Shadowland, a film by Anthony Lucas

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I forget who recommended this to me but the tip was probably a result of my recent work with silhouettes on Ishbelle Bee’s book covers. Shadowland (1988) is a short student film which, for the most part, concerns the conflict between stick-figure humans and an army of giant winged insects. It’s not quite a silhouette work in the manner of Lotte Eisner since the figures and decor all show some solidity. Everything is in shadow, however, hence the title. Watch it here.

Dr Mabuse posters

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This picture of a séance in the 1920s circulates endlessly in the Tumblr labyrinth, usually without attribution so many of the people seeing it won’t be aware that it’s a still (or a set photo) from Fritz Lang’s Dr. Mabuse: The Gambler (1922). Mabuse himself originates in a novel of the same name by Norbert Jacques published in 1921, the tale of a Moriarty-like super-criminal at large in Weimar-era Berlin. Lang made three films about the character, the first two of which, Dr. Mabuse: The Gambler, and The Testament of Dr. Mabuse (1933) feature Rudolf Klein-Rogge as the sinister Doctor, an actor better known today for his role as the mad scientist Rotwang in Lang’s Metropolis (1927). Testament was banned by Goebbels for being subversive. The third film, The Thousand Eyes of Dr. Mabuse (1960), was also one of the director’s last but it managed to revive interest in the character at a time when super-criminals were coming back into vogue. Wolfgang Preiss played Mabuse in this film, and in several sequels by other directors.

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I’ve known about the Mabuse films for years, thanks in part to Lotte Eisner’s superb history of German silent cinema, The Haunted Screen (1952), yet despite this I’ve still not seen any of the films. That should change soon with the news that Eureka Video are releasing a new print of Dr. Mabuse: The Gambler on Blu-ray at the end of October, a restored version which will run for 280 minutes. The running time sounds excessive but Eisner points out that the film was originally screened in two parts: The Great Gambler: An Image of the Age, and Inferno: A Game for the People of our Age. In addition to Rudolf Klein-Rogge fixing everyone with his hawk-like glare there’s also Alfred Abel playing a weaker character than his master of the city in Metropolis. Moviemail describes Mabuse as “a criminal mastermind whose nefarious machinations are based around hypnotism, charlatanism, hallucinations, Chinese incantations, cold-blooded murder, opiate narcosis and cocaine anxiety”; how can one resist?

The posters gathered here are from a web trawl so lack the usual credits. The second film evidently had a wider distribution hence the greater quantity of posters from other countries.

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Continue reading “Dr Mabuse posters”

A Secret Wish by Propaganda

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A Secret Wish (1985). Design by the London Design Partnership.

The dark Religions are departed & sweet Science reigns
— William Blake

It’s a hallmark of musical obsession when you find yourself buying the same album over and over. Propaganda’s meisterwerk from 1985, A Secret Wish, was finally released in a definitive double-CD version this week, the fourth edition I’ve bought (after the original vinyl and two other CD releases) and this new set is easily the best of the lot.

Propaganda were always my favourites among the early acts on Trevor Horn and Paul Morley’s ZTT label: smarter than Frankie Goes To Hollywood and more musical than the Art of Noise. How could I resist another quartet of Germans from Kraftwerk’s home city of Düsseldorf, a group who one journalist memorably described as “ABBA from Hell”? The group’s first single in 1984, Dr Mabuse, came along when I’d been immersed in Lotte Eisner’s celebrated study of German Expressionist cinema, The Haunted Screen; an avant garde pop outfit devoted to the same material was just the thing I wanted to hear. Almost a mini-album, the single’s A-side was filled by an epic ten-minute song describing the character of a villainous anti-hero from several Fritz Lang films, Dr Mabuse. On the B-side there was a cover of The Velvet Underground’s Femme Fatale followed by some metal bashing and a taste of the A-side’s Schönberg-esque orchestral stabs then a return to the song. Cover versions were an important thing at ZTT, as was the idea of the 12″ single as a self-contained work, Mabuse being a prime example. All of this came packaged in a sleeve whose Anton Corbijn painting referenced another Fritz Lang film, M… It felt as though they were doing this purely for my benefit.

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Dr Mabuse (1984). Design by Anton Corbijn and XL.

The intertextual reference on this and subsequent releases isn’t surprising given the people involved. Paul Morley took a great delight in embellishing the ZTT releases with quotations—the Frankie album was probably the first chart-topping release with a recommended reading list—while band member Ralph Dörper had been with the Neue Deutsche Welle band Die Krupps prior to Propaganda, and it was his influence which gave the group the abrasive industrial edge that I found so attractive. While between groups he released an experimental EP in 1983 under his own name which included versions of In Heaven from Eraserhead and John Carpenter’s theme from Assault on Precinct 13, and it was he who chose the Throbbing Gristle’s Discipline as the demo song which the group used to catch the attention of ZTT. That cover version never made it to A Secret Wish although they did perform it live on The Tube, and a later version appeared on the remix album, Wishful Thinking. The later recording is happily included on the second disc of the new reissue.

A Secret Wish was released in 1985 and pushed further buttons of obsession for me with the opening track, Dream Within A Dream, which is Edgar Allan Poe’s poem set to music. The album artwork came liberally decorated with Morley’s signifying quotes, the one for the Poe track being the opening lines from HP Lovecraft’s The Call of Cthulhu. Yes, they really were doing this for my benefit… Two further 12″ singles appeared: Duel/Jewel was the same song presented in an “ABBA” version and a “from Hell” version: sweet and melodic versus harsh and industrial.

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A Secret Wish inner sleeve.

The third and final single, p:Machinery, expanded the short album mix to another nine-minute epic whose vision of a population enslaved to industrial technology easily invokes Fritz Lang’s Metropolis, so much so that I used to play the single whilst running scenes from the film on TV. The enormous “Polish” mix of this song has always been scarce on CD, with a Japanese release in 1988, and a later reissue (with some shoddy and superfluous remixes) in 1995. Another benefit of the new edition of the album is that the extended mix provides the climax of the second disc and sounds even more enormous, its brass fanfares accurately described in a review at the time as conjuring images of cities rising from the sea.

Also present for the first time on the new CD is Do Well, the twenty-minute Duel suite which was a cassette-only release, and a number of other previously unavailable mixes. If you have this double-CD set and the Outside World single collection from 2002 then you’ll own pretty much everything that’s great about Propaganda. A lot of pop music from the 1980s sounds horribly dated now: tinny synths, empty production and a paucity of ambition. Propaganda sound as thunderingly magnificent as they did in 1985, and still unique. It’s a shame that A Secret Wish was their finest moment, things fell apart fairly soon after. But one masterpiece will always be worth fifty Duran Duran travesties.

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