“What power is at work here?” asks the government man, and Fritz Lang cuts to his chief villain, Rudolph Klein-Rogge, who says, simply “I” — even though he’s in another room in another building in another part of town and can’t be conversing with the spymaster who doesn’t know he exists…
The idea of words connecting to images to bridge scenes is a big Fritz Lang trope, and he used it again, after SPIONE, the example quoted above, in M and THE TESTAMENT OF DR MABUSE. And then he took it to Hollywood and did it a bit in FURY at MGM. And then he phased it out, as if he felt it were somehow un-American, until his return to Germany to make THE INDIAN TOMB and THE THOUSAND EYES OF DR MABUSE, and it came back in full force: a line at the end of one scene will be picked up by an image at the start of the next. A bit of film language that had lain dormant in Lang’s dark heart for decades, and suddenly burst into life again under the lights of Babelsberg.
MGM seems like a peculiar home for Lang anyway, and indeed “that marriage did not last,” as Donald Sutherland would say, though in fairness none of Lang’s studio relationships lasted for more than a few films. His journey back to Germany may have been prompted by the fact that nobody in Hollywood would talk to him anymore, I don’t know.
But the weird thing is, there’s a beautiful example of this device in my favourite movie, Victor Sjostrom’s HE WHO GETS SLAPPED — see here. And this was the very first MGM release. It was meant to be.