Dr. Mabuse, der Spieler
Rendező:
Fritz LangOperatőr:
Carl HoffmannSzereplők:
Rudolf Klein-Rogge, Alfred Abel, Bernhard Goetzke, Paul Richter, Hans Adalbert Schlettow, Georg John, Károly Huszár, Grete Berger, Lydia Potěchina (több)Tartalmak(1)
One of the legendary epics of the silent cinema - and the first part of a trilogy that Fritz Lang developed up to the very end of his career. Dr. Mabuse, the Gambler is a masterpiece of conspiracy that, even as it precedes the mind-blowing Spione from the close of Lang's silent cycle, constructs its own dark labyrinth from the base materials of human fear and paranoia. Rudolf Klein-Rogge plays Dr. Mabuse, the criminal mastermind whose nefarious machinations provide the cover for - or describe the result of - the economic upheaval and social bacchanalia at the heart of Weimar-era Berlin. Initiated with the arch-villain's diabolical manipulation of the stock-market, and passing through a series of dramatic events based around hypnotism, charlatanism, hallucinations, Chinese incantations, cold-blooded murder, opiate narcosis and cocaine anxiety, Lang's film maintains an unrelenting power all the way to the final act... which culminates in the terrifying question: ''WHERE IS MABUSE?''. A bridge between Feuillade's somnambulistic serial-films and modern media-narratives of elusive robber-barons, Lang's two-part classic set the template for the director's greatest works: social commentary as superpsychology, poised at the brink of combustion. (Eureka Entertainment)
(több)Recenziók (2)
What Fritz Lang achieved in his two-part films is undoubtedly exceptional. To this day, I still vacillate between the mastery of Aud Egede Nissen and Gertrud Welcker, who dazzled me more, because only Rudolf Klein-Rogge is a definitive god at first glance. The brilliant story of Mabus continues to be overshadowed by the mere fact that his story was set in the 1990s (!), which really wasn't necessary. So back to the 1920s and nowhere else.
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This film is clearly characterized by an interesting atmosphere, beautiful, sometimes incredibly dark images and a story that could be compared to any modern spy drama without shame. Fritz Lang already proved at this time how great of a filmmaker he is, and it is expected that we can look forward to more interesting pieces from him. And ultimately, this proved to be true. What may be sometimes hard to bear in the film are the overly theatrical performances, especially in the end where Mabuse becomes too theatrical. It is a part of silent films and his madness is prominently highlighted. However, Fritz Lang truly shows his filmmaking power with some of the images. "M" is still "M".
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