It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

By the time the dramatic fireworks start popping off, each one feels earned.

Fritz Lang's "Die 1000 Augen Des Dr. Mabuse" aka. "The Thousand Eyes Of Dr. Mabuse" of 1960 is, after 27 years, the third movie on the arch-criminal Dr. Mabuse, the first one made after World War 2, and Lang's last movie as a director. Although not brilliant in any of its aspects, this is a very well-acted, highly entertaining and original mystery that maintains its suspense and stays interesting throughout its 100 minutes, as it cleverly bears more than one surprise.After a reporter is murdered on his way to a TV station in Wiesbaden, Comissioner Kras' (Gert Fröbe) investigations lead him to a local luxury hotel. As the investigations are dragging on without progress, Kras is offered the help of a mysterious blind psychic...The acting in "The 1,000 Eyes Of Dr Mabuse" is generally very good, especially Gert Fröbe, who would play the arch villain "Goldfinger" in the greatest James Bond movie four years later, delivers a great performance as the rough-and-ready police commissioner Kras. Further great performances come from Wolfgang Preiss, Dawn Addams, and Werner Peters, who plays and obtrusive insurance salesman. The movie remains interesting all the time, as there's one little twist after another, and just when you think that something was predictable, another twist is coming up. One noticeable quality of this movie is that director Lang, who had fled to the United States in the years of Naziism, dares to mention the Nazi times in the movie, which (allthough only mentioned casually once or twice) was more than rare in 1960, a time when popular German movies usually remained as silent as possible about this "unpleasant" subject."Die 1000 Augen Des Dr. Mabuse" is not one of Fritz Lang's masterpieces, but it definitely is a highly entertaining and clever mystery, that should not leave anybody bored. Recommended!

The 1,000 Eyes of Dr. Mabuse represents my first venture into the world of Dr. Mabuse. Pigeon-holing this movie into a single genre is difficult. It's one part traditional krimi, one part spy movie, and one part thriller. Combined, these elements create, at least for me, a one of a kind experience that I really can't compare with much of anything I've seen before. I refuse to give the normal plot synopsis. Any plot details or other information would ruin the many twists and surprises found in The 1,000 Eyes of Dr. Mabuse. Fortunately for me, I went into the movie completely blind, knowing very little of what to expect. I would suggest not even looking over the IMDb page as vital information is presented on Mabuse's identity. The acting is good from a cast that, even if I didn't know all of the names, I recognized from years of watching WWII movies. Actors like Gert Forbe, Werner Peters, and Peter van Eyck give sold performances. Fritz Lang's direction is as competent as ever. The 1,000 Eyes of Dr. Mabuse has style to burn. Considering the movie was made more than 45 years ago, it still feels remarkably fresh. The mystery of who Dr. Mabuse is and what his fiendish plan is all about are wonderfully compelling and really pull you into the movie. The jazzy score is impossible to get out of your mind and fits well within the film. In short, it's movie like this that keeps me excited about exploring "new" cinema. If all of my first time viewings could be this entertaining, I would be very happy indeed.If The 1,000 Eyes of Dr. Mabuse has one weakness, it's the slow pace of the second act. The pace grinds to a crawl as the police begin their investigation into the events taking place. While it's fairly interesting and Gert Forbe is a good enough actor, there's not enough action in this portion of the film when compared with what came before and what comes afterward. A little more pep in the middle third of the film would have made it a real winner with me. It's a minor issue I have with the film, but it's an issue nonetheless.As I wrote previously, The 1,000 Eyes of Dr. Mabuse is the first Mabuse movie I've seen. After my wonderful experience with the movie, it won't be the last.

The last film that Lang directed, this was to be his triumphant return to Germany after having fled the Nazis in the late 1930's. Unfortunately, it was brutally cut and re-edited when it was released here, so it never gained the popularity and acclaim that it deserved. It's the story of an American businessman in Berlin who is drawn into a secretive world of conspiracies, spies, and murder. Everyone in this movie is lying to him, with the single exception of the police inspector, played by a pre-"Goldfinger" Gert Frobe. But it's also the movie that effectively laid down the basic rules of the modern spy thriller: the handsome and well-dressed leading man who is equally at home with a gun, a girl, or a drink in his hand, the megalomaniacal and shadowy villain with plans for world domination, the gadgetry and surveillance, the hidden lair, etc. Don't be put off by the fact that it's a foreign, black and white movie – this is an exciting story told by a master director who has been unforgivably forgotten.

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.