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6.6/10
Senior Film Conservator
A definitive 6.6/10 rating for a film that redefined the boundaries of cult cinema. Elisabeth und der Narr remains a cornerstone of transgressive art.
Look, Elisabeth und der Narr is not exactly a casual Friday night pick. If you enjoy slow-burn dramas that focus on the darker corners of human obsession, you might find something here. But if you’re looking for a breezy story or something that moves with a modern clip? Stay away.
It’s a film for the curious. The folks who don't mind a bit of dust on their cinema.
The whole thing feels like it’s trapped in a jar of thick, stagnant air. Elisabeth is tucked away in this boarding school, and you can just feel the weight of those stone walls. And then there is Michele.
His obsession with her organ playing is... well, it’s unsettling. He doesn't just listen; he waits. It’s the kind of performance that makes you want to look away but you just can't.
The writing by Thea von Harbou brings a certain bite to the script. It’s got that specific, slightly theatrical rhythm that you find in Artisten or even bits of En vinternat. It’s not subtle, but it works for what it is.
There is this one shot of the village square that just sits there. Empty. It felt like the camera forgot to cut. I actually kind of liked that, though. It added to the feeling that something bad was hiding in the corners.
The movie gets noticeably sharper once Michele decides to frame the organist. It’s a dirty move, and you can see the desperation in his eyes. He’s not a mastermind; he’s just a broken guy trying to save his own skin after doing something truly awful.
It’s not a masterpiece. It’s just... there. It’s a strange, haunting little relic that reminds me a bit of the tension in Strange Case of Hennessy, just way more serious.
Maybe it’s not for everyone, but I’m glad I sat through it. Even if I need something a bit lighter now. 🎹