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Plot: When the police in a German city are unable to catch a child-murderer, other criminals join in the manhunt.
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Recent Reviews
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MCT:October 13, 2008Peter Lorre is a big baby of a man who murders children. Coupled with Lang's expressionist style, child murder never looked so cool
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MCT:October 9, 2008
The director Fritz Lang considered this terrifying and morally complex Masterpiece to be his finest work.
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MCT:October 7, 2008
Haunting, atmospherical and captivating german horror-crime tale, masterfully crafted by Fritz Lang and starring the ever mesmerizing and intriguing Peter Lorre.
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MCT:October 3, 2008
WAUW THIS MOVIE IS WAY AHEAD OF IT'S TIME!!!
What I particularly like is how Lang (the direcor) shows us how the crime affects every layer of the community, without forcing his moral standards on the viewer.
Every scene is useful and complements the story, not one is wasted on useless background information.
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MCT:October 2, 2008
One of the most classic pieces of film ever made. To describe it as anything else would detract from just watching it, which I think everyone should do at least once.
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MCT:September 29, 2008
The police and the criminals are out to catch the child murderer. Peter Lorre was a perfect choice for the role of child murderer. Evocative film There are versions with different endings. Try them both.
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MCT:September 28, 2008
"What do you know about it? Who are you anyway? Who are you? Criminals? Are you proud of yourselves? Proud of breaking safes or cheating at cards? Things you could just as well keep your fingers off. You wouldn't need to do all that if you'd learn a proper trade or if you'd work. If you weren't a bunch of lazy bastards. But I... I can't help myself! I have no control over this, this evil thing inside of me, the fire, the voices, the torment!"
In German, the word "Mörder" is translated as "murderer". Fritz Lang's M is a revolutionary classic of worldwide cinema (it made an especially influential impact on German filmmaking), and its eerily straightforward title is derived from the German word "Mörder". M is an expressive, supremely haunting venture into the workings of a serial killer that brilliantly raises questions on the nature of justice and who should deal out punishment. The film marked director Fritz Lang's first non-silent picture. Prior to making this conversion, the director was renowned for such films as Metropolis and Die Nibelungen among several others. For its time, M was a technically innovative movie which utilised the new "talkie" technology to great effect. M is also an influential movie that introduced two filmic genres: the serial killer genre and the police investigation genre. Needless to say, this is an important film and an archetypal blueprint responsible for spawning hundreds of facsimiles.
During the early years of the cinematic sound era, most films were given a static and theatrical look. The most prevalent film cameras were too noisy were mostly anchored to one spot. Actors were required to lean in closely to speak into omni-directional microphones often hidden in vases or other objects (this was brilliantly parodied in the classic Singin' in the Rain). Fritz Lang's M was filmed in 1930. Most filmmakers were amazed by sound technology, and heavily employed it for their films. But M is nothing like most of its peers. Instead of a boring still camera, Lang's lens moved at will; soaring and craning through studio sets...producing an open, flowing, eloquent look for the movie. Lang, one of the supreme masters of silent cinema, wasn't interested in using the new technology merely to replicate reality. To Lang, sound was no carnival sideshow gimmick. He instead used sound for dramatic effect to create an expressionist sound design to augment the narrative and visuals. M actually contains a lot of silence, with the majority of the film being shot devoid of sound equipment. Without sound equipment, the camera was free to roam around the set. Instead of the drone and rattle of a bustling city, Lang gives us isolated sounds such as footsteps or the distant beeping of a car horn. These innovative decisions combine to bestow the film with a chilling, almost surreal soundtrack...at once hollow, brittle and haunting.
Fritz Lang's M closely parallels the case of serial killer Peter Kurten, the "Vampire of Dusseldorf". For months after Kurten's killing spree ended, the country was still held in a state of terror. The release date for M was subsequent to Kurten's much-publicised trial, and just before his execution. Serial killer trials were all the rage in 1920s Germany. At the time of its release, M addressed a very topical issue of serial killers. Today, M can be viewed as a timeless masterpiece that presents an effective snapshot of a 1920s society. Although the technical merits of M may be looked upon as somewhat dreary and ordinary, the film must be viewed on its own terms: the camera movements were innovative and the evocative sound mix was unprecedented.
As I stated before, the storyline of M was somewhat inspired by the killing spree of Peter Kurten. The original title of the film was The Murder Among Us, but changed to M to impart the film with a more eerie, timeless and creepy overtone. The single letter also has great relevance to a significant shot in the film: Peter Lorre, with great horror, notices the letter "M" on his back and realises that people are onto him. The film's basic story concerns Hans Beckert (Lorre): a serial killer who holds a small German city in a firm state of terror. Hans targets young children for his murder victims. He befriends them in the street, tempts them with gifts, and takes a long walk with them before eventually murdering them. During the opening scenes of the film, Hans claims his latest victim: young Elsie Beckman. The piercing, haunting cry of Elsie's mother echoes into the new millennium.
The police grow desperate in their search to apprehend the murderer. With no clues and little suspects, their desperation begins to affect the state of business in the city. As businesses begin to lose customers, the criminals team up in an attempt to catch the kindermörder (that is, child murderer). Pulling the murderer off the streets would put an end to the massive police presence that has effectively ended most criminal activity. In an act of gross desperation, they begin to use the homeless community. The killer frequently whistles Edvard Grieg's "Peer Gynt Suite", and it proves to be his sole identifying feature.
Peter Lorre turns in a haunting performance as the whistling paedophile. Throughout much of the film we never see his face. His shadow is instead used, accompanied by his voice or whistle. Lorre's panicky, jowly, bug-eyed killer seems ready to crawl out of his own flesh at any time. His character is hunted by police before being captured and taken to trial by the forces of the Berlin underworld. Lorre's final speech, featuring the anguished pleas of a madman, is absolutely unforgettable. While his character of Hans Beckert commits monstrous crimes, the film portrays him not as a monster but as a victim of his own infirmity. Lang doesn't ask us to forgive the kindermörder...he asks us merely to understand that he is just a complex, flawed human like the rest of us. As the city closes around this sad, lonely and helpless figure, it's difficult not to feel some semblance of pity for him.
Fritz Lang's M is a brutally atmospheric thriller with a dark and moody feel to it. There are countless shadowy rooms in which the action transpires. Lang's film is eerily prophetic, which gives the beautifully stark cinematography an aura of terror. This is a picture that should frighten us, yet we're uncertain why. Naturally the apparent villain is the murderer...however as the film proceeds it's the angry mob and its brand of snarling justice that makes the audience cower in fear. With meticulous pacing, the film slowly climbs the ladder...steadily building tension step-by-step...until the final, soul-wrenching scene where the ugliness of the human spirit is on full display.
In spite of all the positive aspects of M, the film occasionally has difficulty engaging a viewer. Its ponderous pace won't be liked by all. Regardless of some terrific shots, one may feel sleepy and occasionally bored. It's unfortunate that a few aspects have dated to the extent that it isn't flattering many decades on. It's also difficult to follow at times. Every so often a few things are gruelling to devour.
Despite a few shortcomings, M is a masterpiece that cannot be overlooked. It's a classic piece of cinema that demonstrates how a disturbing story and poignant themes can grab an audience and leave them with an entirely new perspective on such matters. Even though it has been many decades since the film was released, it still holds an immense impact. When compared to modern thrillers, Fritz Lang's M easily holds its own. Cinema enthusiasts and budding filmmakers of any stripe cannot afford to miss it. -
MCT:September 3, 2008
A true masterpiece of cinema. Lang's first sound film (and Lorre's first major starring role) is an absolute triumph of pacing, cinematography, and acting. Its use of sound is both innovative and interesting, and its visuals heavily influenced practically every noir film ever made. Lorre's work is simply outstanding, likely his best, and the film's pacing is absolutely perfect; the tension expressed throughout the film is truly palpable. If you love thrillers, mysteries, film noir, expressionism, or just plain ol' excellent movies, you must see this film.
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MCT:August 26, 2008
(For some reason my review was deleted...)
One of the most notable things about this film is that it is the first film to really use a technique akin to the lightning mix. So, yeah, it seems Citizen Kane's big stylistic claim to fame was done 10 years beforehand. (Not saying it's not a great movie, but still).
This film's use of sound is phenomenal. It intertwines perfectly, and there are many moments where it is simply silent, and this makes for a great suspenseful effect.
Cinematography and art design are marvellous, and the storytelling is extremely tight.
Lorre's performance, also, is extremely good.
The scenario itself, also, is an interesting one: The police are inept at catching a killer, so all the petty criminals try to take care of it. -
MCT:August 17, 2008
The first and still, so far BEST movie about a murderer ever made. Brilliant cinematography and amazing acting, put together by a genius director. A movie that should not be missed by anyone.
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MCT:August 12, 2008
This is silent-film god Fritz Lang's greatest film and ironically his first talkie. "M" is a masterpiece and one of the bleakest films I have ever seen....Wow.
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MCT:August 3, 2008
A very intriguing social piece, set in an almost Brechtian atmospheric, dark setting. The characterisations is given a rare complexity, which in the end is an intellectual crafted oddity. Peter Lorre will be forever known for his role in the film, and deservedly so.
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MCT:August 3, 2008
A Masterpiece. It is still as good as it was when the nazis banned it. It's creepy and really gets to you. A must see.
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MCT:July 19, 2008
A fritz Lang terrific film!! Unbelievable suspense, plot and direction! Great, great, and great!
100/100 -
MCT:July 13, 2008
A very well though out movie that shows the proces of the police trying to catch a child killer. Very interesting concept, especially for that time period as it seemed as if movies were heavily cnesored at that time. A young Peter Lorre hives a great performance.
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MCT:July 7, 2008
One can see how the great Alfred Hitchcock was influenced by the equally great Fritz Lang by watching M. No need to actually FILM the act of violence; in M, less is much, much more. A fantastic film, and a true classic.
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MCT:June 30, 2008
intense classic by fritz lang, must see by both genre and director fans. part of the criterion collection for obvious reasons.
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MCT:June 29, 2008
Mmmm, una pelicula sobre un asesino de niños (y, aunque no lo dicen, es probable que tambien violador...) de 1931. Definitivamente es algo que tengo que ver...
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MCT:June 29, 2008
Whereas films like Se7en focus on the lives of those hunting the killer, and slasher films focus on the victims - then you have films like Zodiac that focus on the press - this film is so far ahead of it's time that it's hard to believe how old it is (same age as Mickey Mouse). In this film every aspect of the situation is covered in detail. You have the victims, the press, the mass-hysteria, the police efforts and even a massive underground vigilante force, all dedicated to stopping the killer. The kills are never seen and you won't see a single drop of blood, yet the child-murders chill (you'll never hear Night On Witch Mountain the same way again). This film is a masterpiece and thanks to heavy restoration now looks good too, with some beautiful shots, not to mention an awesome performance by Chaney. And the final "underground" court-room scene is terrific and continues to examine the problem from every angle. Easily the original and best serial-killer movie. All others since are in its debt.
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MCT:June 25, 2008
''I can't help what I do! I can't help it, I can't... ''
When the police in a German city are unable to catch a child-murderer, other criminals join in the manhunt.
Peter Lorre: Hans Beckert
Ellen Widmann: Frau Beckmann
M really is among Fritz Lang's best works. The experience is an insight into the mentality of society.
Among the many remembered parts in M are various including the series of many boots descending into the bar, the safe cracker coming up through a hole in the floor surrounded by cops, the grim views of authority figures from below, Lorre being forced back down the stairs, etc.
When Director Fritz Lang isn't explicitly showing us views that look up or down, he's making a point of showing the many extreme positive/negative aspects of German society. The Overclass that is represented by the police, military, clergy, politicians and a academic are the rational aspect of the society. The lower elements are generally portrayed in subterranean settings with pretty OTT imagery such as pools of water and piping.
When the Overclass needs to deal with the underclass, they send the appropriately named Lohman to envoke them. But they are the same being, as Lang shows us with the masterful combination of two settings where the Overclass and Underclass set about solving the same problem.
Lorre is simply top of his game in his depiction and performance. He creates a character who is somehow sympathetic, even though we know that he's selfish about the fact that he compulsively kills children. When he reads of his crimes in the paper he has no recollection.
Lorre is in fact a broken part of the Overclass. He is associated with writing and a proper manner.
Part of sympathizing Lorre comes from the blood thirsty ways of the people of the Underclass. By the time Lorre is thrown before the mob's court, we have already seen another mob try to rip apart a man we know to be innocent.
There are so many perfect things about M. The characters are almost all historical looking, making smoking look like a tasteful recreation.
Ultimately the balance of sympathies between the individual and the mob is played elegantly. The cinematography is lavish and without fault.
Timeless despite being made 1931 M is a film about an ugly society on the brink of becoming something evil, that creates between it's lines a monster to match it's struggling state, on the brink.
Hans Beckert's bulging eyes, his sweaty desperate bids for escape and the iconic M printed on his back shoulder is pure genius that shows Lang to be a film Maker who was ahead of his time. M is a film still relevant even today when children go missing showing society never really changes.
The Nazi's banned this film and you can see why when you watch it. Extremely powerful and a new twist on all serial killer sorts of movies to follow in years after M became known.
Masterful. -
MCT:June 21, 2008
Il y a dans tous les films de suspense modernes et moins modernes des traces de M. Premier film parlant du légendaire Fritz Lang, ce long métrage fascinant se trouve à cheval entre l'esthétique des films muets et celles des films avec son. Les jeux d'éclairage sont grandioses, chaque ombre est exploité d'une main de virtuose pour rehausser l'intensité de chaque scène. Tout ici est suggéré, mais suggéré avec tant d'adresse que l'absence de violence à l'écran est plus efficace que si tout était montré.
L'intrigue est simple mais percutante. Peter Lorre, que l'on retrouve ici pour la première fois à l'écran dans un rôle principal, surpasse à peu près tous les acteurs ayant incarnés des meurtriers psychopathes dans l'histoire du cinéma. La puissance de son jeu est inouïe. Ses mimiques expressionnistes projettent les émotions au travers de l'écran pour percer d'un seul jet l'esprit et le coeur du spectateur. Un type de jeu qu'on ne voit plus de nos jours et sur lequel plusieurs aspirants comédiens devraient se modeler. Un chef-d'oeuvre incontournable, un film colossal et étonnant. -
MCT:June 16, 2008
An excellent portrayal of both the murderer's mind and the mob's reaction to the horrible events. Hauntingly beautiful camera work and Peter Lorre is amazing.
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MCT:June 14, 2008
A horror/thriller from pre-Nazi Germany featuring a young Peter Lorre as a child murderer who ends up being pursued by both sides of the law.
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MCT:June 12, 2008
A proto-noir about violence, mob mentality, and crimes against children. Peter Lorre always looked like a creepy overgrown child: pudgy, small, and harmless. But his greatest performance is as a child killer who's not much bigger than his victims. He's unseen from the front for a good deal of his screen-time, and even mute for a great portion of it. That is, until the kangaroo court captures him and we see that even among thieves there is a form of "honor." But what the film is really about is a condemnation of the death penalty and mob violence. Violence just perpetrates more violence, and mass groups are prone to erupting into it. Perhaps the police aren't so different from the criminals after all.
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itbegins2005posted 39 days ago
