The Crimes of Dr. Mabuse, Directed by Fritz Lang

(Robert) Masseo Davis
The Crimes of Dr. Mabuse


The Crimes of Dr. Mabuse, Directed by Fritz Lang

Rating: 4/5

In the early 1950’s, director Fritz Lang heads off the production for the film
The Crimes of Dr. Mabuse, which is noted as one of the last German Expressionist films. The film fulfills the criteria for being classified, as a German Expressionist film for it is a discussion regarding the German people and the powers that be during the Nazi Regime.
The Expressionist movement uses visual devises to demonstrate emotional responses to a reality of the world the film was built within. There are many shots in the film that both visually and contextually demonstrate that the film can be categorized as a German Expressionist film.
Shot #1, is a close up (CU) with only the face of Dr. Mabuse in the center of the frame. The film visually and contextually explains that the image is actually the ghost or a mental projection of Dr. Mabuse’s face. The background is black and nothing else. The left of his face is almost over exposed making the image appear ghostly white, and very much not of this world. The right of Mabuse’s face is in shadow. Strong Key lighting from the left seems to be utilized allowing for the lighting to have high contrasting areas of light and shadow. This effect is known as chiaroscuro an early expressionistic term, which came into being as an early painting technique.
Mabuse’s eyes are monstrously large making his face seem alien, also emphasizing his power, similar to visually representing an all seeing eye.
In the shot Mabuse is in the middle of a monologue and he recites the line “…that is the moment when he turns to the superman…” This monologue of Mabuse’s continues on throughout the scene holding the scene together.
There is a simple/ hard cut coupled with a sound bridge of both Dr. Mabuses monologue and eerie music that has been playing throughout the duration of the scene. This cut allows for the audience to say in the moment and not become confused by possible time lapses that other types of cuts would imply.
Shot #2, is a wide shot (WS) of Dr. Baums office the shot contains both on the left of frame Dr. Baum, and a transparent image of Dr. Mabuse on the right of frame. The two figures are sitting across from one another separated by Dr. Baums desk. Mabuse continues his monologue with “ …so the moment has come and now is the time for action…”
The Key lighting seems to be coming from an over exposed desk lamp in the middle of the room on Baum’s desk, for light radiates out from that point.
The art direction of this scene includes a shelving structure in the background with skulls on it and dark curtains. There is the desk separating both Dr’s; this desks contents are the Key light desk lamp, scattered stacks of white papers, and small non- distinguishable figurines.
The staging of the scene is interesting because it suggests multiple shots that are ultimately edited together. In the beginning Dr. Mabuse is sitting in the chair opposite Dr. Baums as if he were a client/ patient of his. However his voice is the one, which is resonating through the room as if it were a part of the films soundtrack. The truth is neither of the Dr.s mouths move but we here Mabuses voice. Mabuse stands up out of himself allowing for two images of Dr. Mabuse to be seen on screen like a clone. That image fades away and reappears standing behind Dr. Baum who is still looking the original Mabuse sitting in the chair. The mabuse who is standing behind Dr. Baum
Reaches over and picks up a section of the papers on Baums desk and places them in front of Dr. Baum who then looks at them. Dr. Mabuse takes a step forward and sits down in the exact same way Dr. Baum is and when he does both Mabuses disappear giving the illusion that they have fused with Dr. Baum and ultimately forced him to become Dr. Mabuse, like he was possessed. Mabuse then delivers his final line for the scene, “…. I can permit no delay…” This shot is interesting because it’s technically there shots which are nothing but a huge graphic match, organized in the editing room. The audience however perceives all three shots as a single shot because the camera never moves.
These “two” shots are not the only shots that can be classified as examples of German Expressionistic filmmaking because they are just repeated visual concepts that are executed throughout the film.