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IMDbPro

Horizontes de muerte

Título original: Das Testament des Dr. Mabuse
  • 1933
  • Not Rated
  • 2h 2min
CALIFICACIÓN DE IMDb
7.9/10
14 k
TU CALIFICACIÓN
Viktor Satori in Horizontes de muerte (1933)
CrimeMysteryThriller

Una nueva ola de crímenes se apodera de la ciudad y todas las pistas parecen conducir al infame Dr. Mabuse, a pesar de que lleva casi una década encerrado en un manicomio.Una nueva ola de crímenes se apodera de la ciudad y todas las pistas parecen conducir al infame Dr. Mabuse, a pesar de que lleva casi una década encerrado en un manicomio.Una nueva ola de crímenes se apodera de la ciudad y todas las pistas parecen conducir al infame Dr. Mabuse, a pesar de que lleva casi una década encerrado en un manicomio.

  • Dirección
    • Fritz Lang
  • Guionistas
    • Norbert Jacques
    • Fritz Lang
    • René Sti
  • Elenco
    • Rudolf Klein-Rogge
    • Otto Wernicke
    • Thomy Bourdelle
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.9/10
    14 k
    TU CALIFICACIÓN
    • Dirección
      • Fritz Lang
    • Guionistas
      • Norbert Jacques
      • Fritz Lang
      • René Sti
    • Elenco
      • Rudolf Klein-Rogge
      • Otto Wernicke
      • Thomy Bourdelle
    • 87Opiniones de los usuarios
    • 64Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
  • Fotos121

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    Elenco principal45

    Editar
    Rudolf Klein-Rogge
    Rudolf Klein-Rogge
    • Dr. Mabuse
    Otto Wernicke
    Otto Wernicke
    • Inspector Karl Lohmann
    Thomy Bourdelle
    Thomy Bourdelle
    • Professeur Baum
    Gustav Diessl
    Gustav Diessl
    • Thomas Kent
    Rudolf Schündler
    Rudolf Schündler
    • Hardy
    Jim Gérald
    • Commissaire Lohmann
    Oskar Höcker
    Oskar Höcker
    • Bredow
    Theo Lingen
    Theo Lingen
    • Karetzky
    Monique Rolland
    Monique Rolland
    • Lilli
    Maurice Maillot
    Maurice Maillot
    • Thomas Kent
    Camilla Spira
    Camilla Spira
    • Juwelen-Anna
    Ginette Gaubert
    • Anna
    Paul Henckels
    Paul Henckels
    • Lithograph…
    René Ferté
    René Ferté
    • Hardy
    Raymond Cordy
    Raymond Cordy
    • Koretsky
    Theodor Loos
    Theodor Loos
    • Dr. Kramm
    Daniel Mendaille
    Daniel Mendaille
    • Bredow
    Hadrian Maria Netto
    Hadrian Maria Netto
    • Nicolai Griforiew
    • (as Hadrian M. Netto)
    • Dirección
      • Fritz Lang
    • Guionistas
      • Norbert Jacques
      • Fritz Lang
      • René Sti
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios87

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    Opiniones destacadas

    9Steffi_P

    "In the end, you HAVE to become a criminal"

    Of all storytelling mediums, the one that perhaps has most in common with cinema is the comic book. Both tell stories primarily through pictures, both have a similar concept of the frame, and both become clumsy and uninteresting if they rely too much on words. But few films immersed themselves so completely in a comic book-style world as the German pictures of Fritz Lang.

    What is especially comic-bookish about a picture like Testament of Dr Mabuse is not just its fast-paced adventure plot, but its timeless, placeless exaggeration of reality. Just like Batman's Gotham City, there are few if any references to real locations or people, and every character and organisation is a surreal caricature of a real-world counterpart. That's why Tim Burton's is the best Batman, because it properly recreates that over-the-top version of reality. This approach is also what makes pictures like this so compelling and accessible.

    It's because of this approach that I feel this is a (slightly) superior picture to M. M was really the only one of Lang's German pictures that, plot-wise at least, seemed grounded in reality, and yet it is still populated those crazy character types. However , in the comic-book world of Dr Mabuse these figures fit right in. Otto Wernicke reprises his role as Inspector Karl "Fatty" Lohmann (hurrah!), and the character seems much more at home here.

    This picture is not quite so tightly constructed as M, but Lang instead throws everything into creating a sense of unease. As with the first Dr Mabuse film (Der Spieler, shot by Lang in 1922), audience participation is crucial. Lang several times has Dr Baum speak his lines straight into the camera, making the character audience and the real-world audience share the same angle. In locations such as the "curtain room" he shows us all sides, so that we too feel trapped between those four walls. Since his silent days he has added a new string to his bow, in that he now uses the occasional camera movement to physically pull the audience into the film's world. Also consider the final moment in relation to this pattern of camera-as-audience shots.

    The Testament of Dr Mabuse is a captivating, horror-tinged thriller, and the last great picture to be produced in Germany before things went tits up, politically. It seems to represent everything that made Weimar cinema perfect for Lang, and everything that made him a misfit in Hollywood – its surreal theatricality, its dominance of set-design over actors, its blending of genres. Like the comic book writer, Lang dealt in myths (both in and out of his films - the story of his meeting with Goebbels, for example, is almost certainly a fabrication). The Testament of Dr Mabuse is one of his greatest.
    FilmFlaneur

    Excellent Lang Crime Drama

    Lang's last film in Germany before he hurriedly left the country (the director claimed that he had lately been offered a key position in the Nazi-controlled film industry), The Testament Of Dr Mabuse (aka: Das Testament des Dr Mabuse) is best seen as a warning by a departing talent, as well as a continuation of many of the themes of the director's previous work. Dr Mabuse, The Gambler (1922) had been a great success, and his new film, his second made in sound, capitalises on the reputation both of the earlier film and the grand social malevolence of its central character. Mabuse is another of Lang's evil, all-controlling masterminds - he was to reappear again in the director's last film, The 1,000 Eyes Of Dr Mabuse (1960) - the representation of whose hypnotic presence and malign influence was to find disfavour with the followers of Hitler. The Nazis gained power during the post-production period of the film and, while recognising the great director's talent; Testament was promptly banned by Goebbels who found the political portrait implicit in Mabuse too close to home. In later years Lang was to suggest that the film was intended as a political parable, although this might have been exaggerated.

    As the present film opens, Inspector Lohmann (a splendidly grouchy Otto Wernicke) receives a message from a former criminal associate who has stumbled onto a massive criminal conspiracy. Before the details can be spelt out, the crook is hunted down and killed. Investigating his disappearance Lohmann discovers the name Mabuse scratched on a windowpane (a clue echoed in Lang's M, in which Lohmann also appears.) Mabuse is discovered in an asylum in the charge of Dr Baum (Oscar Beregi). The criminal genius, insane but with his remaining magnetic attraction intact, is feverishly writing detailed notes on prospective crimes. When Mabuse dies, a visiting Dr Kramm finds the brilliant criminal notes of Dr Mabuse on the floor, compares a news report of a jewellery robbery to what he is now reading and tells Baum that he is going to report it to the police. He is promptly killed by Mabuse's elite Section 2B hitmen on orders from the unseen leader - a scene set in traffic that found an echo over 30 years later in The Ipcress File (1965). Meanwhile a romance develops between Kent (Gustav Diessel), one of the henchmen of Mabuse's gang, still apparently controlled by remote control instructions, and the woman Lilly (Vera Liessem) who helped him when he was down and out. Mabuse's 'testament' thus lies in both the meticulously planned crimes, which make up his posthumous papers as well as his hypnotic and malign influence on those who are controlled by him.

    Critics have compared the visual style of this film with those of others from the same period, notably Spione (aka: Spies, 1928), Lang's most recent comparable social thriller. Testament is far more cluttered, its visual confusion suggesting moral complexity as well as the closing in of threatening events - both as far as the characters are concerned and, as it unfortunately turned out, for German society in general. In M, evil was detected in the presence of a murderous outsider, one eventually brought to book by a benign conspiracy of the underworld. Here there is a web of criminal activity and corruption from which no one is entirely immune, and in which many are driven by a murderous compulsion to obey an evil power. At the same time, Lang is happy enough to introduce into this world of social corruption elements of thrills and suspense, which spring from a much simpler world of serials and adventure stories. The near documentary feel of a lot of the film is interspersed with explosions, floods, chases and close escapes. In this way the sombre, far reaching criminalities of Mabuse's schemes, rooted in current socio-political unrest are counter-pointed with time honoured pleasures brought by crime melodrama. Lang had a weakness for this sort of drama: The Spiders Part II: The Diamond Ship (1920) contains a somewhat similar but much shorter, scene, where the hero is also trapped in a water filling room from which he escapes. It has been noted just how much of the action of Testament plays out like a dream, and in this sense it anticipates the disorientating mood which would characterise much of noir cinema of a few years later - of which the newly Americanised Lang would be a major exponent. Certainly the arch criminal mastermind of Mabuse has something in common with such later characters as, say Mike Lagana in The Big Heat (1953) although such figures in Lang's American period are far less omniscient. Once Hitler was out of the way, Lang increasingly saw the manipulation of human life as the province of fate rather than men, a view that had made its first ongoing appearance as far back as Der Müde Tod (Destiny, 1923). In Testament, some indeed appear pre-doomed by a nemesis stalking them, although this is largely placed in the human realm. Events play out like an unstoppable nightmare - a feeling reinforced by Mabuse's somnambulistic appearance as he constructs evil from his bed, the presence of ghosts, the unreality of the mysterious drama which unfolds and such scenes as the weird opening, its surreal use of factory sound anticipating the dark sound-scapes of Eraserhead (1978). By the end of Lang's film there is a sense that all have been involved in some grand combine of evil, and that the disorder and social chaos it presages has only just been forestalled - not by justice, but madness.

    Modern viewers coming to Lang's film will find much to enjoy, even if some of the incidental elements have necessarily become a little dated. The editing and camerawork are excellent, and Rudolf Klein-Rogge's piercingly intense Mabuse is a memorable creation. Lohmann and the supporting cast are memorable characters, although the romantic interest between Kent and Lilly looks a little faded after all these years. It's a film in which special effects go hand in hand with suspense and the staging is still impressive. Amongst the most memorable scenes are those are the end with the destruction of the chemical factory and the expressionistic car chase back to the asylum. Most importantly, while the morally debilitating effects of the post-war German depression as well as the impending rise of adulatory Nazism have now passed into history, Lang's dramatisation of cause and effect remains as electric as ever in one of the finest films of his early sound career.
    eibon04

    The End of an Era

    This classic thriller is an allegory of the nazis early rise to power in Germany and their future intentions. Censored by the Nazis government and not seen in its full form until many years later. The Testament of Dr. Mabuse(1933) deals with the themes of free will, genius, madness, and power. The Dr. Mabuse character foreshadows the great James Bond villains of Dr. No, Goldfinger, and Ernest Blofeld. Would be the final film that director Fritz Lang would do in Germany for many years until 1960 for his final film, The 1000 Eyes of Dr. Mabuse.
    8JohnSeal

    A not to be missed masterpiece of suspense filmmaking

    Even today The Testament of Dr Mabuse is refreshingly original and at times startling to watch. Lang was truly one of the greats of cinema and along with Alfred Hitchcock basically invented the suspense film. This film is also the reason Lang left Germany, as it wasn't viewed kindly by the newly elected government.
    8bobsgrock

    Very much ahead of its time.

    Compared to most films in Hollywood in the 1930s, Fritz Lang's mystery thriller The Testament of Dr. Mabuse is years ahead of the game in terms of plot and camera techniques. There are some shots in this movie that would not be seen until Orson Welles' famous Citizen Kane, which forever changed the cinema. However, I think it's safe to say that Lang was doing the same thing in Germany at the time when Nazi rule was in the wake. In this complex and filling story, a veteran criminal with a brilliant mind has been in an insane asylum for ten years yet is writing memoirs that seem to predict crimes happening outside. The Inspector Lohmann attempts to solve this case, not knowing how strange and convoluted it really is. Despite the complexity of it, this film is rather easy to follow and boasts some great performances and use of sound. Considering this was only Lang's second film using sound, it is a wonder he did what he could with it. The movie opens with a noisy print shop and a man hiding behind a huge trunk. The loud and obnoxious noise of the printer continues all throughout the scene and shows what sound can really do to a film. All in all, Lang shows his pioneering ability to use the resources available in ways no one had thought of at the time. There are hints of German Expressionism here, but mostly just a well-told and engaging detective story that certainly will not age any time soon.

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    Argumento

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    • Trivia
      Banned by Nazi Propaganda Minister Joseph Goebbels in 1933 for its subversive nature and the possibility that it might "incite people to anti-social behavior and terrorism against the State".
    • Errores
      Hofmeister supposedly scratches Mabuse's name in a window pane of his apartment with a ring, but Hofmeister is not wearing any rings when Division 2-B enter his apartment.
    • Citas

      Dr. Mabuse: The ultimate purpose of crime is to establish the endless empire of crime. A state of complete insecurity and anarchy, founded upon the tainted ideals of a world doomed to annihilation. When humanity, subjugated by the terror of crime, has been driven insane by fear and horror, and when chaos has become supreme law, then the time will have come for the empire of crime.

    • Versiones alternativas
      Turner Classic Movies broadcast a restored version put together in 2000 from segments in various film archives and distributed by Janus Films. Its length is 3,341 meters and ran 121 minutes. It had no cast or crew credits other than the director.
    • Conexiones
      Edited into American Cinema: Film Noir (1995)
    • Bandas sonoras
      Die Walküre (The Valkyries)
      (1856) (uncredited)

      Written by Richard Wagner

      Portion hummed by Klaus Pohl

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    • How long is The Testament of Dr. Mabuse?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 24 de agosto de 1961 (Alemania Occidental)
    • Países de origen
      • Alemania
      • Francia
    • Idiomas
      • Alemán
      • Francés
    • También se conoce como
      • The Testament of Dr. Mabuse
    • Locaciones de filmación
      • Berlín, Alemania
    • Productoras
      • Nero-Film AG
      • Nero Films
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

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    • Total a nivel mundial
      • USD 27,690
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

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    • Tiempo de ejecución
      2 horas 2 minutos
    • Color
      • Black and White

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