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The first time I saw Paul Leni’s 1924 film WAXWORKS it was an 8mm print.

This wonderful Blu-ray restoration is a long way up the ladder from that.

I first read about the film when I was 17 in Seigfreid Kracauer’s wonderful psychological study of German film from 1919 to 1934, FROM CALIGARI TO HITLER:  .

That book changed my perception of movies completely. It also made me want to see the films I had read about.

Leni left Germany for America after making this film. There he made the absolutely wonderful films THE MAN WHO LAUGHS, THE CAT AND THE CANARY and THE LAST WARNING which are all available on DVD and Blu-ray and THE CHINESE PARROT which is a lost film.

The film stars the big three of German Cinema in the 1920s, Emil Jennings, Conrad Veidt and Werner Krauss.

It is a landmark picture which more than deserves to be part of the library of everyone who takes the potential of the movies seriously as well as those who just want to see a good movie.

–Reg Hartt

Waxworks [Das Wachsfigurenkabinett] was the final film Paul Leni directed in Germany before striking out for Hollywood and making such classic works of genre filmmaking as The Cat and the Canary, The Man Who Laughs, and The Last Warning. Its sophisticated melding of genres was in fact what inspired Universal’s Carl Laemmle to invite Leni to come to Hollywood in the first place, as Laemmle was hoping to capitalise on the emerging comedy-horror craze of the 1920s. Yet Waxworks is, at heart, a pure example of German expressionism. Its stylised sets (designed by Leni), fantastical costumes, chiaroscuro lighting, and startlingly bold performances are paragons of the cinematic movement, and contribute heavily to the film’s lasting appeal.

The three separate episodes of Waxworks are united by the character of a young poet (William Dieterle), who is hired by the owner of a wax museum to create backstories for a trio of the museum’s figures: Caliph Harun al-Rashid (Emil Jannings), Ivan the Terrible (Conrad Veidt), and Jack the Ripper (Werner Krauss). The stories are depicted in succession (one per episode), the poet casting himself—as well as the daughter of the wax museum’s owner—at the centre of each tale. Though the poet and the daughter play different characters in the corresponding plots, they are always lovers whose relationship is threatened by the personages of the wax figures.

As there is no surviving original negative of Waxworks, this newly restored edition—a joint effort by the Deutsche Kinemathek and Cineteca di Bologna, L’Immagine Ritrovata (with funding from the German Commission for Culture and the Media)—is composed of contemporary prints and additional film materials from archives around the world. The elements, including English intertitles, were scanned in 4K resolution and then restored in 2K. Presented by The Masters of Cinema Series and Flicker Alley in a special Blu-ray edition, there is an option of two new scores to accompany the film: one by the Ensemble Musikfabrik (commissioned by ZDF/ARTE), and the second by composer Richard Siedhoff.

Special Features and Technical Specs:

Option of two newly created scores, by Ensemble Musikfabrik; and composer Richard Siedhoff
Audio commentary with Australian film and arts critic Adrian Martin
Paul Leni’s Rebus-Film Nr. 1-8 – Courtesy of Kino Lorber, these Leni-helmed cinematic crossword puzzles were originally screened in 1920s German cinemas as featurettes accompanying the main film. Each of these animated shorts was split into two parts—a clue and an answer—and presented before and after the visual presentation

In search of the original version of Paul Leni’s ‘Das Wachsfigurenkabinett’ – An interview with Julia Wallmüller (Deutsche Kinemathek) based on her presentation after the premiere of the restored film at Il Cinema Ritrovato festival in Bologna 2020
Kim Newman on Waxworks – An in-depth, on-camera interview with journalist, film critic, and fiction writer Kim Newman about the legacy of Waxworks

PLUS: A collector’s booklet featuring new essays by Philip Kemp and Richard Combs on the film’s history and significance; notes on the restoration process by the Deutsche Kinemathek; and rarely seen production photographs and promotional material
Limited Edition O-Card slipcase [First Print Run of 2000 copies ONLY]


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