When this movie aired in the USA in 1952, it was shown under the title THE CRIMES OF DR MABUSE.
____

This is the film that DROVE Fritz Lang out of Nazi Germany, and eventually into Hollywood. Considering the alternative, we can only be happy that he escaped. But considering the unfortunate turn of Lang’s career once he came to Hollywood, there is an element of tragedy as well. Because he was considered brilliant in Europe ( and here as well) , and is by now, recognized as one of the great pioneers in film making everywhere, this much neglected film is worth a look. The film industry was rapidly changing with the advent of sound, and the gorgeous expressionistic imagery that marked Fritz Lang’s early work, and made a statement in silent films never quite seemed as impressive after the advent of sound . And freedom in America did not mean artistic freedom for Lang.
_____

There are many stories of the night that Lang left Berlin, high tailing it out from the Nazi regime, and this is one of them. This film , by making the evil villain spout Nazi slogans (taken from actual propaganda speeches) was intended as a satire, and a warning to audiences as to what was going on. Lang knew it, and so did Joseph Goebbels. The film was banned, despite the Nazi officer professing admiration for it. He was impressed enough to offer Lang a job directing propaganda films for the Third Reich. Lang, who had told Goebbels his mother was Jewish, left town in a hurry that night, leaving most of his money and his wife Thea Von Harbou, behind. Von Harbou had assisted with the script for this last “Mabuse” film directed by Lang , and she took a job her husband refused, and divorced him quickly, after 12 years of marriage. Odd behavior? To me yes, but I wasn’t there and neither were you. Lang fled Germany for Paris, where he made another movie, and then came to the USA in 1934, with a contract with MGM. He stayed and directed lots of pictures, although never was as appreciated as he deserved to be, mostly because of his disposition which tended to be grating on the actors he directed.

ABOUT FRITZ LANG


Born in Vienna in 1890, he was in a technical school for engineering, dropped out in 1910, and became a world traveler, finally settling in Paris from 1913-1914 to paint. There is some question as to whether he enlisted or was drafted in 1915, but either way, he was Cannon fodder in WWI. When he was injured in 1916, he wrote some scenarios for film sequels while convalescing, and when he returned from the war shell-shocked in 1918, he entered the film industry as writer and editor, and by 1919, he was directing films. He met Thea Von Harbou, a talented writer in 1920, married her in 1922. When she divorced him in 1933, Rudolf Klein- Rogge (actor who played Mabuse) was waiting to marry her.

Lang’s first real commercial success in Germany was a two part action series, THE SPIDERS, and the second extremely popular movie was another silent masterpiece called, DR MABUSE, THE GAMBLER, (1922), in which the Evil Dr. Mabuse is first introduced, The bad doctor was driven insane when the faces of countless victims appear in a vision. METROPOLIS (1927) a singular work that used everything available to create unforgettable images is widely touted as one of the best pure examples of German Expressionism at work in a film. http://www.epinions.com/mvie-review-1968-455613AE-3A4B8DC3-prod3 In 1931, “M”, the story of a child killer, starring Peter Lorre, is one of a kind, a film of unique brilliance on many levels. http://www.epinions.com/content_75766992516

Lang’s concept of life , as reflected in his work , is as a nasty , definitely unfriendly, place. There is no sunshine in his films, and laughter is usually directed at someone, not shared with someone, even when the object of humor is someone very like himself. When he makes fun of the stupidity of man, (through Lohmann in this case) he looks on the audience from a distance, and it is amusing , but also disturbing. His images are dark, camera angles often skewed, and his villains are true villains. Even his heroes are apart from all others., alienated. Lang had enough smarts to see under the surface of the new Nazi government, and undoubtedly made the right choice by leaving. THE TESTAMENT OF DR. MABUSE is a detective story, yet quite a lot more. The German audiences had liked the first MABUSE flick, and would have gone to see the sequel. But they also would have got the Nazi slogans issued from the mouth of the mad, evil villain and a run down of some of the methods by which a political leader could control the masses to do his own will. German audiences never saw this movie, it was banned. A dubbed edition of this film aired in the US in 1952.

Lang’s first films in the US reflected that sense of alienation that was part of his world view as well as his personal reality. (FURY , and YOU ONLY LIVE ONCE) He was cranky, a tyrant, and not well liked by American Actors, who even then considered themselves somehow more than just actors. That must have been hard for Lang to take, as European actors were still, it seems, just actors. When the US film Industry started to decline with the rest of the world’s film industry, in the 50's, Lang returned to Germany, and tried to get back in the groove, but by then, what he had been doing in the 30's was no longer relevant.. In the back of my mind, I am thinking Hollywood has always been stifling to any director who had an independent artistic vision, or something unique to contribute. And to me, that vision was worth something. Money is the tyrant, I guess.

ABOUT THIS EDITION

All that is available is a poorly preserved grainy, deeply flawed film with illegible subtitles. If the dubbed version exists in any form I have not seen it. I have waited nearly three years to write this review, hoping that CRITERION would pick up this historic film and restore it. As it is, the English titles blend into the background, and long passages of dialog go untranslated.. I find that annoying , because it makes it even more difficult to appreciate the satire in this piece. You are far too busy trying to figure out what is going on. This edition is preserved , courtesy of Janus films. Note, the silent movie DR. MABUSE , THE GAMBLER is available on DVD, and is probably a better movie, all things told, but it was NOT , like this film, as important politically. Silent movies were in many ways, a completely different art form. The character of Dr M abuse is the same actor for both films .

FILM ELEMENTS

STORY AND DIRECTION


The screenplay credited to Lang and von Harbou was adapted from a novel by Norbert Jacques, who wrote the novels that inspired the first Mabuse movie and the subsequent ones as well.
The character of the evil master criminal was already established. It was the allegorical use of the plot structure that becomes interesting. Another already well established character is Inspector Lohmann, the police detective also present in “M”, again played by Otto Wernicke. The other actors in this piece are interesting and various, and each actually gives a remarkable performance, particularly by the standards of the day. Some of these actors would never again appear in movies, several disappeared, and others of course stayed on and took their chances with the Nazi regime. But, even without the politics and the satire , this would have been an interesting cop film, with an engaging story line , fast paced plot developments, and very good performances.

CINEMATOGRAPHY

Camera work is attributed to Fritz Arno Warner, the camera man for “M” as well, who brings the brooding dark vision that marked the earlier film . While expressionistic in that flamboyant style that marked Lang’s early work, it not quite the dazzling work accomplished by Karl Freund in METROPOLIS (Freund came to the US in 1930) . But there are some very interesting, classical scenes, deeply in contrast and in shadow, that make this one of the last German expressionist works before the Nazis assumed full control. Some of the more interesting scenes are filmed in the prison hospital, and the effect of madness is enhanced by “transparent” furniture and accessories. Karl Vash, the other cinematographer, disappeared after this filming.


MUSIC AND SOUND

The music was attributed to Hans Erdmann, who disappeared (Literally ) after the film. There is very little music actually in this film, (the original) but the sound effects are brilliant. There is one absolutely stunning scene using car horns playing an almost joyful symphony while stuck in a traffic jam, the effect is pleasant and engaging enough to give you a jolt when it is cut abruptly by the assassination of one of the guys leaning on his horn. And no, it does not relate to California freeway incidents.

SPECIAL EFFECTS-

This was the domain of Ernst Kunstmann, who also did special effects for METROPOLIS. This particular film used apparition images of Dr Mabuse, both as a man and as a huge eyed sub-human monster. It was pretty impressive, and would be scary if I were not so jaded by years of exposure to this kind of stuff.

THE PLOT

The movie opens with a nervous little man , Hoffmeister , obviously in trouble, trying in vain to contact Inspector Lohmann about the identity of some criminal. His fear is obvious. Lohmann , however, at his blustery best, dismisses him without hearing him out. But then, we go from to the gathering places of the criminal elements (in various groups) who are all taking orders from some mysterious doctor Mabuse.
The story revolves around the criminal mastermind, Dr. Mabuse, who has been in a prison hospital for the insane for years. So, we think, “can’t be him”. He was believed to be a master criminal, who was able to hypnotize others into doing his will. This information is given to us as a shrink , Dr Baum, lectures at a University to a group of disrespectful students. The professor/Doctor seems to be impressed in spite of himself.

And we find out the good professor is more than impressed, he is mesmerized. . At first he gathers the writings together, and then the evil doctor takes over Dr. Baum to do his evil will. Crimes are committed, and now even the criminal element is starting to question. It doesn’t seem to be about the loot any more. The master plan begins to emerge.

We find that the incarcerated Mabuse has concocted a very precise evil plan, (written in his will, or testament )and he is up to no good, to say the least. He is ordering destruction just to produce general chaos, and his intent seems to be power over money. Even after death, he is able to wreak havoc, appearing in transparent form, and then actually taking material form to open doors and hand over papers. This Mabuse is a chilling embodiment of evil, with endless possibilities. Mabuse has it all covered, even the self policing, ensuring compliance of his followers. Section 2 B is dedicated to eliminating problems within the criminal class, and any threat of exposure to the authorities. Lohmann represents the only way of stopping the criminals and the evil actions of the bad doctor, and it will be a struggle to the end to see who wins. And at the end, we can’t be sure.....

SUBPLOTS and Character CONNECTIONS-with the NAZI REGIME

We have several, and I suppose it is up to you how to interpret them. I will dare to do my own, since so very little is written on this film. . The Nazi reference is perceived to be literal, from words issued from Dr Mabuse himself, but the satire extends to the entire film, in my opinion( as it has in other Fritz Lang efforts.)

TOM KENT-

This is a character who represents the German people, more than any other. He is released from Prison/the German people suffer a crushing loss, which causes Financial ruin and national despair. He is desperate for a job, and no one gives him a break . Post World War I, The country was deeply in debt, and impoverished. Only a girl , Lilli, gives him something to tide him over. But he gets a job from the evil Organization run by Dr Mabuse’s extended criminal network-representing the coming to power of the Nazi party. He does the job m but late in the game, he sees more clearly the madness of what “the chief” is doing and wants out. While Hitler made the beaten German people feel better about themselves, there should have been an awakening when his true intent became known. This character escaped, probably because he had grounding in his love for a woman, Lilli.

THE ROMANCE

-This is the love between Lilli and Tom, and the reason that Tom wants out. In fact he joins with Lohman when he and Lilli manage to escape the trap left for them. This couple and their romance represent the hopeful future, and what is in the end worth fighting for. It rather takes some of the venom out of Lang’ supposed world view.


DR BAUM

-Dr Baum is the admitting psychiatrist when Mabuse is admitted to the mental hospital. His fascination with his brilliance eventually leaves him a victim to the mind control that the Evil Mabuse is able to use to effect his will, both during his life and even after death. Baum may have represented the people who carried the weight of the actions ordered by Hitler , who were under the spell of the dictator, who, it is said , was so charismatic that he inspired loyalty for no other reason than that personal charismatic quality. This character fights only briefly with his conscience, and seems a willing victim.

DOCTOR KRAMM

-This is the other psychiatrist who discovers a pile of Mabuse’s insidious writings, and makes an appointment with the chief detective to show him and expose the mastermind’s plans. He is the honest person who believes if he tells the truth, and tries to stop evil, it will stop. In point of fact what happened to him is what Fritz Lang believed would happen to him if he stayed in Germany. He would be “disposed of”. The third Reich did not debate their enemies, they exterminated them.

COMMISSIONER LOHMANN

- Either Represents us?, the audience-Or an authority still able to stop the madness, if he recognizes it. He is fed clues, and processes them, even showing some intuitive talent, yet stays focused on the crimes to be committed rather than seeing a conspiracy, right to the end. Even when he knows that Mabuse has effected mind control on Baum, and in fact lives on in Baum, he merely shakes his head, clucking. This is the classic “Missing the forest for the trees “problem. And, even in the opening scene, he allows his own feelings to interfere with his job, refusing to talk to a guy who actually had some information he could use. (He calls him a ‘Lumpe’) This character, who I admire, still in the end , misses the bigger picture. This fact is the clincher on Lang’s negative perception of the world.

HOFMEISTER

-Is the little guy running scared from the evil Mabuse, who gets no help from Lohhmann, and in the end, is not taken seriously. Was he representative of the victims in the broader sense? He is admitted to the loony bin-His defense merely to hide behind his madness. By all that is right, he should be dead. Emerges in the end as sort of a hero. I don’t know what to make of this character-although I suspect he is showing that a sane person would be driven mad by the evil he sees in the criminal mastermind.-Or in order to survive, he must feign madness.


SECTION 2 B-

This is the enforcement end of the Criminal network, the hit man squad, or the SS. Anyone who “signs on” with this gang signs on for life. This was a chilling reminder that things like this happened frequently , under the Reich. Pay attention to the scene where the second psychiatrist is on his way to Lohhmann with the tell tale plans for the crime. Interesting little dude that plays the enforcer, and it is easy to see how the prestige of his position was critically important to him, and how the Reich could use human weakness and insecurity to their advantage.

ANNA

This is the gangster’s girlfriend, an interesting contrast to the woman of virtue, and without getting too complicated, shows how one could benefit (the pearls) by associating with this criminal network. It does require, apparently, “undressing”.

DR MABUSE

-Is he Hitler, or the one Hitler answered to? I believe the closest resemblance was with Schikkelgruber himself.


CAST AND PERFORMANCES

Oscar Beregi Sr as Professor Doctor Baum. This si the psychiatrist who is an honored teacher, and clinician, but whose fascination with the criminal brain left him open to the evil mind powers of Mabuse. I thought this was an excellent performance, especially as he visibly changes from himself to a version of the evil doctor, who begins controlling his mind, and finally just takes him over. This is the last movie this actor played, but he died in the US in 1965, so at least he got out. He was Hungarian by birth, and had been in films since 1916. What he did when he came here is an interesting question.

Paul Bernd as Erpressor the blackmailer. This is the guy who does double duty as a hit man, I believe. Only film credit, and he is one of the criminal network.

Henry Bless -as Bulle-not sure who this was, but I think it was the big guy in with the blackmailer. This was his only film credit.

Gustav Diessl -as Tom Kent-This is the younger gang member, who wants out of the mob. His character is one of the important ones, and he does have a girlfriend. He refuses to murder for “the chief” and who manages to escape the trap laid for him, with the help of his tenderhearted girlfriend. This actor is called Austrian-German-American, and was a popular singer, actor and stage actor as well. Not bad looking and not a bad actor. He continued making films for the Reich. He also has one “possession “ scene although it is subtle and only shows him looking suspicious as he tears paper into strips, a marker gesture for Mabuse.

Paul Henckels as Lithographer-is this the guy that forges documents for the gang? He also stayed with the Reich, and was in many more movies.

Georg John as Dr. Baum’s servant. This is the doctor ‘s servant, who looks a bit like Karloff. This is the last movie credited to this actor.

Rudolf Klein- Rogge-This is the actor that played the Doctor in both films, and it is an interesting face (without makeup) looking almost angelic when at peace, but transformed into evil incarnate when he is out of body. The thing with the big fish eyes did not manifest until Dr. Mabuse actually died. This actor had been in several movies with Lang, and interestingly, he married Von Harbou less than a few months after Lang exited stage left. The insidious presence is well performed here, although he delivers not a single line in his awake mode, and whispers to his victims adding to their confusion. A very good villain. Stayed with the Reich.


Adolf E Licho as Dr Hauser. The other doctor, goes in and out of rooms at the nuthouse.

Wera Liessem as Lili -this is the sweet girlfriend of Tom, the only one to cut him a break when he was waiting at the unemployment office. I thought the character a bit insipid, but you can’t have everything. Pretty, wholesome, but almost cloyingly so. She had a career that lasted from 1932-1935, and then her filmography abruptly stops.

Theo Lingen as Karetzky-I’m drawing a blank. Sorry.

Theodor Loos as Dr. Kramm-The self righteous indignation of this character was amusing, until he is exterminated. So while he represents the awareness of the meaning of the criminal master plan, and intends to do the “Right Thing “, he has underestimated the threat. He stayed in Germany and kept working.

Karl Meixner as Hofmeister-this was an incredible performance, a sort of Don Knotts character with a high pitched nervous voice. He provided some little bit of humor for the piece, and it was a welcome relief. Reinforces the idea that madness makes the person less of a real threat, since he is allowed to live while institutionalized. Stayed in Germany, kept working. This was his debut in the movies.

Camilla Spira-Juwelen-Anna-she is the criminal jewel thief’s girlfriend, and she has an interesting but small part in the last act. She answers the door when Lohmann comes “raid” the premises, and the gun battle follows. She was absent from German films for 16 years, returning to the screen in 1949.

Otto Wernicke as Commissioner Lohmann-I enjoy this character, as he shows his skill in manipulating witnesses, has expertise in forensics, and is just generally an interesting kind of blustery character. I think he was a bit more admirable in this movie than in “M”, but I assume that it is Lohmann who is the identifier , the one guy who might have all the answers, if he looked at the problem differently. He provides a little humor as well. My favorite line, he delivers trying to stop a gun battle outside the door of the hide-out, “It’s no use boys,. We have hand grenades”. Wernicke stayed in Germany.


FINAL RECOMMENDATION

For film history buffs, this movie has earned the right to be seen. I look at Fritz Lang as being somewhat more of a hero than I did before I saw this movie. When he came to the United States, he did not come to a country that was firmly opposed to Nazis. In fact, most of us know that the American position was far from certain . But the director came here because he believed he would be safe. I can’t help thinking that Lang and others who escaped Nazi Germany had some small impact on educating the rest of America. At least I hope so.

In any case, to see an intellectual’s appreciation of the evils of the Third Reich, years before most of the rest of the world would understand it, I heartily recommend seeing THE TESTAMENT OF DR MABUSE. It is still German Expressionism, and it is still powerful and entertaining, and disturbing. I thought it took a bit of courage to make, and more to show to Goebbels.





Recommended:
Yes

Viewing Format: VHS
Video Occasion: Good for Groups
Suitability For Children: Suitable for Children Age 13 and Older