“It was necessary to enrich the beautiful plot, devil worship, which today is scarsely interesting, had to disappear from the script. It was necessary to fight against youthful memories, the strong impression produced by that artistic film. Those moments which the first script had not used, were now to be explained and directed with extreme clarity; the film did not have to be boring, despite its increased length […]. Also I wanted to show that we could make certain scenes, exactly like Douglas Fairbanks. Also Scarpinelli’s character could not solely be constrained to devilish traits on paper […] The loss of the reflected image did not seem adequately exploited by the original subject. The spectator had to “see” with increased frequency that Balduin’s reflection was disappearing up to the point when at last he would be shown in flesh and blood in the garbs of the ‘other’”

Henryk Galeen, Der Film, 1926