Movie that can be pointed as the first watchable two-hour action. Because back in 1933, when it was created, it was very special creation of the film industry. It offers us convoluted crime drama in the style of Hitchcock. It has everything - love story, an evil genius, fraud for millions and car chase.Dark and gloomy conception of evil villain has gone full circle from the beginning of the film stripping all the way to the very end which in no way differs from the beginning except exchanged roles of some of the main suspects. The truth also is undergoing its metamorphosis decides to take the hand of love, to come out openly and repent for its present silence. The eternal asking justice vigilantly monitor compliance with the order and manages to instill fear among criminals.After a long pursuit, in which perhaps the first time we see the clear expression of the German brand Mercedes, where, incidentally, is this film coming from, pieces of the puzzle intervene for the last time, this time - correctly.The tape also has an interesting history - having been damaged, the movie was forbidden, and finally becoming available to the modern spectator.http://vihrenmitevmovies.blogspot.fr/

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.

Like the other films of Friz Lang, this is an authoritarian movie. When you watch a film noir from the Hayes code era you get the same idea. But not as strong. Yet Germany did not have a Hayes code. When in States that was imposed, the studios wanted to comply. In the case of Lang this is no compliance. This is his wish. His dream world.Maybe Lang was just depicting the German society in Berlin those days. But I can't help remarking the irony of the compatibility between his artistic expression and the Germany wanted by the Nazi. Of the stupid detail standing between them: Lang's grandparents. If they were anything but Jewish, maybe Lang would have shot the Triumph of the Will.Contact me with Questions, Comments or Suggestions ryitfork @ bitmail.ch

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.