Such "circles insquares" previously occurred in , at the scene inthe bar where the men quarrel at dinner; and magnificently, inthe séance, cake guessing, and other scenes in .
The revolving platform and other movable parts allow one to considerthe Petit Casino as a work of "kinetic art": art objectsthat contain moveable parts, and which move as part of their exhibition.
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The way the doctor enters through the door at the start of thefilm, and the large clear empty space in front of him for hismovement, get echoed in later scenes of the film.
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The players sit in boxes, like those in a theater, within thetwo outer cylinders, while the croupier is on a rising circularplatform at the very center.
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Between the croupier and the playersare a set of radial arcs, which divide a huge circular platforminto segments that approximate the triangles we saw earlier inthe film.
So willLang's exploration of architecture.
The first work of kinetic art is often said to be Vladimir Tatlin'ssculpture-architecture combination (1920), so Lang is coming to the world of kinetic art very earlyin the game.
Continuing characters andplot ideas in Lang are explored.
There will be a long traditionof good guys in Lang films showing up in rectilinear environments:see the hero's hotel room and bath in , the hero'sapartment in , Glenn Ford's home and officein , and the minister and his church in .
There are brief pocket discussions of many ofLang's screenwriters.
The strange giant masks, seen in Carozza's stage act (Part I,Act Two) have movable cheeks that puff in and out, also makingthem a form of kinetic art.
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The table filled with food and flowers created by the hero toentertain the femme fatale bears some resemblance to the manytable top still lifes in later Lang films.
Fritz Lang's (1919) is a motion picture serial.
The elaborate clock at the Countess', tricked out with every sortof gewgaw and geometric extension, seems more like a work of modernart, than anything else.