Long lost, this proved a revelation on rediscovery, and qualifies as
Lang's first mature work. The anarchic, Feuillade-like invention of
Die Spinnen has evolved into a more characteristic and disciplined
vision, constructing a narrative around an intricate pattern of
doublings and disguises. It's also the first of the director's films to
incorporate any serious element of social criticism, reflecting the
corruption of Weimar society in the extravagance of Art Deco sets.
Lang's structural precision and skill in editing are now fully
apparent, and the plot displays many typical motifs. This film is
shamefully under-rated; it should be more famous than Metropolis.
