The Testament of Dr. Mabuse

The Testament of Dr. Mabuse(1933)

NR
04/21/1933 (US)Crime, Mystery, Thriller2h 2m
7.7

"Madman? Monster? Murderer? Scientist?"

Overview

After a detective is assaulted by thugs and placed in an asylum run by Professor Baum, he observes the professor's preoccupation with another patient, the criminal genius Dr. Mabuse the hypnotist. When Mabuse's notes are found to be connected with a rash of recent crimes, Commissioner Lohmann must determine how Mabuse is communicating with the criminals, despite conflicting reports on the doctor's whereabouts, and capture him for good.

Thea von Harbou

Screenplay

Fritz Lang

Director

Fritz Lang

Screenplay

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Part of the Dr. Mabuse Collection

Dr. Mabuse the Gambler (German: Dr. Mabuse, der Spieler) is the first film in the Dr. Mabuse series about the character Doctor Mabuse who featured in the novels of Norbert Jacques. It was directed by Fritz Lang and released in 1922. The film is silent and would be followed by the sound sequels The Testament of Dr. Mabuse (1933) and The Thousand Eyes of Dr. Mabuse (1960). It is four and a half hours long and divided into two parts, originally released a month apart. The title, Dr. Mabuse, der Spieler, makes use of three meanings of the German Der Spieler which can mean gambler, puppeteer, or actor. The character Dr. Mabuse, who disguises himself, manipulates people, and is a notorious gambler, embodies all senses of the word. Therefore, the Player might be a more appropriate translation of the title. The film is included in the book 1001 Movies You Must See Before You Die, being the first of five Lang films to be entered.

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Original German Trailer [Subtitled]

Original German Trailer [Subtitled]

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A review by talisencrw
9.0

Written on May 13, 2016

There is such a joy I get when I watch the crime or noir films of Fritz Lang. Here's a man that truly understands evil. Though I have yet to see all of his Mabuse works, I can't wait to see every single interpretation--both by him and others--of one of my very favourite cinematic villains. Furthermore, I greatly relish seeing the works of great filmmakers who use subtlety and cleverness to get their art out in the most difficult of circumstances, using their craftsmanship to take pokes at the oppressive regimes they are working under (i.e., Eisenstein, Lang, the Czech New Wave, Jafar Panahi). Essential for any fan of the genre, and worth both purchasing and rewatching if you, like me, are a work of a remarkable director at the pinnacle of his profession.