RASPUTIN--DEMON WITH WOMEN

 

One aspect of Conrad Veidt's film career that doesn't get discussed enough is the number of times he played historical figures. The actor played Ivan the Terrible, Cesare Borgia, Horatio Nelson, Louis XI of France, and Prince Metternich. He also appeared as the notorious Grigori Rasputin in a 1932 German production called RASPUTIN--DEMON WITH WOMEN, which can be found on YouTube. 

One would assume that Veidt's Rasputin is a larger-than-life out-and-out villain. Surprisingly this isn't the case at all. Veidt is more subtle and quietly menacing than flamboyant--he relies on his penetrating gaze instead of hammy histrionics. This Rasputin is an opportunistic ladies man who worms his way into the Russian royal court, but he's more interested in having a good time and living the high life instead of craving absolute power and dominating the upper classes. 

The subtitle DEMON WITH WOMEN is a bit of a misnomer as well. Veidt's Rasputin certainly enjoys as many ladies as possible, but these women go out of their way to fling themselves at him (as soon as Rasputin enters a room, all the women start swooning). Rasputin winds up having plenty of enemies--but in this version of his story, it's not because he's a threat to the stability of the Russian Empire. It's more because various officials are jealous of his way with the females and his being a "peasant". (Veidt's Rasputin is actually against Russia entering WWI, because he accurately predicts that it will bring about the downfall of the Czar and his family.) 

Most of the other movie versions of Rasputin's life play up the man's supposed powers to heal the sick and influence others. This version downplays that aspect of Rasputin's character--instead of having an almost supernatural aura, he uses guile and cunning to take advantage of the superstitious and weak-minded. 

RASPUTIN--DEMON WITH WOMEN was directed by one Adolf Trotz. The movie isn't a spectacular epic--it only runs about 80 minutes and there's no large-scale battle or crowd sequences. It is a well-mounted production, and it has a few expressionistic touches, such as rapid-fire editing during a few scenes to increase the dramatic effect. 

Every film version of Rasputin's life has to have a notable sequence showcasing his death, but here even this extraordinary event is toned down. One almost feels sorry for the mad monk as he's coldly done away with. When other movie Rasputins meet their end there's usually all sorts of spectacular antics, but once again Veidt goes against the grain by showing a man who is genuinely shocked at his betrayal. 

I suspect some might be disappointed that RASPUTIN--DEMON WITH WOMEN isn't a wild, salacious expose of an infamous historical personality's intimate exploits. I found it to be another fine example of Conrad Veidt's brilliant technique. His Rasputin is a person that one could believe actually existed. 

By the way, Christopher Lee idolized Conrad Veidt, and Lee himself played Rasputin in Hammer Films' RASPUTIN THE MAD MONK. Lee's portrayal was much more the larger-than-life, legendary persona that most people think of the man than Veidt's version.