This film is undeniably a challenging one to assess. On the surface, it appears as a straightforward and unremarkable mockbuster of the fandub variety-a genre not yet officially defined for the big screen. It draws its inspiration from Fritz Lang's final work, 'The 1000 Eyes of Dr. Mabuse.' If you don't speak German, and especially the Swabian dialect in which it's dubbed, this film might not be worth your time. Subtitles wouldn't be of much help either.
However, upon closer examination, it becomes evident that the singular individual behind this project left no stone unturned. The film brims with subtle alterations to the original source material, as well as an abundance of intricate and clever details that leave one in awe. Without a doubt, this film stands as a testament to artistic ingenuity. Yet, it's not without its flaws, and a nagging sense persists that its imperfections are rooted in Lang's '1000 Eyes.' So, why opt for this particular film? Let's delve into that question.
Dominik Kuhn, the mastermind behind this film, has ascended to a modest level of recognition in Germany for his unique brand of creative work. His signature involves crafting short fandubs-taking original content and entirely reimagining it with fresh dialogue in Swabian dialect. In real life, Kuhn is a filmmaker, and in 2006, he commenced sharing his uproarious creations on YouTube under the alias 'Dodokay.' It didn't take long for his videos - which he affectionately dubs 'Dodokay Remix' - to become viral sensations.
It's important to note that the humor in his films may elude those unfamiliar with the German language, let alone the distinct Swabian dialect he exclusively employs. Kuhn's exceptional talent shines through as he lends his voice to all characters, including the female roles (and for the skeptics, there's a 'making of' feature on the Blu-Ray and DVD to prove it). His ability to seamlessly blend technical and artistic prowess with humor and incisive social commentary places him among the best in the field. He has evolved into a full-fledged comedian in his own right, complete with live performances, though these are, of course, confined to Germany. Given his trajectory, it was only a matter of time before he graced us with a full-length fandub.
Referring to '1000 Glotzböbbel' as merely a fandub barely scratches the surface. As a devoted enthusiast of 'Die 1000 Augen des Dr. Mabuse', Fritz Lang's original film that serves as the foundation for this creation, I can assure you that Kuhn has left no stone unturned in crafting something entirely fresh. The film not only boasts a completely revamped soundtrack, encompassing foley, sound effects, and music, which imbues it with a new, humorous narrative, but it has also undergone a comprehensive re-edit and a transformation into Cinemascope. Remarkably, Kuhn achieves all of this without erasing the original's distinctive ambiance.
Undeniably, the concept isn't entirely novel. Since the dawn of the internet, numerous claims have surfaced regarding the invention of the fandub. Most of these claims are inaccurate. Arguably, the first fandub can be attributed to Woody Allen with his 1968 creation, 'What's Up Tiger Lily.' The French adopted a similar approach in 1973 with 'La dialectique peut-elle casser des briques?' using the Japanese film 'Tang shou tai quan dao.' The resemblance to Woody's work is undeniable. The Russians also ventured into this territory with 'Nochnoi Bazar', based on 'Nochnoi Dozor', although it was exclusively on DVD. Afterward, there seemed to be a lull, at least in terms of theatrical releases, until Dodokay's film.
Let me reiterate: whether one enjoys the film or not, Dodokay has refined this approach to perfection. I had the privilege of watching it in the theater in 2018, and the other day I re-wachted it for the second time on Blu-Ray. On each occasion, I was astounded by the meticulous attention to detail, a facet that fully unravels if one possesses an intimate familiarity with the original material. Yet, this leads us to one of the film's two primary drawbacks: A) It grapples with the limitations of the original, prompting one to question Kuhn's choice of source material, and B) Translating this principle from YouTube shorts to a feature-length film was inherently - and predictably - challenging.
I recall stumbling upon a 2018 review of the film in a German newspaper, written by a well-known movie critic who, quite frankly, was a notrious know-it-all and hater of filmmakers. In that review, the critic contended, "Kuhn's version has no more inner logic compared to the original." However, the reality is quite the contrary: Kuhn's rendition exudes a far more logical and coherent structure than Lang's original. I'm not alone in my assessment that 'The 1000 Eyes of Dr. Mabuse' is one of Fritz Lang's lesser works, if not his weakest. It feels like a convoluted muddle, leaving one with the lingering suspicion that external forces or studio interference contributed to its underwhelming narrative quality (you can read my review on IMDB).
Dodokay, on the other hand, managed to craft a vastly more satisfying version. His approach isn't rooted in mockery of the original; quite the opposite. It's as if he channeled Fritz Lang's spirit, and one can't help but speculate that this is what the film might have resembled had Lang been afforded the opportunity to create a director's cut.
Setting aside personal preferences regarding the film, the execution is so impeccable that you not only forget you're listening to the voice of a single individual but also that you're watching a fandub. Your brain requires a gentle nudge every ten minutes to remind you of these facts. His voice acting transcends the standard German dubbing fare. It's evident that he meticulously reimagined the entire sound design (the credits affirm that he did this himself), resulting in a plethora of auditory Easter eggs. The beeps from Mabuse's basement blast door are plucked from 'Space: 1999,' while the background ambiance in Gekeler's room echoes 'Alien' and 'Blade Runner,' among others. Oh, and the score is an original composition by a talented individual named Dennis Le Rose, who, I'm confident, we'll be hearing more from in the future.
The humor in the film is undeniably amusing, provided you possess a grasp of the German language and an appreciation for Swabian references. There's room for improvement, but I'll return to that point. The narrative, completely distinct from Lang's original, follows a story in which the Swabians invent the internet, and one nefarious character seeks to harness it for world domination, flooding it with 'Maultaschen,' the quintessential Swabian dish. Dominik Kuhn interweaves numerous intelligent references to the modern world and societal themes. He reimagines the traditional damsel in distress as a strong, self-reliant character, all the while offering a critique of social media, the very platform that catapulted him to fame.
The comedy could have been elevated, but the original film's narrative timing undoubtedly plays a role in this regard. Kuhn undertook substantial re-editing and even introduced new sequences he shot himself, cleverly incorporated to compensate for elements absent in Lang's original, such as establishing shots and reverse angles.
So all this prompts a pressing question: why did he opt for this flawed source material? I grant it an 9 out of 10 because I can't shake the feeling that there may have been superior options for his inaugural venture. However, as he mentioned in an interview, securing a genuine feature film for dubbing was a challenging endeavor, and he seized the 'Mabuse' opportunity.
Nonetheless, what Kuhn has achieved within the confines of this film and his franchise is nothing short of impeccable. Despite being a dub, Dominik Kuhn has demonstrated his prowess in filmmaking. I genuinely wish this film garners success and paves the way for Kuhn to tackle even greater challenges. One can only imagine what he would accomplish with a more fitting film (picture a Bond movie ☺) or, better yet, with his original material. Regrettably, due to its obscure language, this film is unlikely to transcend its status as a clever, witty, and technically flawless experiment in terms of sheer audience numbers. But make no mistake, it stands shoulder to shoulder with 'Dead Men Don't Wear Plaid,' and, when history is just (it's not), all the inevitable international imitators will undoubtedly cite it as their benchmark. Don't be deceived: quite simply, this is a work of genius, irrespective of personal taste or one's inclination toward the film.
1 out of 1 found this helpful.
Was this review helpful? Sign in to vote.
Permalink
