Dr. M

I wanted to like this and I did for what it could have been and not the sorry mess it turned out to be ..... I even enjoyed the auto smash it turned into because all the ingredients were there but didnt get used ...

Brave concept ..crap realization .... but I do love B Grade sci Fi so I got off on it for the crap it was ... If you like the Outer Limits this one is for you sorta like "the boy and his dog" that thought too much and tried too hard ... woof

To begin with, I vividly recall reading the mixed newspaper review of this one when it was surprisingly released locally; needless to say, I missed it at the time and, until earlier this year, never again did I have the opportunity to check it out. In fact, it turned up – alas, dubbed – on late-night Italian TV and, though I did record it, I recently opted to acquire the English-language version…which is just as well, since two deleted scenes were included in the package! Anyway, knowing the flak the film has received (which was practically universal), I really did not know what to expect from it. However, I must say that I liked it quite a bit, while acknowledging it cannot hold a candle to any of Fritz Lang's movies revolving around the influential figure of criminal mastermind Dr. Mabuse (here, the name has even been changed to Marsfeldt!). Incidentally, the actor most identified with the role (in a revival series of 1960s low-budget efforts) i.e. Wolfgang Preiss appears here as the Chief Of Police!

Perhaps the film does at times feel like one of the many German TV cop shows which have flooded the market from the 1970s and still continue to this day, but there is no denying the grip of the narrative (which tried, but unfortunately failed, to be prophetic when the Berlin Wall got torn down only months before the picture debuted!). Equally striking is the imagery pertaining to mass suicide (the most disturbing being a child waiter in full view of the patrons at a swank and busy restaurant), media manipulation and wasted disco-crazy youth (appropriately bleak though, I concede, not all that original).

The intense performances are also a plus: particularly Alan Bates as the outwardly charming but obviously sinister Dr. M and Jan Niklas as the disenchanted yet dogged cop on his trail of terror, though heroine Jennifer Beals proves no mere purveyor of eye candy either. Indeed, Bates' occasional resort to hamminess (especially when he passes himself off as a psychedelic guru at a desert holiday resort and spouting his nihilistic credo to an incredulous, disgusted Beals and Niklas during the climax – set in the Doctor's obligatory 'control room' – all the while connected to a life-support system!) are perfectly in keeping with the fanciful goings-on. The eclectic cast also includes the likes of Euro-Cult regular William Berger, future Italian TV presenter Daniela Poggi and former "Brat Pack"-er Andrew McCarthy in small roles.

In the end, while it may fall short of Chabrol's best work, the film nonetheless makes for a thought-provoking, stylized and yet entertaining parable on our less-than-reassuring times (incidentally, its suggestion/fear of the millennium as the 'end of days' is pretty amusing at this juncture).

The only negative I can come up with on this is that it is kind of slow. I felt the cheapness just adds to the charm. Should be watched on VHS for best effect.

The actors are good all across the board. Jennifer Beals is a beauty. The mood is depressive and dark with nice music. The location and feel of the architecture and settings are so very cool. Kind of a state controlled European feel going on. The story is interesting and thoughtful. I thought the scenes all fit together in a great way with the sounds and such making this one really great. The repetition of seeing screens of Beals face talking about time all through the film makes it a very trippy, cool film.

I will be watching this one over and over. Awesome film!

A Frenchman directing mostly Germans speaking awkward phonetic English--that's just one of the problems here, but it's a big one, since so many of the actors here stiltedly handle dialogue that would be problematic under ideal circumstances. The only person here who seems to have a firm grip on what he's doing is Alan Bates, who chooses to play his media-mogul villain role for arch comedy. As a result, he seems to be in a different movie, so at least this one doesn't embarrass him like the luckless other performers.

Jennifer Beals has the right droning, narcotic quality in scenes where she's the hypnotic face/voice of sinister advertisements, but elsewhere she has to rely on her acting abilities, which are limited as usual. Jan Niklas has apparently been excellent elsewhere, but he's dreadful here as the noirishly cynical investigating hero. Andrew McCarthy has exactly one brief scene as an assassin--he does get special billing, but it's neither a cameo or supporting role, just a straight-up bit part (I hope he fired his agent after this).

Many people have said this film doesn't make much sense. and I'll have to take their word for it--it's so turgid I might well have not paying attention if/when there were elements that did somehow explain things. There's an inexplicable suicide epidemic in a faintly futuristic Berlin. Like Francois Truffault before him (in "Fahrenheit 451"), Chabrol has no particular feel for sci-fi or dystopian fantasy, despite OK production design. He doesn't even try to build suspense around the possibility of sudden violent death at any moment, and the deaths when they occur are indifferently staged.) There are ridiculous scenes in a quasi-fascist quasi-punk club where everyone dresses in designer black; they dance like performance artists trying cluelessly to imitate a mosh pit. There's also one of those hysterically pretentious sex scenes in which naked gyrations (Beals no doubt using a body double) are intercut with archival footage of nuclear explosions, war crimes, etc. Oh, the humanity. Things get even sillier when the protagonists go to a bizarre "resort"--hence the retitling "Club Extinction"--that's like Club Med meets Jonestown meets "The Prisoner."

Unfortunately, the whole film is so misconceived and lifeless there's little camp entertainment value to its mess. One among "Dr. M's" many misfortunes is that it was filmed in 1989, and the script makes much of tensions between Wall-separated East and West--but of course that division had collapsed by the time it came out.

I quite liked this movie, and intend to watch it a few more times in order to peel off a few more of the layers of meaning Chabrol has woven together. I think most people would find the movie incomprehensible if they didn't know that this is a quasi-remake of Fritz Lang's 1922 masterpiece, "Dr. Mabuse, The Gambler". The "Dr. M" of the title is Chabrol's way of indicating that we are once again in the presence of the bad doctor - not just *a* villain, but THE villain, the ultimate bad guy, genius and madman. Marsfeldt/Mabuse is a pure nihilist in this outing; he's not trying to conquer the world, but to destroy it. His total contempt for humanity drives him to eradicate life wherever he can; he doesn't even bother with Hitler's excuse that he's clearing away the deadwood to make way for a master race. Marsfeldt wants nothing but death and destruction for their own sake. As usual, the plans of the criminal mastermind are disrupted by emotion - in this case, Marsfeldt's weakness for his adopted daughter, Sonja, which prevents him from eliminating her when she becomes a danger to his plans. Alan Bates plays the avuncular father-figure with a compelling creepiness; on the surface he's kind and concerned, but you can't help noticing that every time he touches her, his fingers seem to sink into her flesh like claws, and he kisses her with far too much intensity, leading Sonja to slightly shrink away every time he approaches her. His performance is the best, but Benoît Régent is also good as the high-strung Stieglitz, trapped in a job that's killing his soul, yet unable to disappoint his friend and partner Hartman by leaving. In the end, everyone is guilty to some extent, and only by acting and refusing to yield to despair are Sonja and Claus able to thwart Marsfeldt's plan.