M, el vampiro de Düsseldorf

M has to be one of the most influential movies ever made, both technically and psychologically. With an outstanding Peter Lorre, suspense that outsuspenses Hitchcock, excellent cinematography and a deep sociological layer added to it, M is one of the masterpieces of the psychological thriller genre.

It is a film devoid of typical humanitarian propaganda, yet it is not the case that we immediately feel the need to relate to the child murderer Hans Beckert ( Peter Lorre ) since Fritz Lang also shows us the effects his gruesome crimes have in the form of the police constantly raiding establishments, the grieving parents & random people accusing eachother of the murders. It is not a movie that forces its opinion on you, but causes you to think about what is truly right and wrong. Hans later claims he cannot help himself because he has an irresistible compulsive urge to kill which cannot be stopped, much to the dismay of other career crooks who claim they only commit crimes to survive and take no pleasure or feel no compulsion towards it. It is a psychological kind of movie that is still as relevant as ever today as it was in 1931.

Peter Lorre is ofcourse the perfect fit for the psychopathic child murderer, he has the perfect innocent wide eyed look for a psychopath, who seems to even be likeable when he is not murdering children. His signature whistle by Edvard Grieg - In the Hall of the Mountain King is a nice creepy addition to his character which he uses to lure kids to their doom. Ofcourse the incredible shot at the start which focuses on Hans's shadow on the poster that lists his crimes and reward for capture while talking to a little girl before killing her is a great ironic symbolism to announce his character.

It was Lang's first sound picture, yet only two third of the movie was shot with actual sound while everything else was shot silent. This was primarily to keep the costs down since sound equipment was very expensive at the time. It creates a weird mix in constant transitioning from silent to sound. Yet as Lang has stated it adds another layer to the eeriness the movie has, so it only enhances the experience instead of unimmersing you out of the film.

The cinematography is revolutionary in its use of low key lightning, which is a technique that was used many times after in the classic Film Noir era in Hollywood. The result is many Film Noirs share a visual resemblance with M due to their dark tone. Not only visually, but psychologically many themes of M have been repeated throughout the years in cinema. It was one of the first instances of a semi-sympathetic look on a pure psychopathic murderer, which has been repeated countless times in later years.

Some might feel sorry for Beckert for having this affliction of which he cannot be helped while others would prefer to see him hang, the movie doesn't shove the right answer down our throats, and it's possible to look at it from either way without having a right answer. It is a sociological thinking man's picture that is as relevant now as it ever was.