Dr. Mabuse: The Gambler (1922)

Originally posted to Facebook on 7/1/2017

Dr. Mabuse: The Gambler is our fourth film from 1922, and the second we’ve seen directed by Fritz Lang, after 1921’s Destiny. Like that earlier film it was co-written with Lang by his wife, Thea von Harbou, based on a novel by Norbert Jacques. It was very reminiscent (perhaps consciously) of Louis Feuillade’s French serials that we saw last year: Fantomas (1913) and Judex (1916). All three feature a criminal mastermind -- a vigilante in the case of Judex -- with extraordinary abilities. All are extremely long; Dr. Mabuse is not a serial like the other films, but it is is constructed so that it can viewed in two sittings, and is, in total, approximately four hours. However, there is a much darker edge to this film than the earlier two. The first intertitle reads: “You’re hopped up on cocaine again, Spoerri! You know that I won’t stand for it. If I see you in such a state once more, I’ll kick you out like a dog,” followed by Spoerri saying, “If you kick me out, I may as well put a bullet through my head!” So, issues of whether this is appropriate viewing for a nine-year-old aside, one immediately knows that this is not going to be a light hearted fantasy. Dr. Mabuse (played by Rudolf Klein-Rogge, Harbou's husband prior to Lang) has his fingers in a variety of criminal enterprises, and in addition has the ability to somehow hypnotize people into doing his bidding. I don’t know if the phrase “will to power” is ever used explicitly, but that concept is openly talked about by some of the characters, and the entire film is framed as a battle of wills between Mabuse and a police detective, played by Bernhard Goetzke (who also played Death in Destiny.) Goetzke is an equally intense, brooding presence, though the kids and I did begin to observe midway through that he didn’t seem to be very good at his job; Dr Mabuse maintains the upper hand throughout most of the film.

One surprising aspect of the film was that it explicitly discussed expressionism -- which means that this was a label that was actively being used at the time, and not something that has been applied retroactively. Dr. Mabuse is asked at a party what he thinks of expressionism, and he replies, “Expressionism is just an idle game. But then again, why not? Everything today is an idle game.” That statement, while underlining a certain cynical worldview consistent with the tone of the film, also seems to suggest a certain ambivalence about expressionism, though the film itself is rather firmly in the expressionist camp. The house at which that party occurs is filled with expressionist artwork, and there are a variety of other moments throughout the film which amplify that. One of the more bizarre comes early on when Cara Carozza (a member of Mabuse’s mob, played by Aud Egede-Nissen) is doing an odd dance at a nightclub, during which, midway through, two giant heads with long phallic noses slide out onto the stage and chase her around. I’m not sure why a nightclub would think this would be an appropriate climax to a dance number, but postwar Germany definitely appears to have been a strange place.

Like the earlier serials, this film did start to sag a bit as it wore on, and I expect a shorter version would have been just as effective. I suspect, too, that the length has something to do with why this film isn’t more well known. It has as many memorable scenes and performances as several of the more famous silents we’ve seen, but also has perhaps just a little too much filler.

Next week we see our fifth film from 1922, and our fourth starring Douglas Fairbanks: Robin Hood. The list, as always, is here: https://bit.ly/2lZtfmT

Destiny (1921)

Originally posted to Facebook on 4/11/2017

Destiny was our fourth and final film from 1921, and the first we’ve seen directed by Fritz Lang. As with many of his films, it was co-written with his soon-to-be wife Thea von Harbou. Its plot is episodic; the framing story involves a woman (played by Lil Dagover, the female lead from 1920’s The Cabinet of Dr. Caligari) trying to reclaim her fiance, played by Walter Janssen, from a personified Death. In response, Death, played by Bernhard Goetzke, challenges her to save the lives of any of three men who are all fated to die -- which sets up the episodic middle portion of the film. These sequences take place in an unspecified Muslim country, in Italy, and lastly in China -- and the leads in each sequence are played by Dagover and Janssen, in local dress and sometimes make-up, most egregiously in the Chinese segment. Needless to say, these segments mar the film significantly, particularly the Chinese segment, which is intended to be comedic, but is instead cringe-inducing. This is all the worse since the framing story is actually quite strong and atmospheric -- with a weary stoic Death, surrounded by burning candles representing the length of people’s lives. Those sequences, along with some of the darker or more philosophical moments have the makings of a strong, intense film, perhaps somewhere in the same neighborhood as The Phantom Carriage. However the three interludes (or “Stories of the Lights” as they’re identified by the title cards) are not only racist (to varying degrees) but they are also lighter in tone, which saps some of the intensity. Fritz Lang, of course, was famous both for his silent and sound films, and was one of the key links between German Expressionism and noir. I believe we’ll be seeing more of his films along the way, and I hope that I’ll like them more than I liked this one.

Next week we begin 1922 with Sherlock Holmes, which is based on the same play as the 1916 version we saw starring the play’s author, William Gillette. This 1922 version stars John Barrymore, and has some other prominent actors as well. Additionally, I’ve added films from 1923 to our viewing plan, which should take us out through the end of May. The list, as always, is here: https://bit.ly/2lZtfmT