Impresionante película de Fritz Lang. Una entretenida mezcla de romance, aventura e intriga. Quizás abarca demasiadas lineas narrativas, pero en general es muy disfrutable. No se equivocaba Chabrol al comentar la fuerte influencia que este film tuvo en el cine de Alfred Hitchcock.
I DESPERATELY want to give this a higher score as it possesses some of best moments of any Lang film including a bold and striking opening and a great villain. But therein lies the issue. Just as a hero is only as good as his nemesis, the opposite is also true. Never in my life have I seen such a boring main character attached to such an obviously great film. He is surrounded by greatness, but he is a complete void.
2004 restoration. Essential silent cinema. While not quite up to the standard set by Lang's previous couple of films Spies is an exciting and adventure filled romp which keeps the viewer both entertained and on the edge of their seat throughout. Lang's visual language even on a more moderate budget here is stupendous. An early fore runner for a genre to come.
Not as compelling as Lang's Metropolis (what could be?), and the first half lags a bit, but still entertaining, even with a solid, yet abrupt, climax. Great to see the spies everywhere, doing their nefarious works, in various ways. In this world, your paranoia is real, and there IS someone always looking over your shoulder, or is ready to disrupt or sabotage your plans. Add a real twirling moustached villain, too!
"I have the film negatives", says the bad guy to try and blackmail one of his spies. Twist after twist, we are lead to suspect everyone. There's an almighty, all-seeing individual who controls all his spies (or should I say actors?) from a distance; this guy will have, by all means, have the final laugh.
In honour of the anniversary of Fritz Lang's birth, I watched this film for the first time, and thought it was an excellent adventure, albeit not on the level of his most celebrated works which isn't a complaint. A bit lengthy at 143 minutes, though never dull or boring, plus we get some impressive action sequences and plot twists. The groundwork, perhaps, for future Bond films.
Masks, lies, disguises, spies, murder, blackmail, greed, manipulation, violence, money, corruption, circles, alcohol, depression, luck and bad luck, tunnels, walls, trains, secrets, sewers, illusions, shadows, evil, theatre, images, cinema. Haghi, the villain, as an anouncement of fascism and moral decay; as the absolute illusion, hidden within ourselves. "Let the curtain fall!" Is death the only way out?
The mass hysteria of modernity viewed through the prism of pulp fiction. Lang's expressionist universe of secret agents, femme fatales, and criminal masterminds whirls with a dizzying speed and often spirals into abstraction; its principle pleasures lie in its byzantine construction, its emphasis on espionage, double-crosses, cloak-and-dagger machinations, and the pervasive use of telecommunication and surveillance.
Not quite on the level of Fritz Lang's other masterpieces, but an innovative and genre-defining work from a master filmmaker in his prime. Over the top at times, and cleverly subtle at others, it's a sharply crafted and action-packed, even if Thea Van Harbou's convoluted story can get tricky. A classic.
A kinetic spy thriller, Fritz Lang's Spies takes us deep into an underworld of smoke-filled rooms, wheelchair bound villains, exotic orientalism and beautiful women. It's the grandaddy of all James Bond movies right down to the tongue in cheek. It's one of Lang's most visually brilliant films making strong use of geometrical yet gloriously expressionistic visuals. See it and love it.