Kino’s superlative presentation enables us to see the film’s modernist approach to genre as a transitional impulse in Fritz Lang’s early career.
Those students or cinephiles looking to trace the contemporary blockbuster’s roots should add Lang’s Woman in the Moon to their list.
Perhaps the weakest points of the biography are McGilligan’s basic treatment of the films proper, which receive little by way of his own analysis, instead framing each film’s initial critical reception.
The film, which at times plays like a tepidly farcical version of a Feuillade serial, is of interest mainly for its peculiar combination of immaculate form and clumsy content.
Warmly tinted and liltingly scored, this is a particularly fetching transfer, particularly considering the film’s rather obscure status.