The Strange Case of Dr. Mabuse: A Study of the Twelve Films and Five Novels
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A Note on the Text. Even at four and a half hours, Dr Mabuse, the Gambler is a fast-paced, multi-layered, genre-transgressing epic gangster, spy, urban comedy, social comment, occult horror, conspiracy thriller etc.
In fact, this last year there has been consistent rumours about a remake, which will make for an interesting comparison whatever the result. Although it is sensitive to the changes in mood and tempo in the narrative, a more experimental score in the mode of one of the tracks featured in the BFI Edition of The Man with the Movie Camera seems more appropriate.
Also, contemporary jazz music in some of the scenes at the night clubs and cabarets should be the preferred choice, as the inserts of bands playing there indicates.
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Often quoting from his Mabuse book, Kalat challenges some of the myths often voiced about the Testament sequel. Already in the research Patrick McGilligan made for his Lang biography The Nature of the Beast there is much proof to counter many of the claims Lang himself made about the film, the German ban and his exile: Nor did Lang leave Germany that very night, but much later, in June, then returning several times during the autumn of to finalize his divorce from Thea von Harbou, drawing his life saving from the bank and getting much of his belongings out of the country.
Kalat goes on to question Testament as metaphor for the Nazi movement, i.
He points to the fact that the cast and crew were divided into both Nazi party members and opponents, that Goebbels showed it unaltered for the crowd at his birthday party and that Goebbels again, with just small changes and additions, made the film into a an acceptable story about the gangster capitalism during the early Weimar republic. Could a decisively anti-Nazi film so easily be redressed to suit another ideological agenda?
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Instead, he says, it was the dubbed American version made from the French print that created the legend by altering both the story and the dialogue to enhance the interpretation of the film in accordance to the Lang legend. The Thousand Eyes was, for me, the most startling revelation in this box set.
Frequently dismissed as of minor interest, a sad ending for a director going blind and losing his creative touch, I found it most challenging. With its complex plot and subplots of self-consc ious role-play, deceiving appearances, voyeurism, surveillance techniques and TV as the new instrument for totalitarian manipulation, it is a poignant prophesy about the brave new Mabuse world in the years to come.