Hilde Warren, a famous actress, is impregnated by a convicted murderer and becomes plagued by visions of Death. Upon discovering her child is the image of its criminal father, Hilde must decide whether to allow it to live, or to kill it and risk the embrace of Death himself.

Following the Battle of Jena in 1806 as the French armies commanded by Napoleon overrun Prussia, a small detachment of Prussian troops take up position in a windmill and resolve fight to the last man to hold them off for as long as possible. Meanwhile, the windmill owner's daughter chooses to stay and fight alongside them.

Howard is infected with leprosy, Mac Allen was captured by the Maharadsha, and now the Maharadsha offers Irene a deal: one night for letting healing Howard. She accepts, but when she tries to commit suicide, he lets her go. Mac Allen is being eaten by the tigers, and finally the Maharani dies.

After the death of his brother Georg, John Vanderheit expects to inherit his fortune. Unfortunately, just before he died Georg made a will in which he bequeathed his entire estate to his wife, Irmgard. Unwilling to yield to John, Irmgard takes flight and undertakes a hazardous journey into the mountains. Here, she meets a kindly hermit who offers her shelter. John is not far behind, however, and when Imrgard repulses him he causes an avalanche in an attempt to kill her. Trapped in the hermit’s shelter, Irmgard’s new friend removes his hood – and reveals that he is her husband Georg...
Das Wandernde Bild marked the beginning of the fruitful collaboration of director Fritz Lang with writer Thea von Harbou. They married in 1922 and the couple would become the creative force behind some of the greatest German films of the pre-WWII era, works such as Dr. Mabuse, der Spieler (1922), Metropolis (1927) and M (1931).
Until quite recently, Das Wandernde Bild was thought to have been lost, the fate suffered by the majority of films made in the silent era. Fortunately, an incomplete print surfaced in Brazil and the film was partially restored in the late 1980s. Around a third of the film is missing, along with the script and inter-titles. Despite this, the restored film is surprisingly coherent and the lacuna are hardly noticed.
Das Wandernde Bild may not be Lang at his best (its main weaknesses being its slightly ludicrous plot and some embarrassing Perils of Pauline moments), but it amply demonstrates the director’s mastery of technique and flair for expression through the silent image. The film is most memorable for its beautifully realised location sequences, which appear to show the influence of Lang’s contemporaries, notably D.W. Griffith. (© James Travers 2009 )