films based on Dr. Mabuse which were sent in a contemporary time. Lang's Dr. Mabuse the Gambler (1922) was described by Rubin as an important part of the development of the thriller with its "duplicitous, labyrinthine network of decadent nightspots and secret dens that are linked together by murky thorough fares, twisting back alleys and subterranean passages." Lang's later film Spies (1928), had Lang make extensive use of crosscutting to not only enhance suspense and draw thematic parallels but also to develop what Rubin described as a "paranoid vision of a world where everything seems to together as an ever-widening web of conspiracy". This type of editing was later applied to several film noirs, such as Robert Siodmak's The Killers (1946) and Stanley Kubrick's The Killing (1956), Oliver Stone's JFK (1991) and Bryan Singer's The Usual Suspects. During this silent era in Germany, German Expressionism was active from 1905 onward. These films featured distorted sets and stylized gestures which had an influence on filmmaking all over the world, including the United States. The style has been particularly relevant to the thriller, combining psychology and spectacle. 1930s The early 1930s saw the rise of two film genre movements: the gothic styled horror film and the gangster film. Universal Pictures was the leader of the horror genre in the early 1930s with its expressionist-derived atmosphere that started with two big hits film: Dracula (1931) and Frankenstein (1931). Rubin noted that both films lacked the thriller's fundamental tension between the familiar and exotic or adventurous. Also in the early 1930s, the gangster film arrived with early major films including Mervyn LeRoy's Little Caesar (1930), William A. Wellman's The Public Enemy (1932) and Howard Hawks Scarface (1932). These films centered on the rise of and fall of the criminal with Rubin noting that suspense in these films was "relatively slight", with both genres leaving an imprint on subsequent forms of the thriller with mid-1930s G-Man films, the early detective films of the 1940s, and the gangster films of the 1950s. The gangster film itself, entrusted the modern urban environment with larger-than-life overtones. Rubin described the mid-1930s as when the thriller entered its "classical period" with the emergence of key genres that were previously either non-existent or minor. These included the spy film, detective film, the film noir, the police film and the science fiction thriller. The horror films of the early 1930s with their