Hund Von Baskerville.Indd
Plakat: Der Hund des the same year), while in the Satans - Conan Doyle Zyklus same period Julius Philipp I. Folge - Ausschließlich im and Richard Oswald presen- Omnia Kino Palast [Buda- ted their competing versi- pest] on, both later plundered for this cinematic outing. As the subtitle of the Bonn play im- plies, the action was moved from Dartmoor to Scotland, a change which Oswald and Rudolf Meinert retain in the Der Hund von Baskerville fi lm – indeed, the peasants of Regie: Rudolf Meinert, “Schloss Baskerville” appear, Deutschland 1914 from the waist down, to have Darsteller: Alwin Neuß, stepped out of Annie Laurie, Friedrich Kühne, Hanni but from the waist up it’s Weisse, Erwin Fichtner more Old Heidelberg. Largely unseen for deca- des until the Filmmuseum München’s 2006 restoration, there was much speculati- on on plot and characters (interestingly, Bonn’s play was described as an adapta- tion of both Poe and Conan Doyle). The fi lm’s narrative is necessarily streamlined, Burkhard Sülzen, Berlin (2010) - www.plakatkontor.de and there’s nothing of the book’s chilling atmosphere upon Katalog 14, Nr. 4 the moors, but the addition of a secret pipeline, a futuristic communication device, and a watchful bust of Napoleon seem heavily indebted to Feuillade and serials, furthering the neo-Gothic element already noticeable in the novel. The dog, played by a noble Harlequin Great Dane, is far from the original’s hound-of-hell (“luminous, ghastly and spectral”), appearing more likely to offer affectionate, slobbering licks than savage throat-tears. Other than the peasants’ kilts there’s also little here to signal a UK setting, while the incongruously bright manse is merely given a British baronial gloss with the addition of a few suits of armour.
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