The second half of Lang's epic diptych is the more dynamic: the collapse
of an ordered, courtly society is mirrored in the disintegration of the
first part's monolithic compositions into seething motion and
sweeping crowd scenes which anticipate the climactic sequences of
Metropolis. Against this movement, the implacable, unchanging face
of Kriemhild (Schön, amazing) observes the implementation of
her revenge for the murder of Siegfried. The film's emotional effect is
pretty monotonous, but the final apocalypse is admittedly stunning.
