A German architect runs away with the maharajah of Eschnapur's fiancee but is caught and thrown in the dungeon, while his relatives arrive from Europe looking for him and the maharajah's brother is scheming to usurp the throne.
"Journey to the Lost City" is not a specific film by Fritz Lang but the combination of Der Tiger von Eschnapur (1959) with its sequel The Indian Tomb (1959), done in 1960 by American International Pictures.
Reporter Peter Barter gets murdered while driving to his tv station. Commisioner Kras gets a phone call from clairvoyant Cornelius who saw Barter's death in a vision. But a dark force prevents Cornelius from seeing the man behind the crime. Meanwhile the policemen concentrate their activities on the hotel Luxor. There exist too many links between the hotel and the unsolved crimes. Trevors, a rich American, rents a room in the hotel at the same time. He can prevent the suicide of the young woman Marion Menil at the last minute. But what is the reason for Miss Menil's doing? Why is she initimidated? Could it be that Dr. Mabuse, a genius in crime believed to be dead, is back?Written by
Matthias Luehr <email@example.com>
The car which Dr. Mabuse escapes in is described in the film as a large American sedan; actually, it's an inexpensive vintage (circa 1952) Chevrolet, a poor choice for Herr Doktor and an obvious sign that it's going to be wrecked. See more »
You don't necessarily need to have seen Lang's earlier Mabuse films to be able to love this one. Like in his silent spy film 'Spione', Lang creates everything that would go on to be a genre cliche - but they all had to be original once. Here we have the stolen prototype weapon - a gun that fires needle shaped bullets that travel through glass and leave very little trace of assassination; and then there's the villain's car, with its revolving number-plates. Lang was certainly a few quick steps ahead of the makers of the Bond films, and certainly on a level with Hitchcock, Powell et al when it came to commenting on voyeurism.
The plot's labyrinthine, of course, but it rattles along at such a pace and with such striking visuals that you hardly have time or the inclination to stop and worry - and it all comes clear at the end, with one or two fantastic revelations in addition to the few you expect.
If one part doesn't quite please as much as you like, it's the context it fails to reference properly. Made at such a crucial time in History by a man who had seen so much, one only wishes it had more commentary to make. Lang's career swung like a pendulum between social commentary and serial escapades - if only he'd been able to pull the two together for his final film.
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