IMDb > The Testament of Dr. Mabuse (1933)
Das Testament des Dr. Mabuse
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The Testament of Dr. Mabuse (1933) More at IMDbPro »Das Testament des Dr. Mabuse (original title)

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The Testament of Dr. Mabuse -- (1932) Rudolph Klein Rogge, Oskar Beregi, Camilla Spira, Theodor Loos. Directed by Fritz Lang. Another horror classic. Truly one of the best 'mad doctor' movies ever made. This is the supernatural fantasy about the evil Dr. Mabuse, who terrorizes a German city. Not to be missed. From 16mm.

Overview

User Rating:
7.9/10   7,978 votes »
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Director:
Writers:
Fritz Lang (writer)
Norbert Jacques (characters)
(more)
Contact:
View company contact information for The Testament of Dr. Mabuse on IMDbPro.
Release Date:
1952 (USA) See more »
Genre:
Tagline:
Fritz Lang's Meisterwerk. Der Gewaltigste Film der Gegenwart. (Fritz Lang's masterpiece. The most tremendous film of the present.)
Plot:
A new crime wave grips the city and all clues seem to lead to the nefarious Dr. Mabuse, even though he has been imprisoned in a mental asylum for nearly a decade. Full summary » | Add synopsis »
User Reviews:
Viewer Possession See more (56 total) »

Cast

  (in credits order)

Directed by
Fritz Lang 
 
Writing credits
(in alphabetical order)
Norbert Jacques  characters
Fritz Lang  writer
Thea von Harbou 

Produced by
Fritz Lang .... producer
Seymour Nebenzal .... producer
 
Original Music by
Hans Erdmann 
Walter Sieber (uncredited)
 
Cinematography by
Károly Vass  (as Karl Vash)
Fritz Arno Wagner 
 
Film Editing by
Conrad von Molo 
Lothar Wolff 
 
Art Direction by
Emil Hasler 
Karl Vollbrecht 
 
Costume Design by
Hans Kothe 
 
Makeup Department
Franz Siebert .... makeup artist
 
Production Management
Wilhelm Löwenberg .... production manager
Gustav Rathje .... unit manager
 
Art Department
Walter Schulze-Mittendorff .... sculptor
 
Sound Department
Adolf Jansen .... sound
James G. Stewart .... dubbing sound (1952)
Conrad von Molo .... sound editor
 
Special Effects by
Ernst Kunstmann .... special effects
 
Camera and Electrical Department
Werner Krien .... assistant camera
Walter Schulz .... gaffer
 
Editorial Department
Gregg C. Tallas .... additional editor (1952 version)
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Das Testament des Dr. Mabuse" - Germany (original title)
"The Crimes of Dr. Mabuse" - USA (dubbed version)
See more »
Runtime:
122 min
Country:
Language:
Aspect Ratio:
1.20 : 1 See more »
Sound Mix:
Mono (Tobis-Klangfilm)
Certification:
Argentina:16 | Canada:G (Quebec) | Finland:K-16 (1998) | Finland:K-18 (1952) | Finland:(Banned) (1933) | Germany:(Banned) (1933-1945) | Netherlands:18 | Singapore:PG | South Korea:15 (2006) | Spain:13 | Sweden:15 | Sweden:(Banned) (1933-1952) | UK:12 (2003) | UK:A (1934) | USA:Not Rated | USA:TV-PG (TV rating) | West Germany:16 (nf)
Filming Locations:

Did You Know?

Trivia:
Banned by Nazi Propaganda Minister Joseph Goebbels in 1933 for its subversive nature and the possibility that it might "incite people to anti-social behavior and terrorism against the State".See more »
Goofs:
Continuity: Hofmeister supposedly scratches Mabuse's name in a window pane of his apartment with a ring, but Hofmeister is not wearing any rings when Division 2-B enter his apartment.See more »
Quotes:
Kriminalkomissar Lohmann:[during a shoot-out] I'm getting fed up with this!See more »
Movie Connections:
Spin off from M (1931)See more »
Soundtrack:
Die Walküre (The Valkyries)See more »

FAQ

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10 out of 12 people found the following review useful.
Viewer Possession, 11 October 2008
Author: tedg (tedg@filmsfolded.com) from Virginia Beach

(This comment is on the fully restored Criterion edition.)

I see that my comments on the Mabuse films have been deleted. There was an IMDb era when any offended reader could exact revenge by successfully complaining of scores of comments. But I guess that's apt for the aura of this film, its history of being suppressed and its themes.

I find watching Lang movies to be frustrating. His most celebrated films: "Metropolis" and "M" don't resonate with me as they do with others. Even though they have effective scenes, they are effective not because they are cinematic, but because they are masterful stagecraft. After Lang went to Hollywood, claiming this to be anti-Hitler, his films turned mechanical.

It was only with this project that he hits my sweet spot, where his attentions are turned to all the elements of the cinematic art. This is whole, and innovative in every element. Others may find the many plots overloaded and in some cases turgid. But I think the density of story is essential to the elegant narrative tricks that this uses - all of them rooted in the film as film.

We have, possibly for the first time, non-linear narrative designed in a way to confuse the viewer so that we are inserted as detective, actively engaged in watching merely to make sense of what we see. The thing is envisioned as a whole with many reflections, many cycles, many connections between scenes and jumping among scenes. Images, sounds, ideas, characters contrast with and merge with each other. Its a tight fabric with so many junctions we can navigate as we wish, or as we have skills.

Yes, there are ordinary pleasures, too: amazing effects shots, one of the best chase scenes ever filmed, some very fine use of grime. But they re merely incidental to the way that this symphony is constructed and executed. This is one of the few films in my experience that gets bigger the more you learn about its provenance: the infidelities between the filmmaker and his screenwriter wife; the business with Hilter, much obfuscated by later Lang claims and the notion that he would do so. The original novel, The previous and subsequent Lang Mabuse films and their failings, indeed the breakage of his career. The many incarnations of this film on its way to us.

The way it overtly is written to influence, containing a story about writing that influences. The way it deceives on the screen, containing a story about deception behind a "screen."

The sex, as it penetrates the whole thing without ever being shown. The fact that although you can see it as having historical significance, you can still after 75 years see it as a modern, immediately effective experience from a man that for one year actually mattered. Still does.

Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this.

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