El doctor Mabuse

...from director Fritz Lang, adapted by Thea von Harbou from the book by Norbert Jacques. Dr. Mabuse (Rudolf Klein-Rogge) runs a criminal empire with tentacles in many areas: he manipulates events to predict the stock market, causing panics that he can profit from; he runs clandestine gambling casinos, and uses his powers of hypnosis and mind-control to cheat and win; and he oversees a highly lucrative counterfeiting operation. He operates under a variety of disguises and personas, with only a small inner circle even aware of his existence. His machinations eventually come to the notice of state prosecutor von Wenk (Bernhard Goetzke) who sets about to bring the arch-fiend to justice.

This four and a half hour colossus is split into two parts, and while it is long, it doesn't overstay its welcome. The first 20 minutes, detailing Mabuse's intricate method of causing mayhem at the stock exchange, is extremely well done. Klein-Rogge is magnificent in the title role, transformed into multiple characterizations as the elusive Mabuse obscures his movements through masquerades. Director Lang also employs a number of novel cinematic tricks to convey Mabuse's power, such as his hypnotic suggestions appearing as glowing words that torment his targets. While the film is clearly an indictment on Weimar-era German dissipation and decadence, the character of Mabuse is a bit thornier: Lang claims that he's meant to represent the type of amoral thirst for power that was given rise in the period, and which would lead to Hitler's ascension; others have pointed out the anti-Semitic nature of Mabuse. Whatever the case, Lang's film is a masterpiece of early cinematic crime fiction, and one whose inspiration continues to this day.

In this review I refer to the Transit Film DVD edition from the F W Murnau Foundation (or Stiftung, if you understand German!). This 2 DVD set is an excellent restoration of this(these?) movie(s). At three and a half hours, some may argue that it is a little daunting for the uninitiated silent film viewer, but in my humble opinion it is so well made (by Fritz Lang) that it still stands up today as a masterpiece of "gangster cinema". Shot between November 1921 and March 1922, the film was made only a couple of years after Lang's directorial debut (Halblutt - 1919), and five years before Metropolis - perhaps Lang's masterpiece. It can be argued that it represents the start of a 'series' of gangster/crime related movies by Lang, and parallels can be drawn to Spione (Spies) of 1927/28, and M (1931 - Lang's first talkie), and of course, The Testament of Dr Mabuse (1932/33). There was also a final addition from 1960, The Thousand Eyes of Dr Mabuse, but that is obviously of a different era. It is interesting to observe that Lang/von Harbou clearly were attempting to create a screen detective character something like Sherlock Holmes in the form of Commissioner Lohmann, (superbly played by Otto Wernicke) for it is he who is the detective in both M and Testament. However, I digress. Where both M and Testament concern themselves with the work of the police in an almost documentary fashion (especially M), Der Spieler is almost exclusively concerned with the working of the criminal mind. Mabuse is played by Rudolf Klein-Rogge, one of Lang's favourites - though one wonders what Klein-Rogge made of Lang - Thea von Harbou, the screen-writer, married Lang in 1921, after divorcing Klein-Rogge! He gives a masterful performance as Mabuse, and dominates the film. Even when not on the screen, his omnipotence pervades the entire proceedings. Whilst I wouldn't go so far as to describe the picture as 'gripping', it still has the power to hold the attention for most of its mighty three and a half hours. For me, at least, this is aided in no small measure by the magnificent new soundtrack by Aljocha Zimmermann, whose use of leitmotif (in true Teutonic style) adds immeasurably to the overall enjoyment of the film. I strongly recommend this picture, not only to serious students of German Silent Cinema (they'll have seen it anyway!) but to anybody who enjoys a good gangster/crime story. If you have a hang-up about silent movies, then in all honesty this isn't going to change your mind - but give it a try. I think its worth the effort in the end. Trivia: Although made in Berlin, and the numerous vehicles all drive on the right as one would expect, they are without exception, all right hand drive!

Dr. Mabuse is a name familiar to almost everyone in Germany, but most Americans would have to be told that he's a criminal mastermind, psychiatrist, gambler and hypnotist with supernatural powers. Mabuse is notable for his brilliant disguises and his gang of minions who conspire against people and institutions for the sole purpose of bringing power and wealth to himself. This evil genius is known only as The Great Unknown to those who wish to stop him. Mabuse was created by Norbert Jacques for a novel which has never been out of print in Germany. The director of this film, Fritz Lang, claimed him for his own; and now Mabuse is known not as a character in a novel but as a character in three Fritz Lang films, the first of which is this innovative and hugely influential silent movie.

Lang's storytelling techniques are especially innovative, but later spy films, including Lang's own, have greatly improved on what's here and leave modern viewers alert to the slow pace, murky details and confusing plot twists. What hasn't been improved upon is the artistry behind the photographic effects. I don't mean the effects themselves: modern special effects are infinitely more sophisticated. This film's effects have a great impact even—or especially—on today's viewer who is accustomed to a rapid-fire series of elaborate, gaudy computer-generated pictures, like those in, say, Peter Jackson's "King Kong." Nothing in that film is as memorable to me as this movie's scene where the camera closes in on Mabuse and everything around him goes dark, leaving only one glowing, malevolent head floating in the blackness.

The highly exaggerated style of acting from everyone in the cast would look idiotic if seen in isolated bits. Von Welk (Bernhard Goetzke), tilting back his head and crossing his eyes as Mabuse (Rudolf Klein-Rogge) hypnotizes him, would have been a perfect clip for Jay Ward's "Fractured Flickers." As part of this film, every melodramatic moment from the cast is effective in a way that a more naturalistic style can never be.

Fans of the Mabuse films, which number many more than just Lang's three, are sometimes disappointed by this first incarnation. This Mabuse allows himself violent emotional outbursts, while the later version is marked by icy self-control. The more familiar Mabuse may be an improvement over this one, but they don't quite replace him, and those films don't quite replace this one. This is a treasure for film historians, and indirectly a treasure for fans of the countless movies influenced by it.

For those who simply want a good movie, there's plenty here to reward them, provided they are very, very patient.

Fritz Lang's first masterpiece, a four & a half hour double-feature with hardly a moment wasted, has been restored to stunning effect. (WARNING: In the KINO DVD edition, you MUST lower the contrast & brightness levels to reveal the full grey scale.) On one level, this is simply a far-fetched, but smashingly entertaining detective drama about Mabuse, a criminal mastermind who shows up in more disguises than Alec Guinness in KIND HEARTS & CORONETS to counterfeit, manipulate the stock exchange, kill personal rivals, run the drug racket and generally lord it over the pursuing police force of the modern city. If Part One offers a more devastating look at the perilous world that was Weimar Germany, there's still plenty of action & schemes left for Part Two. In MABUSE, Lang manages, more than he would in METROPOLIS, to hold all the expressionist elements (design, acting, story construction) in perfect balance. The dynamism for an early '20s pic, (before the era of easy camera movement) is simply phenomenal. And where else will you find an inter-title as glorious as: 'Eat some cocaine, you weakling!'

Fritz Lang's epic story of "Dr. Mabuse: The Gambler" is always interesting, and at times fascinating. Lang obviously enjoyed filming this kind of material, and he adds numerous imaginative touches to it. Lang's distinctive approach and Rudolf Klein-Rogge's portrayal of Mabuse give it some lasting images to go with the involved story.

Movies about master criminals are hardly rare, and even the more popular movies of the genre are often shallow and over-praised. In some respects, the story of Dr. Mabuse is similar to most: he has an extensive bag of tricks that he uses to pull off his schemes, and the movie often holds your attention simply by making you guess what he is planning to do next. But there is more psychological depth to the Mabuse story than there is in most such movies, and this is complemented by the distinctive array of settings and the overall portrayal of society, which at times suggest themes that go well beyond the personal battle between Mabuse and the law.

While quite entertaining, this is not really a truly great movie, because on the whole it just does not have that much to say. It is all too easy for film-makers to depict a decadent, morally-neutral society in a way that seems more profound than it really is. Lang is markedly superior to most of the present-day film-makers who try to create Mabuse-style characters and stories, which is why this has enough substance to have held up pretty well over the years.

As entertainment, "Dr. Mabuse: The Gambler" compares well with almost anything of its kind, and it is as good as any of Lang's own films. As a work of art, though, even in Lang's own filmography it has to take a back seat - though perhaps not by a lot - to "Metropolis" and other more profound works.