particular, carries the central role well and, as always, hands in a master-class performance. While star Conrad Veidt was 33 when the film was released (not exactly college-age), his youthful appearance made him a much more convincing Balduin. He was also generally a better actor than Wegener, but in any event, Veidt’s performance was more rousing, and he was given sword fights to prove the framing of the character. Lyduschka, the pining flower girl, is given a better part in her effect on the story and her portrayal by Elizza La Porta is sympathetic and emotionally resonant. The 1926 THE STUDENT OF PRAGUE looks great and carries a stronger sense of menace and weight than the film to which it owes its existence, cemented in a way by the more threatening performance of Scapinelli by Werner Krauss.

The 1935 Adaptation: A Talkie Interpretation

The 1935 talkie has Anton Walbrook and he does the role justice. No worse then the other German legends that portrayed the part of the student who sells his soul to the devil. The third version in three consecutive decades leaves behind the exciting pioneering days of feature-length cinema from the 1910s and the roaring creativity that refined the visual language of the silent era until it was cemented as a distinguished art form in the 1920s and finds itself embracing the budding, challenging and already status quo medium of the talkies.

Arthur Robison's Direction

Arthur Robison directs an 85 minute horror film starring Adolf Wohlbrück and Theodor Loos, about a fencing student that falls in love, meets an evil professor and loses his reflection.

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Anton Walbrook's Performance

No-one did madness like Walbrook. His wide eyes, tousled hair and thin face makes him the natural choice to carry on the Student of Prague a decade tradition in Germany, even if his adaptation lacks the revolutionary quality of Wegener's or the complex character development of Veidt's. It does have gorgeous shadowy photography and legitimate claim to being the first horror musical, but it is about fifteen minutes too short to really mine the despair of Balduin's situation. If you are a fan of Walbrook, though, then you'll be in heaven, for there's not one, but two of him! Not exactly a fan of this story but this one here is much better than the 1913 version. Atmosphere is pretty nice once things settle down, Walbrook is terrific and the final 30 minutes are solid.

The Faustian Bargain and its Consequences

The narrative core of "The Student of Prague" revolves around Balduin's pact with Scapinelli, a deal that mirrors the classic Faustian bargain. Balduin, desperate for wealth and social standing, willingly exchanges something intangible - his reflection - for material gain. This act sets in motion a chain of tragic events, as Balduin's doppelganger becomes a malevolent force, disrupting his relationships and ultimately leading to his demise.

The Significance of the Doppelganger

The doppelganger in "The Student of Prague" serves as a powerful symbol, embodying the darker aspects of human nature and the consequences of repressed desires. The doppelganger myth, long established in German fiction and folklore, had an obvious visual appeal which Ewers and his co-writer Henrik Galeen exploited fully for The Student of Prague, their first exercise in the film medium. The doppelganger continuously shows up in Balduin’s life, spooking the countess as he tries to woo her upon arriving in “society” with all of his money. A cousin of the countess, who is also trying to woo her, challenges Balduin to a duel. Although he initially agrees, the student is persuaded to drop the challenge by the countess’ father because her cousin is the last surviving heir to the family fortune. Nevertheless, Balduin’s doppelganger goes through with the fight, killing the cousin and ostracizing Balduin from the family and society. He sneaks into the countess’ room and she professes her love for him, but another appearance of Balduin’s doppelganger ruins the mood. Returning home, Balduin sees his doppelganger once again, shoots him, and dies himself. The film raises questions about identity, the duality of human nature, and the potential for self-destruction when one's desires are left unchecked.

The Legacy of "The Student of Prague"

"The Student of Prague" holds a significant place in film history, not only for its technical innovations and artistic merit but also for its influence on subsequent horror films and the development of German Expressionism. The film's themes and motifs continue to resonate with audiences today, making it a timeless exploration of the human condition. It was immediately regarded as an artistic film, inviting great success as well as critical appraisal. In that, it made a solid step in helping form the mold of movies as we see them today, as entertainment products that are also genuine, legitimate works of creativity.

The Cast and Crew

The Student of Prague (Alpha Video). The Student of Prague of works well for the sound age as well. There was made two silent versions, in 1913 with Paul Wegener and again in 1926 with Conrad Veidt.

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Cast of the Three Films

Paul Wegener (1913), Conrad Veidt (1926), Anton Walbrook (1935).

Crew of the Three Films

Stellan Rye and Paul Wegener (1913), Henrik Galeen (1926), Arthur Robison (1935).

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