After a detective is assaulted by thugs and placed in an asylum run by Professor Baum, he observes the professor's preoccupation with another patient, the criminal genius Dr. Mabuse the hypnotist. When Mabuse's notes are found to be connected with a rash of recent crimes, Commissioner Lohmann must determine how Mabuse is communicating with the criminals, despite conflicting reports on the doctor's whereabouts, and capture him for good.
After a detective is assaulted by thugs and placed in an asylum run by Professor Baum, he observes the professor's preoccupation with another patient, the criminal genius Dr. Mabuse the hypnotist. When Mabuse's notes are found to be connected with a rash of recent crimes, Commissioner Lohmann must determine how Mabuse is communicating with the criminals, despite conflicting reports on the doctor's whereabouts, and capture him for good.
The film's dominant theme is a stark warning against the rise of a destructive, nihilistic, and totalitarian ideology, which director Fritz Lang explicitly intended as an allegory for Nazism, thus aligning with an anti-authoritarian, left-leaning critique of extreme right-wing power.
This 1933 German film features a cast and narrative typical of its era, primarily showcasing traditional identities without any visible diversity or intentional recasting of roles. The storyline focuses on crime and psychological themes, not engaging with or critiquing traditional identities from a modern diversity, equity, and inclusion perspective.
The Testament of Dr. Mabuse, a crime thriller, does not feature any identifiable LGBTQ+ characters or themes. The narrative primarily focuses on the psychological battle between a detective and a criminal mastermind, and broader social commentary on power and manipulation, without incorporating queer identities or experiences.
The movie does not contain any action or adventure elements.
The film is a direct sequel to "Dr. Mabuse the Gambler" (1922) and continues the story with established characters. There are no instances where a character's gender deviates from their canonical portrayal in the source novels or previous film.
The 1933 film features characters consistent with their portrayal in the original source material and the 1922 predecessor, all of whom were depicted by white actors. No character established as one race was portrayed as a different race.
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