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by glennjoseph1956 on déc.06, 2009, under Dr. Mabuse, The Gambler
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Dr. Mabuse the Gambler is a must-have for any film scholar. It is one of Lang’s best works, and it’s hard to understand why this film is so little-known while the flashy but leaden Metropolis is considered a classic.
Sergei Eisenstein was an admirer of Dr. Mabuse the Gambler, and supposedly he obtained a copy and studied its construction. I can only engage that the narrate had a influence on other filmmakers around the world; it has a grand more unique feel than any film I’ve seen from the early 20s. The glide is speedily (at least in the first allotment), the cross-cutting between scenes is sophisticated, there is colossal attention to detail in the sets, and it rarely has the “stagy” feel that many restful films suffer from. If one had to point to one element that puts it ahead of its time, it would be its overall construction–the diagram the various shots and scenes are achieve together to accomplish the fable. Dr. Mabuse the Gambler creates a sense of both time and space; many things happen simultaneously in the movie-world, and the locales we behold are not two-dimensional stage sets but rather three-dimensional spaces where we glance around corners and follow the characters from one room to the next. The only calm filmmaker I can mediate of who lavished so grand attention on creating a credible world is Erich von Stroheim, though one could argue that that filmmaker should have taken a lesson from the economy of Lang’s storytelling.
In addition to its plot as a landmark film, Dr. Mabuse the Gambler is also truly absorbing, particularly the first share. There are car and dispute chases, riotous gambling dens, memorable bit characters, and some astronomical special effects. The basic anecdote of advantageous versus wicked is compelling. Dr. Mabuse is one of the screen’s greatest villains, a shrewd megalomaniac who seems to be tormented and driven by his overpowering desires. Rudolf Klein-Rogge is truly wonderful in the fraction. Mabuse revels insanely at his conquests and explodes with fury when he is thwarted. However, though he is uncouth, he is no cartoon supervillain or two-dimensional monster; he is a fallible character, not obnoxious itself but rather human snide, and this is what makes him titillating.
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The quality of the DVD is ample to aesthetic. I was thrilled with the clarity and felt that Image had done a helpful job, but those who quiz every title on DVD to be as crystal-clear as a movie that was released last year will be disappointed. This is not a perfectly restored copy; there are tiny imperfections in the film, from scratches to missing frames. There are even some very minor shots missing–for example, the very first shot of the seance scene shows the circle of hands from above, and this is missing from the DVD version. However, this is the most grievous case that I renowned. In all cases the missing scraps do not affect the film as a whole; it is unprejudiced that there are moments where you might judge that Lang had a terrible sense of continuity (and this is not the case!) . Another oddity about the copy is that at least one of the shots differs slightly from that on a copy I have on videotape. There is a scene on the DVD where von Wenk is speaking to Carozza in the prison, and the shot shows all of the two characters. On the videotape I have, the shot is a close-up from a slightly different angle. I have had the same experience with another film, The Last Laugh. On two different videotapes the same shot differs slightly.
All this being said, I HIGHLY RECOMMEND this DVD. One must remove into yarn that the film is from 1922 and is not very noted. It is not a beloved classic that someone is going to lavish a exiguous fortune into restoring to perfection. Label too that this is a movie that was not previously available on any format, period. There was one mail-order company that offered a home-made version on video, but the quality was terrible at best and unwatchable at worst. It was like trying to glimpse the movie through a bowl of soup.
Of particular designate is that on the recent DVD the film image has been shrunk so that it does not possess all of the available dwelling of the television. This is because the aspect ratio of calm films was more square than the familiar 1:33 to 1 of the television set; sometimes leading to the tops of heads being cropped out when silents are transferred to video. This dilemma is solved on the DVD of Mabuse. And, of course, the DVD shows the movie at the accurate run. I totally disagree with the reviewer who said that it seemed speeded-up. Some of the wobble scenes seem a runt faster than normal race, but I deem that this was a contrivance of Lang’s rather than an imperfection of the DVD. There is also a commentary by a Mabuse scholar which, judging from the petite I heard, is very well-informed.
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As a side sign, Fritz Lang’s sequel to Mabuse, 1933’s The Testament of Dr. Mabuse (the modern German version is available only on video), is also very animated, and it features Lohmann, the detective from M! However, The Thousand Eyes of Dr. Mabuse from the sixties (Lang’s last film, I contain) is unfortunately quite forgettable and I cannot recommend it.
As of June 2004 you need to wait and judge before you choose this DVD. In it’s favour it has a improbable commentary by David Kalat. Against it, it’s not a complete version. It WAS the most complete available, but now a dwelling 2 release by Eureka contains the whole film, complete and restored.
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