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Posted by russrob on December 30, 2008
I left some information, immages, and video previewc of Dr. Mabuse, The Gzmbler downline.
Summary of Dr. Mabuse, The Gambler:
Its hard to imagine that the razor-sharp Kino DVD of Fritz Langs first magnum opus fails to capture any of the visual electricity and heady atmosphere experienced by Berlin filmgoers in 1922. The films historical importance to the crime-film genre and its thematic relevance to the directors later work have never been in dispute, but with only murky, choppy editions to go by, the movie has largely been paid lip service for its legacy rather than appreciated for itself. Now, thanks to this definitive restoration by the Murnau Institute, we can properly see it and experience it. Dr. Mabuse the Gambler is actually two films in oneor, more precisely, one film in two feature-length parts totaling four-and-a-half hours and conceived to be watched on consecutive evenings. Its title character is a criminal mastermind with the power and the will to orchestrate complex capers, counterfeit national currencies, manipulate the stock market, and hypnotically bend anyone to play a role in his diabolical designs. The hand of Mabuse seems to reach everywherefor the excellent reason that the Doctor himself, a master of disguise, turns out to be just about anywhere at just the moment his intervention will wreak havoc and wreck lives. (Hes played by Rudolf Klein-Rogge, who would repeat the part ten years later in The Testament of Dr. Mabuse and also, in spirit if not in name, in Langs dazzling 1928 film Spies; he was also the inventor Rotwang in Metropolisas well as, offscreen, the former husband of Langs screenwriter wife Thea von Harbou!) The films title in German is Doktor Mabuse der Spieler, and our supervillain is really less a gambler (all his games of chance are rigged) than a player: playing multiple roles, but even more importantly, playing with others lives, playing with the very fabric of modern reality. The subtitles of the two parts are A Picture of the Time and People of the Time the film is an artifact of the Weimar era when, as one character remarks, We are bored and tired we need sensations of a very special kind to remain alive.
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