Archive for the ‘Fritz Lang’ Category

Hangmen Also Die

March 9, 2013

Hangmen_Also_Die_1943_poster

Hangmen Also Die is an entirely fictionalized account of the assassination of Reinhard Heydrich, one of the leaders of Nazi Germany. This 1943 film was directed by Fritz Lang, from a screenplay by John Wexley, based on a story by Bertolt Brecht and Lang. This was the only Hollywood film that Brecht worked on for which he received an on-screen credit. Lang had originally intended to have Brecht write the screenplay, but he apparently changed his mind due to aesthetic, political, and personal differences between himself and Brecht that made it increasingly difficult for them to work together.

The film is set in German-occupied Czechoslovakia during World War II. Svoboda (Brian Donlevy) has just assassinated Heydrich, and he is fleeing down a street. Mascha (Anna Lee) sees him. When the Gestapo ask her where he went, she points them in the opposite direction. Svoboda, who is hiding nearby, observes this. Desperate for a place to hide, he follows her to her home, where he manages to persuade her to take him in, even though he knows that by doing so, he is placing her and her family in danger of retaliation by the Gestapo.

Lang and Brecht did not get along well when they were working on the story for Hangmen Also Die. Brecht thought some of Lang’s story ideas were unbelievable. He complained, for example, of one scene in which Lang had the leader of the Czech resistance evade the Gestapo by hiding behind a curtain. (I found this hard to believe myself.) Yet Lang was right to reject Brecht’s idea that the mistakes of the underground “are corrected by the broad mass of the people”. Brecht’s, influence, however, can perhaps be seen in the fact that one of the film’s chief villains is a Czech collaborator who is also the wealthy owner of a beer brewery. And there is some dark Brechtian humor in the moment when, in the midst of interrogating someone, a Gestapo officer pauses to squeeze a pimple on his face. (That’s something you don”t often see in Hollywood movies.)

John Wexley and Hanns Eisler (who composed the music) were both later blacklisted. Eisler was eventually deported because of his left-wing political views. Brecht left the country after being questioned by the HUAC.

Despite its contrived and melodramatic moments, Hangmen Also Die does touch upon some complex moral and political questions, such as whether terror tactics, like assassinations, are ever a good idea. In the film, the Gestapo begin carrying out random executions in retaliation for the assassination. What happened in real life was even worse. The Nazis destroyed the Czech city of Lidice, killing most of its inhabitants or sending them to concentration camps.

Although it is not one of Lang’s best films, Hangmen Also Die is nonetheless one of the more interesting films to come out of World War II.

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Dr. Mabuse

November 11, 2012

Fritz Lang made three films about the super villain, Dr. Mabuse. This character was clearly inspired by Conan Doyle’s Dr. Moriarty, as well as by Allain and Souvestre’s Fantômas. Like these two, Mabuse heads a criminal gang that carries out daring and elaborately planned crimes. (And, like Moriarty, Mabuse is a scientist.) Like Dr. Caligari, he is an expert hypnotist. Mabuse, however, has the added twist that he has the ability to perform telepathic hypnosis, making people do things against their will, sometimes simply by looking at them, even when they have their back turned on him. The character of Mabuse was created by the novelist, Nobert Jaques, but he is best remembered for the Fritz Lang films in which he appears.

The four-hour Dr. Mabuse the Gambler was released in 1922 in two parts. Mabuse (Rudolf Klein-Rogge) uses his hypnotic abilities to swindle wealthy men at card games. With the riches he makes, Mabuse plans to make himself the most powerful man in the world. His activities arouse the suspicions of the courageous, but not overly bright, State Prosecutor Wenk (Bernhard Goetzke). The wheels of justice grind slowly, but they eventually catch up with Mabuse. At the end of the film he goes mad, and the police take him away to an asylum.

In The Testament of Dr. Mabuse (1933), the good doctor has been treated at the asylum by Prof. Baum (Oscar Beregi, Sr.). Through a special form of hypnosis, Mabuse begins to control Baum’s mind. Baum then forms his own criminal gang. He identifies himself to his henchmen, who are not allowed to see him, as “Dr. Mabuse”. After Mabuse dies, he seems to completely takeover Baum. Whereas, in the first film, Mabuse’s aims were pecuniary, Baum/Mabuse shows no interest in making money. His crimes are committed merely for their own sake. This time he is opposed by Inspector Lohmann (Otto Wernicke), who is a little sharper than State Prosecutor Wenk. Lohmann foils Baum/Mabuse’s plan to release a cloud of poison gas over Berlin. At the end of the film, Baum/Mabuse voluntarily commits himself to his own asylum.

The 1000 Eyes of Dr. Mabuse (1960) was the last film that Lang made, before he retired due to failing eyesight. At the beginning, we are told that Mabuse died in 1932, yet a criminal named Mabuse is now operating in Berlin with a new gang. It seems that the spirit of Mabuse lives on and has occupied another body. (I won’t say the name of the actor who plays him, since part of the suspense of the film is that it is unclear which character is actually Mabuse, although the cover of the DVD that I have effectively gives it away.) Mabuse controls the Luxor Hotel in Berlin. There are cameras installed in every room, which he uses to acquire information he can use for crimes. He has set an elaborate trap for Henry Travers (Peter van Eyck), an American industrialist. His aim is to take over Travers’s company so he can build a stockpile of nuclear weapons with which to take over the world. (Yes, that’s right, the hero of this film, Travers, is a nuclear arms manufacturer. That was the Cold War for you.)

It has often been argued that Dr.Mabuse the Gambler anticipates Hitler. At times, Mabuse does express a megalomania that is strikingly similar to Hitler’s. It seems to me that a more plausible explanation is that Mabuse represents a type of cynicism that was common in Europe (and particularly in Germany) following the horrors of the First World War. Hitler’s Weltanschauung happened to be an extreme form of this cynicism.

Mabuse can also be viewed as a Nietzschean, particularly in his attitude towards women. At one point he cruelly tells his lover that there is no such thing as love, only desire. Lang’s biographer, Patrick McGilligan, claims that this was Lang’s own view, even though the screenplay was actually written by Lang’s wife, Thea von Harbou. This raises serious questions in my mind about the reliability of McGilligan’s biography.

In The Testament of Dr. Mabuse, Baum/Mabuse speaks of creating an “empire of crime”. This reportedly prompted Goebbels to ban the film, because he feared that people would see it as a criticism of the Nazis. (It didn’t have its German premiere until 1961.) This makes me wonder: did Hitler, Goebbels, and other Nazis see themselves as creating an “empire of crime”? If so, what does this tell us about the historical conditions that created the Nazis?

In hindsight, there is something eerie about the fact that Mabuse tries to use poison gas as a weapon of mass murder. This is no doubt a coincidence, but one can’t help noting it.

In The 1000 Eyes of Mabuse, made after the Second World War, Lang makes an explicit connection between Mabuse and the Nazis. We are told that the Luxor Hotel was used by the Gestapo, and Mabuse employs secret rooms and cameras that they used. No doubt this idea came to Lang in response to the enormity of what had happened. It makes this film an unsettling diminuendo to what is perhaps the greatest film trilogy ever made.