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A Filmmaker's Guide to: Dr. Mabuse

Film Studies (Pt.112)

By Annie KapurPublished 5 years ago 3 min read

In this chapter of ‘the filmmaker’s guide’ we’re actually going to be learning about literature and film together. I understand that many of you are sitting in university during difficult times and finding it increasingly hard to study and I understand that many of you who are not at university or not planning on it are possibly stuck of what to do, need a break or even need to catch up on learning film before you get to the next level. This guide will be brief but will also contain: new vocabulary, concepts and theories, films to watch and we will be exploring something taboo until now in the ‘filmmaker’s guide’ - academia (abyss opens). Each article will explore a different concept of film, philosophy, literature or bibliography/filmography etc. in order to give you something new to learn each time we see each other. You can use some of the words amongst family and friends to sound clever or you can get back to me (email in bio) and tell me how you’re doing. So, strap in and prepare for the filmmaker’s guide to film studies because it is going to be one wild ride.

Dr. Mabuse

What is it?

Dr. Mabuse is a character of film, starting out in the 1933 feature silent film by Fritz Lang entitled "Dr. Mabuse, The Gambler" and depending on which copy you get, you can find both parts one and two within. It then moved on to two different sequels which were "The Thousand Eyes of Dr. Mabuse" and "The Testament of Dr. Mabuse" respectably. Unlike the original, the two sequels featured sound and were considerably shorter than the original by around two or so hours.

Dr. Mabuse, the Gambler

Dealing with monetary gain, the art of the conman, surveillance and the gain of influence in society by having each and every single thing he does planned down to the second - this film shows us the true extent of Fritz Lang's vision of a man more powerful than others because of his strange abilities and holds on people. It is clear that you never leave or get fired by Dr. Mabuse, you are simply killed off and replaced as soon as possible. The strange scene within the stock market near the end of the first act of the first part of the film shows us exactly how Dr. Mabuse operates. He knows only too well what will happen and simply does what will get him the most money and influence. This film sets up the character as one of the most iconic in international cinematic history.

The Thousand Eyes of Dr. Mabuse

If we did not understand already how Dr. Mabuse has influence growing stronger and stronger by the day through the illegality and secrecy of his crimes, almost like a conspiracy theory - it comes back to haunt us in this later film. Just as the title suggests, Dr. Mabuse has a 'thousand eyes' and is preying surveillance upon a woman who wants to jump from a building and kill herself before a man stops her. Whilst in the hotel, there are a number of rooms unaware and puzzling - when a reporter is murdered, a psychic is the answer the police need. But Dr. Mabuse is always one step ahead.

The Testament of Dr. Mabuse

Dr. Mabuse is locked in an asylum and refuses to talk, eventually he dies and leaves his last will to his army of henchmen to carry out one last duty. When a defector rises from the army, Dr. Mabuse seemingly returns from the grave with a haunting voice that shatters the silence. Whilst his influence is reported from beyond the grave, murders still happen in his name when he was alive and yet, was not talking to anyone at all. Proving his influence to be more powerful than speech, he then proves it to be more powerful than death. A policeman tries to get to the bottom of it, but there is another doctor in his way - a man called Baum. The testament that Dr. Mabuse wants to leave you with is one that will leave you absolutely paranoid and fearful of whoever may be watching.

Conclusion

An incredible achievement of cinema and a style that has become known as the cinematic universe in the modern day, Fritz Lang and other directors of the German modernist movements of screen show their love of this character who taunts the people around him and there is absolutely no escape from it.

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Annie Kapur

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