Criterion Sunday 231: Das Testament des Doktor Mabuse (The Testament of Dr Mabuse, 1933)

Fritz Lang’s last film in Germany is this reprise of his silent film character, a venerable archetype of the genre (a mad scientist locked up for his criminal mastermindery). This film takes the character and creates a mystery thriller with another mad scientist who appears to have been possessed by the spirit of Dr Mabuse, inspired by Mabuse’s detailed writings into committing a series of heists and crimes. There’s a lot of gripping cross-cutting, and some genuinely thrilling scenes as characters look like they’re done for, many of which have been reprised in subsequent cinema history. It’s a top jaunt, and good fun too. Of course, there’s also a subtext about Nazis there if you want to find it (it may have been too early to be specifically about the rise of Hitler, but it’s certainly premonitory and presumably tapped into the stirrings within contemporary German society).


FILM REVIEW: Criterion Collection
Director Fritz Lang | Writers Thea von Harbou and Fritz Lang | Cinematographers Karl Vash and Fritz Arno Wagner | Starring Rudolf Klein-Rogge, Otto Wernicke | Length 124 minutes || Seen at Paramount, Wellington, Thursday 25 June 1998 (and most recently on DVD at a friend’s home, London, Sunday 21 October 2018)

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Criterion Sunday 30: M (1931)

Justly acclaimed as one of the great films of all time, and certainly among the greatest German films, is this early sound-era film by Fritz Lang, which seems to hint at something noxious in German society of the era. It focuses on the hunt for a child murderer, played by a bug-eyed young Peter Lorre, and suggests a parity between the police and criminals, who are both on the case, the latter with somewhat more effective results. If the way in which the criminals try Lorre suggests something proto-Fascist on the rise, that might be the result of hindsight, and yet the film is beautifully shot, all inky pools of darkness on the Berlin streets and effective use of expressionist shadows to suggest the creeping evil. Sound design is restrained, perhaps due to the infancy of the technology, but the repeated whistled refrain from Peer Gynt is effective as a way of marking the presence of Lorre’s murderer.


FILM REVIEW: Criterion Collection
Director Fritz Lang | Writers Thea von Harbou and Fritz Lang | Cinematographer Fritz Arno Wagner | Starring Peter Lorre | Length 111 minutes || Seen at Paramount, Wellington, Sunday 5 July 1998 (and earlier on VHS at home, Wellington, August 1997, but most recently on DVD at a friend’s home, London, Sunday 29 March 2015)