Watch The Testament of Dr. Mabuse For Free

Too much of everything

For all the hype it got I was expecting a lot more!

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

Ex-cop Hofmeister contacts former superior Inspector Karl Lohmann (Otto Wernicke) to report a massive criminal conspiracy. Before he reveals everything, he disappears and reappears as a patient in Professor Baum's asylum. Baum once had madman Dr. Mabuse as a patient who was a hypnotic criminal mastermind that wrote master plans for a crime spree of terror but Baum reveals that Mabuse is dead. The gang is using Mabuse's plans to conduct crimes. One of the gang Thomas Kent has second thoughts while Lohmann continues to investigate. It's a convoluted massive crime thriller. It's a bit messy at the beginning. It's slightly challenging to follow. It is technically beautiful. It's a masterpiece of filmmaking from Fritz Lang of mystery crime horror.

This film was famously banned by the nazi party, and Lang beat a quick retreat from Berlin after hearing the news. To some extent we can see why -- the film depicts a criminal gang, run by a ruthless maniac who wants to use industrial terrorism to strike fear into the population and ultimately gain control. Sounds familiar? I guess Goebbels thought so too.It's an interesting film, poised as it is partway between his silent career and his future talking film career in America. The film features a recurring character (Commissioner Lohmann) from his previous masterwork "M", and also the same kind of fascination with technology that was present in the first "Mabuse" film and in "Spies" and "Metropolis." This would show up less frequently in his American films, but "Cloak and Dagger" certainly is brethren to this film. It also features some really startling car chases that are a more elaborate version of what he had done in "Metropolis." Some of his expressionist devices are quite startling, especially Mabuse as a ghost with his huge pale eyes, and the way Dr. Kramm's (Theodor Loos) head is framed against the rushing trees almost looks as if we're seeing inside the fabric of his brain. The film also shows up Lang's weaknesses, specifically his inability to make the "heroic" characters in the film convincing or two- dimensional. Gustav Diessl is barely adequate as Tom Kent, whose name is as dull and straightforward as his character, and Wera Liessem's Lilli, the love interest, is a study in poor acting and stale characterization. But the film's a winner, because even all these many years later you are sure to see something that you've never seen before in a film. Lang's visual sensibility and his excellent editing move the film forward like a mack truck. Klein-Rogge is as chilling and otherworldly as ever, and his criminal madman in an asylum was surely an inspiration for many future film villains right up to the present day (some of his lines of dialog were clearly lifted for Nolan's "Dark Knight"). I think the film is slightly unbalanced by the policeman (Otto Wernicke) being given more screen time than either Mabuse or the ostensible hero of the film, but why quibble? It's stood the test of time and will surely be thrilling people when a lot of the big blockbusters of our day have been forgotten.

A new crime wave grips the city and all clues seem to lead to the nefarious Dr. Mabuse, even though he has been imprisoned in a mental asylum for nearly a decade.Interestingly, the film is a sequel to both "Mabuse the Gambler" and "M". The "M" connection may only be implied, but there are enough references to think they must exist in the same world. (And some stylistic choices draw a line, too, such as both Lohmann and M's killer identified by their whistling.) The film marked the end of Lang's collaboration with his wife, Thea von Harbou (and the end of their marriage). This was his second film with producer Seymour Nebenzal (the first was "M"). Nebenzal is not as well known as the directors he financed, but maybe he should be: Lang, Pabst, Sirk and more...The Criterion disc is loaded with special features, not least of which is commentary from film historian David Kalat. Strongly recommended for anyone who has a love of film. I do not think they have transferred it to Blu-Ray yet, but I find it hard to believe they could improve on what they have already done...

The first thing that literally Jumps out at the Viewer while watching this 1933 Movie is that Visually it doesn't look like a 1933 Movie. The Contrast and the Sharpness are Breathtaking. This is just the beginning of the Enhanced and Surprising Experience that is Mabuse.It is also no Wonder that this Film is one of the most Lauded and Praised of Early Foreign Cinema. Another of those German Expressionisms that You hear so much about. All the while Hypnotized by its Stylism, the Pulp/Sci-Fi/Horror/Crime Amalgamation unfolds, the Viewer is Entranced by a Grandiose Vision of the Director and Dr. Mabuse.Evil is Portrayed as a Hybrid of Matter and Spirit, perhaps taking some of the Blame and placing it in the Realm of the Supernatural. But Criminal Masterminds and Tyrannical Dictators do behave as though there is some sort of Possession, whether it be Self-Imposed Megalomania or Directed from the Pits of Hell, does it really matter? The resulting Devastation is the same.The Film Wavers between Slam-Bang, Enthralling Entertainment and Political Posturing Stimulating Thought and, perhaps Action from its Audience. The Latter most likely the reason the Nazis banned the Movie and Fritz Lang said Goodbye to Germany, His Native Land. The Film remained Lost and Butchered for quite a while, but it is back now, completely Restored and Looking as Good as Ever, and what a Sight it is.