Dupont's most celebrated film (it was one of the most famous films in the world in 1925) unfolds in a long series of flashbacks from a prison straight out of a Van Gogh painting: prisoner No 28 (Jannings, with his back to the camera more often than not) is granted remission, and in return tells the story of his crime to the governor. The story itself is a banal triangle melodrama: a trapeze duo in the Berlin music-hall becomes a trio, and the lady switches gentlemen, driving the cuckold to murder his rival. The treatment, though, is something else again. Impressionistic lighting, lingering expressionist imagery, and giddily mobile camerawork are all pushed to unprecedented extremes, like Murnau on speed. Hard to take it too seriously, but the bravura style and Lya de Putti's coquettish performance remain as impressive as ever.