[…] Algol is one of the films of which almost every traces were lost in film histories (but not in the film libraries). It was one of the protagonists of the German screen of the early twenties and of the expressionist “season”, beside better known titles (Caligari, Genuine, Raskolnikow, Das Wachsfigurenkabinett, etc.). And also beside many others fallen in the most total oblivion (because they were really lost). In spite of the historic lacunas and the state of the filmological studies (also the newest), this “season” was in fact rich in titles (only a few are remembered) and in discussions. From this point of view, a study of Algol can reveal precious impulses.

In one of the most important contribution to this debate, the text of Heinrich de Fries appeared on Wasmuths Monatshefte bis Mitternachts, the film is examined beside Caligari, Von Morgens bis Mitternachts, Genuine, and Der Golem. It is valued “more mature” than Caligari. Along with the guidelines of all the essay, the film ability to interprete situations and events in spacial tridemsional terms is appreciated. The representation of a fantastic starry landscape is judged as “stenogram of a real terrestrial space”, “also this space acts”. An environment is appreciated for its capacity to disclose itself in conic space.

(Leonardo Quaresima, Cinegrafie, n. 4)