Os Mil Olhos do Dr. Mabuse

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.

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.

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.

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.