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You don't necessarily need to have seen Lang's earlier Mabuse films to be able to love this one. Like in his silent spy film 'Spione', Lang creates everything that would go on to be a genre cliche - but they all had to be original once. Here we have the stolen prototype weapon - a gun that fires needle shaped bullets that travel through glass and leave very little trace of assassination; and then there's the villain's car, with its revolving number-plates. Lang was certainly a few quick steps ahead of the makers of the Bond films, and certainly on a level with Hitchcock, Powell et al when it came to commenting on voyeurism.

The plot's labyrinthine, of course, but it rattles along at such a pace and with such striking visuals that you hardly have time or the inclination to stop and worry - and it all comes clear at the end, with one or two fantastic revelations in addition to the few you expect.

If one part doesn't quite please as much as you like, it's the context it fails to reference properly. Made at such a crucial time in History by a man who had seen so much, one only wishes it had more commentary to make. Lang's career swung like a pendulum between social commentary and serial escapades - if only he'd been able to pull the two together for his final film.

The last film that Lang directed, this was to be his triumphant return to Germany after having fled the Nazis in the late 1930's. Unfortunately, it was brutally cut and re-edited when it was released here, so it never gained the popularity and acclaim that it deserved. It's the story of an American businessman in Berlin who is drawn into a secretive world of conspiracies, spies, and murder. Everyone in this movie is lying to him, with the single exception of the police inspector, played by a pre-"Goldfinger" Gert Frobe. But it's also the movie that effectively laid down the basic rules of the modern spy thriller: the handsome and well-dressed leading man who is equally at home with a gun, a girl, or a drink in his hand, the megalomaniacal and shadowy villain with plans for world domination, the gadgetry and surveillance, the hidden lair, etc. Don't be put off by the fact that it's a foreign, black and white movie – this is an exciting story told by a master director who has been unforgivably forgotten.

The 1,000 Eyes of Dr. Mabuse represents my first venture into the world of Dr. Mabuse. Pigeon-holing this movie into a single genre is difficult. It's one part traditional krimi, one part spy movie, and one part thriller. Combined, these elements create, at least for me, a one of a kind experience that I really can't compare with much of anything I've seen before. I refuse to give the normal plot synopsis. Any plot details or other information would ruin the many twists and surprises found in The 1,000 Eyes of Dr. Mabuse. Fortunately for me, I went into the movie completely blind, knowing very little of what to expect. I would suggest not even looking over the IMDb page as vital information is presented on Mabuse's identity. The acting is good from a cast that, even if I didn't know all of the names, I recognized from years of watching WWII movies. Actors like Gert Forbe, Werner Peters, and Peter van Eyck give sold performances. Fritz Lang's direction is as competent as ever. The 1,000 Eyes of Dr. Mabuse has style to burn. Considering the movie was made more than 45 years ago, it still feels remarkably fresh. The mystery of who Dr. Mabuse is and what his fiendish plan is all about are wonderfully compelling and really pull you into the movie. The jazzy score is impossible to get out of your mind and fits well within the film. In short, it's movie like this that keeps me excited about exploring "new" cinema. If all of my first time viewings could be this entertaining, I would be very happy indeed.

If The 1,000 Eyes of Dr. Mabuse has one weakness, it's the slow pace of the second act. The pace grinds to a crawl as the police begin their investigation into the events taking place. While it's fairly interesting and Gert Forbe is a good enough actor, there's not enough action in this portion of the film when compared with what came before and what comes afterward. A little more pep in the middle third of the film would have made it a real winner with me. It's a minor issue I have with the film, but it's an issue nonetheless.

As I wrote previously, The 1,000 Eyes of Dr. Mabuse is the first Mabuse movie I've seen. After my wonderful experience with the movie, it won't be the last.

This is a great little whodunit and an excellent start to the revival of Fritz Lang's great Dr. Mabuse series. It is very reminiscent of the earlier films in the twenties and thirties, particularly Le Testament Du Dr. Mabuse, from which Lang lifts and modernizes many situations.

I said don't read the credits in the title to this review because guessing who is actually the mastermind Mabuse is half of the fun...there are a lot of red herrings that don't play out until the last fifteen minutes of the movie.

This was the first movie in the new Mabuse series and I would recommend anyone delving into the world of Dr. Mabuse use this as a starting point (especially if none of the silents or early talkies are available in your area).

Fritz Lang's "Die 1000 Augen Des Dr. Mabuse" aka. "The Thousand Eyes Of Dr. Mabuse" of 1960 is, after 27 years, the third movie on the arch-criminal Dr. Mabuse, the first one made after World War 2, and Lang's last movie as a director. Although not brilliant in any of its aspects, this is a very well-acted, highly entertaining and original mystery that maintains its suspense and stays interesting throughout its 100 minutes, as it cleverly bears more than one surprise.

After a reporter is murdered on his way to a TV station in Wiesbaden, Comissioner Kras' (Gert Fröbe) investigations lead him to a local luxury hotel. As the investigations are dragging on without progress, Kras is offered the help of a mysterious blind psychic...

The acting in "The 1,000 Eyes Of Dr Mabuse" is generally very good, especially Gert Fröbe, who would play the arch villain "Goldfinger" in the greatest James Bond movie four years later, delivers a great performance as the rough-and-ready police commissioner Kras. Further great performances come from Wolfgang Preiss, Dawn Addams, and Werner Peters, who plays and obtrusive insurance salesman. The movie remains interesting all the time, as there's one little twist after another, and just when you think that something was predictable, another twist is coming up. One noticeable quality of this movie is that director Lang, who had fled to the United States in the years of Naziism, dares to mention the Nazi times in the movie, which (allthough only mentioned casually once or twice) was more than rare in 1960, a time when popular German movies usually remained as silent as possible about this "unpleasant" subject.

"Die 1000 Augen Des Dr. Mabuse" is not one of Fritz Lang's masterpieces, but it definitely is a highly entertaining and clever mystery, that should not leave anybody bored. Recommended!

Eccentric characters are drawn to the Luxor Hotel where a panicked and paranoid pretty lady (Addams) is attempting to kill herself to be rid of her fears forever. Van Eyck saves her, falls in love, but also under the influence of the nefarious "Dr. Mabuse". He's the old "prophet" who the police go to -- or is he? No, he's the guy pretending to be Dr. Mabuse, using secret cameras hidden around to Luxor to spy on its guests and set up a master plan! -- or is he?

This one may sound cheezy, but it's all in good fun and with tongue in cheeck, and a good final film for Lang.

This is a 16mm print which I acquired in a batch of films. It is very well dubbed in English. I assume the film is available on video. This film reminds me of the serials of the 1930's. Fritz Lang ended his career with this swansong, a return to a theme of his earlier Dr. Mabuse films. The master criminal's henchmen have never seen his face, and get their commands by radio while cruising in a van. Note the scene in the police commissioner's office. Everyone is smoking furiously and the room soon becomes filled with smoke. There is an almost identical scene to this in "M". Overall and very amusing and enjoyable film.

In terms of how directors go out with their final movie, this reminds me of Family Plot, Alfred Hitchcock's final film. There isn't any comparison between the two in terms of tone or genre, but both The Thousand Eyes of Dr. Mabuse and Family Plot are solidly good works that firmly fit within the bodies of work of both men that may not reach the heights of their best, but do demonstrate many of their best qualities nonetheless. Lang's final film is also the third film he made about the eponymous evil German doctor who has morphed over the decades from representing Weimar Germany's failings to the dangers of a rising Nazi power to something else and possibly more interesting more than a decade after the fall of the Third Reich.

I was actually thrown off in the opening minutes of this third adventure about Dr. Mabuse. It opens with a repeat of a scene that occurred in The Testament of Dr. Mabuse. In both the second and third film, a man gets shot in a car from a nearby car, leaving the car alone in the middle of the road as traffic goes around it. For a minute, I wondered if this was going to end up being some kind of remake instead of a continuing adventure, but instead we get a decidedly modern take on a film series' history. What's happening is not some sort of retconning of the previous films where Dr. Mabuse either never existed pre-Nazi or never died, but that everything in the previously released films did happen. What's going on is that some force is recreating famous crimes done by Dr. Mabuse, and we learn very early that the criminals doing it think they're working for Dr. Mabuse himself (though they don't know the history).

The man who died was a journalist, and it gets Inspector Kras (Gert Frobe) looking into the Luxor Hotel, especially after it's noted the long line of curious incidents leading to death are connected to it, the death of the journalist just being the most recent. At the hotel is currently staying a wealthy American, Henry Travers (Peter van Eyck) who is in the country to help secure rights materials necessary to build nuclear power plants in America. When a woman, Marion (Dawn Addams), tries to jump from the building just outside his window, he and her become intertwined with Henry trying to find a way to save her from the despair of her abusive husband.

Meanwhile, Kras goes to the enigmatic psychic, Cornelius (Lupo Prezzo), to find any kind of help he can, and Cornelius knows a lot that he shouldn't know. Things that happen in other places, in the future, and he seems to be a real psychic, though completely blind.

Now, the way that this film feels so firmly in Lang's body of work is the secret behind it all. The plot synopsis on the IMDB actually gives it away, so I'll just dig in right now. As I've previously said, the two preceding Dr. Mabuse films used the eponymous villain as a vision into Germany at the time. There's a great moment where the insurance salesman Hieronymus B. Mistelzweig (Werner Peters) tells of the history of the Luxor Hotel, how it was "born" in 1944, under Nazi rule, and never freed from it. It's borderline haunted house stuff. It also points to the subtext of the film: the idea of Nazism haunting contemporary Western Germany. The things that the Nazis built still stand. The men who worked in the party were still around (largely, there were war crime trials). The ideology still existed at least on paper. Can Germany ever truly be free of it?

Also, the Luxor was built as a diplomatic hotel, so it was actually built with a host of spy equipment throughout. The way this is introduced is the sort of thing that Brian DePalma would later do, with a single shot of a television screen that pulls back to reveal the equipment controlling it. It's creepy.

The actual story of the film plays out in a way that almost feels directionless for a time, and that's purely because we don't know what the whole plot is. We do get it straightened out in the final fifteen minutes or so, though. I think this will play better on rewatches because of that. Also, the twist about who is Dr. Mabuse is not that hard to guess. I also don't think that the love story that develops between Travers and Marion is all that involving. It feels a bit tacked on, like the sort of subplot inserted to increase interest in the female quadrant of the movie going public in Germany at the time.

So, what is this movie? First and foremost, it's a thriller about a series of crimes and a police investigator trying to navigate the morass of information available to find the culprit, having to push through current evidence and ancient history in the form of tales of a dead genius along the way. It's also contemporary Germany dealing with the legacy of its own history that ended a decade and a half before. Those two parts are rather expertly intertwined in a dramatic procedural package that reminds me of a mixture of Dr. Mabuse and M. And then there's some love story stuff that fits but doesn't work as well. Like the rest of the Dr. Mabuse films that Lang made, I feel like it's a couple of choices away from greatness. As it stands, those choices remain, and it's still solidly good.

As Fritz Lang's final film, it feels very appropriate as a reflection of what he was trying to do with his work as a whole.

What a swan song this is! Wild and wooly fun from Fritz Lang. Dr Mabuse is running his criminal empire from the Hotel Luxor. His henchmen never see his face as they receive their orders via radio.Without giving too much away his plans involve the takeover of a rich man's empire and general blackmail and murder.Gert Frobe plays the inspector out to nab Mabuse before Mabuse kills him.Funniest scene takes place in the Inspector's office when everybody starts to fall before a bomb goes off! After watching 5 Mabuse movies in a row this is easily the best.It is available from Sinister Cinema.

A new crime wave has brought the attention of police commissioner Kras (Gert Frobe), and rumors persist that the crimes are the work of mastermind Dr. Mabuse, a legendary super-criminal thought dead for nearly 30 years. As Kras sets out to find the true culprit, American businessman Henry Travers (Peter van Eyck) finds himself the latest target of Mabuse's machinations.

Fritz Lang returned to Germany and the character that he had so much success with in the 1920's and early 30's. This newer film doesn't rank with those earlier ones, but it's a lot of fun, and was an obvious influence on the later spy films of the 1960's. The mystery of Mabuse's identity isn't very difficult to guess at all, but there are enough interesting characters to fill up the screen and make things enjoyable. Frobe as the dogged policeman, Wolfgang Preiss as a blind psychic, and Howard Vernon as an assassin with a needle gun, are all stand-outs. This was a big hit in Europe, and spawned a whole new series of sequels, but without Lang's participation.

Of course this isn't the most classic or best Fritz Lang movie but it nevertheless is a more than worthy last one by him. It's not that he died shortly afterward (he lived till 1976) but he lost his eye sight and by 1964 he was already nearly blind. It feels right that he ended his directing career with a Dr. Mabuse movie. His previous 2 directed Dr. Mabuse movies, "Dr. Mabuse, der Spieler - Ein Bild der Zeit" and "Das Testament des Dr. Mabuse" are among his best and also best known works. He obviously had some real passion and respect for the character of Dr. Mabuse. Why else would he had made 3 movies involving the character, over the course of 4 decades. The character is of course also a real intriguing ones. He was one of the first real movie villain in the 1922 movie "Dr. Mabuse, der Spieler - Ein Bild der Zeit". A character that manipulates, influences peoples will, all for his own benefits, with the help of hypnotic and supernatural powers.

Just like 7 of the 8 Dr. Mabuse movies made, this movie is shot in atmospheric black & white. Fritz Lang made a few color movies late in his career but for this movie he went back to his beloved black & white. No doubt he did this on intentions to let this movie connect more and better to the previous 2 Dr. Mabuse movie, made before this one. After all, the last Dr. Mabuse made before this one dates back from 1933.

Even though this movie is made 27 years later, it's still a direct sequel to to "Das Testament des Dr. Mabuse". It makes lots of references to the events which occurred in that movie. However if you haven't seen the previous 2 movies, I think you'll also still have a good time watching this movie and understand the events in it.

The visual style and style of film-making is also mostly the same when compared to the 1933 movie. A style Fritz Lang was of course very experienced in, being one of the best directors of the '20's and '30's. Nevertheless the movie is still set in its 'present' day 1960. It makes this a '60's movie in '30's style, which also provides the movie with a few clumsiness's and at times makes this movie feel, sound and look way more outdated. It therefor can be argued if this was the right approach. No doubt it is also part of the reason why this movie isn't as well known and appreciated as the previous two Dr. Mabuse movies from 1933 and 1922.

The cinematography within this movie is especially great and helps to give the movie its own unique atmosphere and old fashioned feeling style.

Gert Fröbe was really excellent in this movie. He proofs himself once more to be one of the best German actors that ever lived. Ir's fun that many actor appearing in this movie also appeared in the later Dr. Mabuse sequels, often in completely different roles, including Gert Fröbe.

It's sort of too bad that the whole movie doesn't have the pace and excitement of the movie its first halve. There is more talking than real thriller or suspense moments in the second part. Still the whole mysterious atmosphere and question; 'Who is Dr. Mabuse?', remains present throughout the entire movie. The movie also ends with a real blast and gets surprisingly action filled toward its ending.

Yet another real recommendable Dr. Mabuse movie!

8/10

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Fritz Lang was a truly fine and influential director, on top of many of them being truly interesting in terms of concepts and themes all of his films are visually striking. The best of them still looking amazing and technical achievements back then. The best of his work, such as 'Metropolis' and 'M' (genre and cinematic landmarks), is masterpiece level and even lesser work is better than the weakest work of a lot of directors and recommendable in so many others.

His swansong 'The 1000 Eyes of Dr Mabuse' is not one of his best, though not a lesser work either. 'Dr Mabuse the Gambler' and 'The Testament of Dr Mabuse' are superior and more influential films, with a personal preference for the latter and the former being more important. 'The 1000 Eyes of Dr Mabuse' is unmistakably Lang though and one can certainly understand his appeal watching it. Despite its flaws, it is worth watching and a worthy swansong for a great director and stands surprisingly well on its own without having to see the aforementioned Dr Mabuse films.

'The 1000 Eyes of Dr Mabuse' does drag quite badly in the middle act, where the tension and excitement dissipated and are replaced by padding and too much talk that is not that compelling.

It can get a little confusing, as a result of having a few too many red herrings and characters.

On the other hand, 'The 1000 Eyes of Dr Mabuse' looks wonderful, especially the cinematography which not only looked gorgeous and has style galore but it is also very atmospheric with many clever but never gimmicky shots. The sets are similarly audacious. Lang never disappointed on a visual and technical level, even when the execution of everything else varied.The film is hauntingly scored and with the direction one can see a master of his craft at work.

Furthermore, 'The 1000 Eyes of Dr Mabuse' is scripted thoughtfully, with plenty to be entertained by. While the story intrigues from the get go and the final act has suspense and a real sense of danger, which is why it is regrettable that it meanders in the middle. There are plenty of turns that are diverting and unexpected, nothing is obvious even the blast of an ending. Gert Frobe stands out of a strong cast, in a role that suited him to the ground. Peter Von Eyck is also effective and his character is not as bland as it sounds on paper. Wolfgang Preiss is imposing, though Dr Mabuse's screen time here isn't large.

Altogether, definitely worth watching if not as good as 'Gambler' or 'Testament'. 7/10

For nearly three decades, the visionary and brilliantly gifted writer/director Fritz Lang lived in the United States, because he fled from the Nazis and particularly from Joseph Goebbels who banned all of his previous films. But during the late fifties he returned to his home country Germany and completed the final three films of his rich career. Of course he couldn't retire without dedicating one last film to the character that is probably his most personally dearest and convoluted creation: Dr. Mabuse! The ingeniously and aptly titled "The 1000 Eyes of Dr. Mabuse" is in fact a belated but direct sequel to Lang's 1933 masterpiece "The Testament of Dr. Mabuse". It's a convoluted but extremely intelligent and hugely compelling mystery/crime thriller, with many characters and even more plot twists and secret story lines to discover. Some of the plot aspects are obvious and predictable, but most of the film is very surprising and incredibly fascinating!

TV journalist Peter Barker dies in his car in the middle of an intersection, but what initially seems to be death by heart-attack turns out to be a case of vile murder committed by an ultra-advanced weapon that fires needles of steel into the victims' brains. Police Commissioner Kras was informed about the murder from beforehand, by the mysterious blind clairvoyant Peter Cornelius, and the modus operandi of the murder is very reminiscent to a murder committed nearly 30 years ago, by the henchmen of criminal mastermind Dr. Mabuse. The investigation of this crime, as well as several other peculiar and unsolved murders, leads to the Luxor Hotel. While commissioner Kras meets up with some interesting people at the bar, like an insurance agent and a hotel detective, we are introduced to two other guests, namely the beautiful young lady Marion who's about to commit suicide by jumping off the hotel's balcony, and the gentle and wealthy American industrialist Henry Travers who's courageous enough to save her. What connects all these individual people to the murder of journalist Peter Barker? And what's the link with Dr. Mabuse, who allegedly died in a mental asylum 30 years earlier?

"The 1.000 Eyes of Dr. Mabuse" almost entirely revolves on suspenseful plotting and the intriguing rebirth of Lang's titular anti-hero protagonist. This film doesn't feature those beautiful expressionist trademarks anymore, like the case in the 1922 and 1933 films. That's okay, though, since the film was released in an entirely different era and focuses on more contemporary relevant things, like espionage and violent gimmicks such as exploding telephones and new kinds of artillery. However, one thing that Fritz Lang definitely kept alive in his post-WWII Dr. Mabuse movie is the criticism towards Germany's fascist past, ha! Apart from a terrific screenplay and a wondrously grim atmosphere, "The 1.000 Eyes of Dr. Mabuse" can also rely on a whole series of impeccable acting performances. Gert Fröbe, known as one of the best James Bond villains in "Goldfinger", is excellent as the skeptical police inspector in charge of the investigation. Other great performances come from Peter Van Eyck, Dawn Addams, Wolfgang Preiss and Werner Peters. Cult fanatics will also definitely recognize Jess Franco regular Howard "Dr. Orloff" Vernon in a delightful supportive role as merciless hit man. The reincarnation of Dr. Mabuse's character also meant the start of several more sixties' sequels, and I plan to watch them all … one day. Great stuff, warmly recommended to fans of Fritz Lang, but also to admirers of good "Krimi" (crime) thrillers.

Having finished his somewhat chequered Hollywood phase on a high with the gripping 'Beyond a Reasonable Doubt', Fritz Lang returned to his homeland at the request of producer Arthur Brauner to direct a remake of two films of Joe May from 1919, both of which turned out to be conspicuous by their insignificance. Brauner had purchased the rights to the 'Mabuse' name from the estate of novelist Norbert Jacques and although Lang wisely declined to remake his 1933 masterpiece 'Das Testament der Dr. Mabuse' he agreed to transpose Jacques' master criminal to modern times.

Despite this director's expertise in terms of lighting and camerawork and a cast of entertaining personalities to keep us watching, this is a comic-book thriller which although not quite as bad as its reputation would suggest, is simply too weak and ludicrous to be considered anything but minor Lang.

There are however two features that are of interest, one of which is suggested by the bullet developed by the American army which leaves no trace as well as the discovery that the Nazis had built luxurious hotels in Berlin so that they could listen in to visiting diplomats. In the post-war Berlin of Lang's film this has naturally been extended to TV cameras and two-way mirrors. It is this type of mirror which provides, for this viewer at any rate, the film's highlight: A sexually charged scene in which Peter van Eyck is transfixed by lust as he spies on Dawn Addams applying lipstick in her undies.

Whatever its shortcomings Lang's swansong is still in a different league to subsequent Mabuse films by various directors which basically belong to the 'krimi' crap that cluttered up German cinema of the Sixties.

This does a fine job of building a sense of mystery, with many puzzle pieces including no few brought out strictly by reference in dialogue. I wold perhaps prefer if the film took more active role in putting those pieces together, for there's a substantial length in the middle where we seem to get goings-on without ready connection to the plot, and 'The 1,000 eye of Dr. Mabuse' saves all its most substantial assemblage for the beginning and the end. The picture feels imbalanced in that regard, and unbothered, which is strange not just on account of the general eventfulness, but also the vibrancy of that mystery and the active plot elements - which also means that the back end feels overfull and rushed by comparison.

All this is unfortunate, for the actual story being told is strong on paper, interesting and compelling. We get calculated machinations worthy of any major spy flick, flavoring of paranormal and pseudoscientific notions, conspiracy, murder, action, manipulation and deceit, and more. It's perhaps regrettable that the antagonist's motivations are so base and stereotypical, but then, that's hardly a matter exclusive to this title. More concerning to me is that the film is so uneven in its dispensation of its narrative, and moreover the connective tissues between beats and scenes aren't as robust and meaningfully engaging as I would hope. Not as much as I would hope - and, not that I've seen them all, but also less than I'm used to in watching the films of Fritz Lang.

The screenplay may be thusly troubled, but in fairness, otherwise this is gratifyingly well made. The cast is solid, and I don't think there's any impugning Lang as director. Any violence and action sequences are done well, definitely including stunts and those effects that are employed. I personally am most impressed with the production design and art direction; the feature is set almost entirely within the confines of a single building, but it feels meaningfully real and large, a sense certainly bolstered by Karl Löb's cinematography and Lang's shot composition. The image quality and sound design are crisp and clear; this looks great all around in terms of the fundamental audiovisual presentation.

Ultimately I like 'The 1,000 eyes of Dr. Mabuse,' but it's not so striking to me as to demand viewership. There's just enough weakness in the writing as to tarnish the overall experience; spreading out the plot development, and perhaps filling in the midsection as such, would have been helpful. Still, whether one is a fan of Lang, of crime thrillers and mysteries specifically, or just of cinema at large, at large this is suitably well done as to deserve a look if you come across it.

Returning to germany Lang let influence his Hollywood experiences in this german thriller. The criminal genius Dr. Mabuse (Wolfgang Preiss in his genious acting; afterwards his career was in international war- and anti-war movies as a german General) plays tricky with society and police. Detective Gert Fröbe plays good, some say Preiss plays better, decide for your own. This tentious thriller explores, that by little action big disport can be formed, imagine Lang would have made Face Off (1998) !