Fritz Lang was done with Hollywood, and he took an offer from the German film producer Artur Brauner to make a film with German money in India based on a script Lang and his ex-wife Thea von Harbou had written for the 1920 silent version of the same story (she died in 1954, a few years before this adaptation began production). Lang didn't often use color photography, but it seems inevitable that he would use it here, much like the embrace of colors in other India-set tales by people like David Lean, Michael Powell and Emeric Pressburger, and even Steven Spielberg. It's also a complete throwback to the kinds of movies that Lang was making early in his German career (he was originally supposed to direct the silent version of the story before the task went to Joe May), eschewing any kind of serious take on justice, destiny, or man's relationship with technology in favor of straight adventure. In that regard, it's one of the better examples from Lang's filmography, even if it's really just the first half of a story.

The Maharaja of Eschnapur, Chandra (Walter Reyer), has called two people to his palace. The first is the German architect Harold Berger (Paul Hubschmid), brought to build hospitals along with his brother-in-law, bringing a certain Western influence to the Indian city, inspired by the Maharaja's time in Europe after the death of his wife. The other is the dancer Seetha (Debra Paget), brought from a southern province to dance for the goddess (the goddess is never named), a thin pretext for Chandra to see if he wants to marry her. They end up going to Eschnapur together, and Harold saves Seetha from the eponymous tiger, kindling love between the two. The overall conflict between our three main characters is obvious from early on.

Another way that this feels like a callback to Lang's earliest movies is that this is the first film of his since Woman in the Moon where there are significant, ornate sets, the kind that had reached their zenith with Metropolis. The centerpiece of that in this film is the underground temple, a large open space with a huge statue of the goddess looming over it. It's here where Seetha does her dance with Chandra watching, lusting over every motion, a place where outsiders are forbidden. At the same time, Berger is following a series of underground Mongol tunnels underneath the palace and discovers a secret entrance into the temple. It's all an effort to draw them together in a shared sense of danger since she is the only one to see him. At the same time, there's a good bit of palace intrigue around Chandra's older brother Ramigani (Rene Deltgen) that doesn't do a whole lot in this film but feels like it's going to end up playing a more important role in the sequel.

There's no denying the love between Harold and Seetha, especially when Harold proves to her that her father was European (her blue eyes are a big giveaway). Seetha feels like a bird in a cage, and there's an inevitable effort to get her out. There are fun adventure elements like Harold being fed to tigers but managing to win his way out, creeping through underground tunnels, and a chase through the Indian countryside. Being a Fritz Lang film, it's all cleanly and well-filmed.

One of the weirder things about the film is that every speaking part is German (except Paget who is American) and all of the background characters are actually Indian. The exteriors were filmed in India, so actual Indians are often seen which clash pretty obviously with the more Teutonic speaking parts that obviously look like white people in brown face. I don't have a moral objection to it, but it does mess with the verisimilitude of the film. It's just kind of jarring to see all the way through.

Lang was later dismissive of the film, equating it to sugar, but I don't see anything wrong with that. Yes, Lang had been aiming for more "serious" fare ever since M in 1931, but there's nothing wrong with simpler entertainments. He does that well here, painting a colorful portrait of India while giving us a likeable lead in Berger, a pretty lead in Seetha, and a complex enough set of emotional motives to pit people against each other convincingly. It was also, apparently, one of the inspirations for the creation of Indiana Jones (Berger wears a tuxedo that looks exactly like the one Harrison Ford wore in The Temple of Doom, probably not coincidentally the India set adventure).

This is obviously Lang not making the kinds of movies he wanted to make, only the ones he could. It's also the kind of adventure that he probably should have started making in Hollywood when he first showed up in the 30s, securing a potential reputation for financial success before pushing his more serious films in an industry he didn't know. He was good at making these movies, though, and that's really not something he should have run from for so long.

Although it's rarely remembered as fondly as Metropolis or M, or even the numerous B-movies he made in the US, this picture represents an exceptional return to form for director Fritz Lang. At last, after years of slumming it with little pictures in Hollywood's big pond, The Tiger of Eschnapur reunites him with the pure and unbridled sense of adventure and the grandiose splendour which characterises his earliest pictures.

Lang was famously not a fan of widescreen with which his latest American pictures were shot, and here we see just how well he could use the old fullscreen format. Depth is such an important aspect in his shots, with vast empty spaces conveyed through a downward angle that shows the floor or the ground stretching out before us, such as that shot of the deserted village during the "hour of the tiger". Much of the movement is in depth rather than across the screen, with business at the sides of the frame to create a tunnel effect. Lang, a former architecture student must have also been delighted at all the breathtaking Indian buildings and atmospheric studio recreations he gets to play with here. As usual with Lang, his characters appear trapped within the spaces they inhabit, with claustrophobic shot compositions and now even colour schemes that make people seem one with the background. There's a great and rather comical shot where the Maharajah is leaning against a pillar, in which the shape and style of his outfit mean he looks like a pillar himself. The fact that most of these rooms are real 360-degree spaces rather than backless sets also gives Lang a real advantage. Notice how in Debra Paget's lavish quarters in the gold birdcage scene, even the windows look out onto a high wall. Lang creates an impression of a palace of endless passages and no exits. It's this slightly nightmarish vision which really drives the adventure along.

With the exception of Debra Paget, who had a handful of prominent Hollywood roles over the previous decade, the cast is mainly made up of Europeans who will be unfamiliar to most in an English-speaking audience. Lead man Paul Hubschmid is not a very interesting actor, but at least he underplays his performance – far preferable to awkward hamming. Ms Paget herself is not really exceptional either, but she does prove herself to be a superlative and hypnotic dancer. The real standout acting-wise however is Walter Reyer, who portrays the Maharajah as calmly authoritative, with just a hint of madness.

One final point – fans of the Indiana Jones movies may find themselves recognising a few sights and scenes that remind them of stuff from The Temple of Doom. While a lot of Temple of Doom's plot comes from an older Hollywood movie called Gunga Din (1939), Fritz Lang's Indian diptych seem to have given Spielberg's picture much of its spirit. This is a comic book vision at India, barely realistic, but filled with a sense of both fun and genuine menace. Forget about Lang's reputation as a dark and cynical purveyor of film noir. Although he never got the recognition he deserved at the time, with his childlike sense of adventure and breathtaking imagery, when given his creative freedom he could be the Steven Spielberg of his era.

Fritz Lang's last American work " beyond a reasonable doubt" was a commercial failure and it was panned at the time -nowadays ,and mainly in Europe ,critics are inclined to reverse their opinions.Actually "beyond a reasonable doubt " could easily be "remade" (God preserve us!) today because its screenplay with the unexpected final twist is trendy(1) .Afterward,Lang returned to Germany and began to film what was an old plan of his (it was filmed ,but by other directors),written by his ex-wife Thea Von Harbou.

The gap between "Der Tiger von Eschnapur" and "beyond a reasonable doubt" (and "human desire" "while the city sleeps" "clash by night" "the big heat" etc) seems so wide that a lot of people did not recognize "their " Fritz Lang.One could answer them that ,already in the mid-fifties ,Lang had adapted for the screen "Moonfleet" ,his first color experiment with startling results .And "Moonfleet" too did not seem to belong to Lang's canon."Moonfleet " was a tour de force because it was a whole story seen through a child's eye.Something magic was born ,and it's this magic we find again in "Der Tiger von Eschnapur".

"Der Tiger von Eschnapur" is a 4 million marks movie and the most accessible of all Lang's works:it can appeal to a child as much as to a professor .At first sight,it appears as an adventure yarn ,close to comic strip ,some kind of "Fritz Lang and the temple of doom" ,but a director like him cannot be brought down to only that.

"Der Tiger von Eschnapur" is a visual splendor ,with an unusually inventive use of color,which is not unlike his British peer Michael Powell (Black orchid,thief of Bagdad).Lang was an architect ,and it's impossible not to feel it,here more than in his entire American period. It's no coincidence if his hero (Henri Mercier/Harald Berger) is an architect too;they are always holding and studying plans .Lang's camera perfectly captures the space it describes .Mercier (Paul Hubschmid)is often filmed in high angle shot,in the huge palace of the Maharajah,in the tiger pit ,or later,in the second part ,in the dungeon where he's imprisoned.Actually,and it's obvious,it takes us back to Lang's German silent era ,particularly "der müde Tod" "die Niebelungen" and "Metropolis".

"Der Tiger von Eschnapur" is essentially a movie of exposition:some scenes which seem overlong (Paget's dance),irrelevant(the lepers ) are actually necessary to prepare the stage for part two.And this leads us to one of Lang's permanent features:the coexistence of two worlds.

Behind the lavishly furnished palace,the sumptuous clothes,the sparkling jewels ,there's another world beneath.The scene when Mercier meets the lepers scrawling on the ground ,and in a simpler but no less harrowing ,Baharani's blood seeping out of the basket are hints at a darker side of the luminous magic world of Chandra.

There's a lot to say about "der Tiger von Eschapur" :the flight through the desert recalls sometimes Henri -Georges Clouzot's "Manon" (1949),as Mercier's madness breaks out and he begins to fire at the sun.

"Der Tiger von Eschnapur" is a must.

(1) it was finally remade and as expected it was a disaster