Fritz Lang, a titan of cinema whose contributions span both the silent and sound eras, is frequently canonised as the father of the modern thriller. While works like Metropolis have secured his legacy in the realm of science fiction and dystopian futurism, one could argue with equal validity that Lang is the patriarch of the specific spy thriller genre. This title is arguably best owed to his 1928 penultimate silent effort, Spies—better known by its original German title, Spione. Far from being a mere footnote in a director's career, this relatively obscure gem provides great display of narrative mechanics and visual storytelling that would influence the espionage genre for decades to come.
Like many of his masterpieces from the Weimar period, Spione was adapted from a novel co-written by Lang's wife and frequent collaborator, Thea von Harbou. The film was produced under significant financial pressure. UFA and producer Erich Pommer were reeling from the disappointing box office performance of Metropolis, the following year. Consequently, the budget for Spione was relatively low. Yet, Lang, never one to be deterred by such constraints, delivered a work that represents silent cinema at its absolute zenith. The film serves as a testament to Lang's ability to maximise limited resources, turning financial restrictions into a catalyst for inventive, economical storytelling.
The narrative introduces us to Haghi (Rudolf Klein-Rogge). Haghi is a wheelchair-bound banker who utilises his institution as a sophisticated front for a vast, covert operation aimed at plundering state secrets from around the globe. His nemesis is Jason (Craighall Sherry), the chief of the Secret Service. Jason is hopelessly outmatched, because the mastermind has infiltrated even Jason's own office, turning his staff into moles. The film's hero emerges in the form of Agent No. 326 (Willy Fritsch). A man of extraordinary talent, 326 possesses the ability to mimic both the street bums of the underbelly and the suave playboys of high society. His mission is critical: he must prevent Haghi from stealing a vital diplomatic treaty involving Japan. The document is protected by Dr. Matsumoto (Lupu Pick), the head of embassy security. However, Matsumoto falls victim to the seductive wiles of Kitty (Leni Dyers), a young woman who is, unbeknownst to him, actually an agent of Haghi's.
Complicating matters further is another of Haghi's targets: Colonel Jellušič (Fritz Rasp), a high-ranking officer of an unnamed East European nation. Jellušič is depicted as a character willing to sell his nation's military secrets to the highest bidder. This scheme is orchestrated by Sonja Baranikowa (Gerda Maurus), a beautiful Russian woman recruited into Haghi's organisation. Her motivation is deeply personal; she joins because her father and brother were executed by Tsarist authorities prior to the Revolution. This backstory gives her a layer of tragic depth. However, the plot thickens when Sonja has a chance encounter with Agent No. 326. In a classic romantic twist, she falls in love with him, placing her loyalty to Haghi in direct conflict with her newfound feelings. This dilemma forces Haghi to take drastic measures to eliminate this "problem," adding a layer of personal stakes to the geopolitical intrigue.
The acting in Spione is uniformly excellent. Rudolf Klein-Rogge, who had previously essayed the role of the arch-villain Dr. Mabuse, delivers a slight variation here. With the help of subtle makeup, Haghi is rendered to look remarkably like Lenin, adding a layer of ironic political commentary to the character. The film also features a surreally melodramatic demise for Haghi that lingers in the memory.
Lang had initially wanted Brigitte Helm for the role of Sonja but was forced to settle for Gerda Maurus due to scheduling conflicts. This turned out to be an excellent casting choice; not only did Lang share a personal affair with the young Austrian actress, but she also delivers a compelling performance. Maurus would reappear with Fritsch in Lang's final silent film, Frau im Mond, a year later. Fritz Rasp, an actor renowned for playing sinister villains, is equally effective here, portraying Colonel Jellušič as a pathetic and treacherous figure. Lupu Pick offers an interesting performance as the Japanese diplomat, a role that reflects Thea von Harbou’s fascination with Oriental culture. While Pick gives a complex and believable portrayal, modern audiences might struggle with the casting of a Romanian actor in a Japanese role, particularly when real Japanese actors appear in supporting roles.
While modern audiences may initially find themselves struggling to adapt to the techniques of silent cinema—characterised by overexpressive, melodramatic acting and a running time that stretches to nearly two and a half hours—Lang is likely to reward their patience. The film is a treasure trove of tropes and narrative techniques that would become staples of the genre. Lang demonstrates impressive editing skills and effective use of flashbacks to weave his complex web of espionage. The latter stages of the film feature some of the most impressive action set pieces of the silent era. The attempt on Agent No. 326’s life culminates in a massive train derailment, a sequence that is still thrilling to watch. The final showdown takes place in Haghi’s bank and involves a chaotic battle involving poison gas and explosives. By the end of Spione, Lang had not only salvaged his reputation after Metropolis but had also effectively invented the template for the modern spy film, cementing his status as a true visionary of cinema.
RATING: 7/10 (+++)
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