Thea von Harbou’s 1918 fantasy adventure novel, The Indian Tomb, provides a fascinating case study for tracing the monumental technological evolution of cinema throughout the 20th century, a journey vividly illustrated by its three major German film adaptations. Each version stands as a distinct product of its era’s cinematic capabilities: the silent expressionism of Joe May's 1921 two-part epic, the early sound spectacle of Richard Eichberg’s 1938 duology, and the vibrant colour and widescreen grandeur of Fritz Lang’s own 1959 reinterpretation. It is the middle iteration, often overlooked in the long shadow cast by Lang, that offers a particularly intriguing subject for analysis. Directed by the prolific Richard Eichberg, this 1938 adaptation was itself released in two parts, with the first instalment, The Tiger of Eschnapur, serving as a prime example of pre-war German studio craftsmanship, blending exotic adventure, melodrama, and ideological contradictions unique to its time.
The narrative unfolds in the fictional Indian princely state of Eschnapur, ruled by the noble Maharaja Chandra, portrayed by Frits von Dongen (a Dutch actor who would later find Hollywood success under the name Philip Dorn). The plot is set in motion by a dramatic jungle hunt, orchestrated by Chandra after a tiger kills one of his subjects. During the hunt, Chandra’s men capture not just the beast but also Sascha Demidoff (Gustav Diessl), a Russian adventurer posing as an aristocrat who claims to have been lost. Invited to the palace, Demidoff’s true motive is revealed: he is there to rekindle a passionate affair with Sitha (La Jana), the Maharaja’s wife, with whom he shared a romance years earlier in Paris. Desperate to escape with her, Demidoff’s clandestine efforts are further complicated by the machinations of Prince Ramigani (Alexander Gölling), the Maharaja’s chief subordinate, who sees the scandal as an opportunity to conspire against Chandra, usurp the throne, and claim Sitha for himself, whom he lusts after.
Simultaneously, a secondary plot thread introduces a more pragmatic European element. Emil Sperling (Theo Lingen), the colleague of a German architect named Fürbinger (Hans Stüwe), arrives at the palace to secure a contract for an ambitious construction project. His efforts seem futile, however, as the palace is soon thrown into chaos by the elopement of Demidoff and Sitha. This prompts Chandra, accompanied by the duplicitous Ramigani, to embark on a worldwide search for the lovers. Their pursuit leads them to Berlin, where the Maharaja attempts to maintain a low profile. His anonymity is short-lived, however, as he agrees to an interview with Irene Traven (Kitty Jantzen), a spirited journalist who successfully charms him. She subsequently reveals herself to be Fürbinger’s fiancée, using her influence to advocate for her future husband’s architectural commission, a revelation that sparks jealousy in Fürbinger. The narrative culminates in an elite Berlin theatre where Sitha, now performing as an exotic dancer named "Indira," is abducted by Ramigani’s henchmen. While Demidoff manages to free her, a fire breaks out during the commotion, trapping Irene in the inferno. In a decisive moment, Chandra heroically rescues her, and in a gesture of gratitude, Fürbinger agrees to undertake the Maharaja’s building project.
It is crucial to contextualise this 1938 version within the legacy of von Harbou's work, which is inextricably linked to her famous husband, the renowned filmmaker Fritz Lang. Unlike the 1921 silent adaptation by Joe May, which Lang was initially involved in, or the definitive 1959 colour version which Lang himself directed, the Eichberg production has no connection to the great auteur. Richard Eichberg, who served as both producer and director, was not an artist of Lang’s calibre. Nevertheless, he was a formidable figure in the German film industry, with a prolific and commercially successful career. His extensive experience, which included numerous filmmaking stints outside Germany, arguably made him a suitable choice for a project demanding the handling of an exotic, international setting, even if the result lacked the directorial genius of a Lang.
The 1938 sound version was, like its 1921 predecessor, a relatively high-budget production that laid claim to a greater degree of authenticity. This was achieved by shooting on actual locations in India, specifically in the princely state of Udaipur in present-day Rajasthan. The production was aided by the local ruler, Maharaja Bhupal Singh, who offered his magnificent palace as a key filming location. These genuine settings provide an undeniably impressive backdrop, as does the tiger hunt sequence which features a grand procession of real elephants, lending the film a scale seldom seen in European studio-bound productions of the era. However, Eichberg’s directorial limitations become apparent in scenes requiring more dynamic action. The crucial sequence in which Demidoff confronts the tiger is notably unconvincing, likely a result of both a lack of cinematic flair and necessary caution in handling a dangerous animal, resulting in a moment that fails to deliver the intended thrill.
Where the film finds a more potent form of spectacle is in the performance of La Jana. A phenomenally talented dancer and one of the most iconic entertainers in 1930s Germany, her "Indira" dance sequence near the film's conclusion is a standout moment. Thanks to a revealing, skimpy costume and her mesmerising movements, the scene exudes an erotic charge that is far more daring and sensual than anything typically found in contemporary Hollywood musicals, constrained as they were by the Hays Code. Yet, this authenticity of performance is undercut by the film's pervasive artificiality in its casting. La Jana, like most of the cast playing Indian characters, performs under layers of dark makeup, a practice that, by modern standards, renders the entire production strangely unconvincing and culturally dissonant. In contrast, Eichberg's own wife, Kitty Jantzen, is considerably more effective in her role as Irene, the woman who takes the initiative to pose as a journalist to aid her fiancé. Her assertive and charming performance pushes the film’s tone, at times, towards the realms of screwball comedy. This comedic effect is further amplified by Gisela Schlüter as Sperling’s wife, Lotte, though Theo Lingen’s performance as Sperling himself often strains too hard for comic relief, at times feeling overly broad and intrusive.
The popular reception of The Tiger of Eschnapur adds a deeply complex and paradoxical layer to its critique. The film was a major commercial success in Germany, ranking among the greatest box-office hits of the Third Reich’s cinema. This is profoundly interesting, given the plot’s central focus on an interracial romance between the European Demidoff and the Indian Sitha—a theme ostensibly completely antithetical to the Nazi regime’s rigid racial ideology. The explanation for this apparent contradiction likely lies in the film's overtly escapist and fantastical nature. The exotic setting, the melodramatic narrative, and the overall tone of pure entertainment seemingly allowed Propaganda Minister Joseph Goebbels and other guardians of ideological purity to dismiss it as harmless kitsch, not to be taken seriously as a challenge to their dogmatic beliefs.
The Tiger of Eschnapur concludes with the spectacular and technically impressive scene of a large theatre fire. This sequence functions with dual purpose: as a thrilling cliffhanger designed to ensure audiences return for the second part, The Indian Tomb, released later the same year, and as a narrative device that provides a form of resolution. The fire acts as a purgative force, clearing the way for Fürbinger’s agreement to work for Chandra and temporarily stabilising the chaotic romantic entanglements. It is a finale that encapsulates the film's overall character: a handsomely mounted, often awkward, but undeniably ambitious piece of popular entertainment, whose historical context and inherent contradictions make it a far more compelling artefact than its straightforward narrative might initially suggest.
RATING: 5/10 (++)
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