Dr. Mabuse the Gambler is a must-have for any film scholar. It is one of Lang’s best works, and it’s hard to understand why this film is so little-known while the flashy but leaden Metropolis is considered a classic.

Sergei Eisenstein was an admirer of Dr. Mabuse the Gambler, and supposedly he obtained a copy and studied its construction. I can only take that the represent had a influence on other filmmakers around the world; it has a distinguished more current feel than any film I’ve seen from the early 20s. The amble is expeditiously (at least in the first allotment), the cross-cutting between scenes is sophisticated, there is grand attention to detail in the sets, and it rarely has the “stagy” feel that many calm films suffer from. If one had to point to one element that puts it ahead of its time, it would be its overall construction–the plot the various shots and scenes are set together to effect the tale. Dr. Mabuse the Gambler creates a sense of both time and space; many things happen simultaneously in the movie-world, and the locales we observe are not two-dimensional stage sets but rather three-dimensional spaces where we leer around corners and follow the characters from one room to the next. The only quiet filmmaker I can assume of who lavished so grand attention on creating a credible world is Erich von Stroheim, though one could argue that that filmmaker should have taken a lesson from the economy of Lang’s storytelling.

In addition to its space as a landmark film, Dr. Mabuse the Gambler is also truly absorbing, particularly the first fraction. There are car and disclose chases, riotous gambling dens, memorable bit characters, and some spacious special effects. The basic account of capable versus scandalous is compelling. Dr. Mabuse is one of the screen’s greatest villains, a shrewd megalomaniac who seems to be tormented and driven by his overpowering desires. Rudolf Klein-Rogge is truly extraordinary in the portion. Mabuse revels insanely at his conquests and explodes with fury when he is thwarted. However, though he is vulgar, he is no cartoon supervillain or two-dimensional monster; he is a fallible character, not putrid itself but rather human foul, and this is what makes him fascinating.

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The quality of the DVD is gracious to dazzling. I was thrilled with the clarity and felt that Image had done a valid job, but those who quiz every title on DVD to be as crystal-clear as a movie that was released last year will be disappointed. This is not a perfectly restored copy; there are cramped imperfections in the film, from scratches to missing frames. There are even some very minor shots missing–for example, the very first shot of the seance scene shows the circle of hands from above, and this is missing from the DVD version. However, this is the most coarse case that I well-known. In all cases the missing scraps do not affect the film as a whole; it is impartial that there are moments where you might judge that Lang had a abominable sense of continuity (and this is not the case!) . Another oddity about the copy is that at least one of the shots differs slightly from that on a copy I have on videotape. There is a scene on the DVD where von Wenk is speaking to Carozza in the prison, and the shot shows all of the two characters. On the videotape I have, the shot is a close-up from a slightly different angle. I have had the same experience with another film, The Last Laugh. On two different videotapes the same shot differs slightly.

All this being said, I HIGHLY RECOMMEND this DVD. One must remove into memoir that the film is from 1922 and is not very famous. It is not a beloved classic that someone is going to lavish a itsy-bitsy fortune into restoring to perfection. Trace too that this is a movie that was not previously available on any format, period. There was one mail-order company that offered a home-made version on video, but the quality was unpleasant at best and unwatchable at worst. It was like trying to peep the movie through a bowl of soup.

Of particular mark is that on the current DVD the film image has been shrunk so that it does not absorb all of the available plot of the television. This is because the aspect ratio of mute films was more square than the familiar 1:33 to 1 of the television set; sometimes leading to the tops of heads being cropped out when silents are transferred to video. This spot is solved on the DVD of Mabuse. And, of course, the DVD shows the movie at the honest hurry. I totally disagree with the reviewer who said that it seemed speeded-up. Some of the rush scenes seem a tiny faster than normal bustle, but I contemplate that this was a design of Lang’s rather than an imperfection of the DVD. There is also a commentary by a Mabuse scholar which, judging from the miniature I heard, is very well-informed.

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As a side price, Fritz Lang’s sequel to Mabuse, 1933’s The Testament of Dr. Mabuse (the novel German version is available only on video), is also very consuming, and it features Lohmann, the detective from M! However, The Thousand Eyes of Dr. Mabuse from the sixties (Lang’s last film, I enjoy) is unfortunately quite forgettable and I cannot recommend it.

As of June 2004 you need to wait and mediate before you purchase this DVD. In it’s favour it has a wonderful commentary by David Kalat. Against it, it’s not a complete version. It WAS the most complete available, but now a set 2 release by Eureka contains the whole film, complete and restored.
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