M

This is a very interesting film on so many levels. It's interesting to see just how far ahead German cinema was of its American counterpart at this point in time. Although there is not that much talking in this early German talking picture - Fritz Lang resisted going to sound in the first place - what conversation that does take place is well done and natural sounding. Compare it with any American film from 1931 and you can't help but see the difference.

The murderer, artfully played by Peter Lorre, has been killing children that have no link to him personally for months. The police, despite all of their efforts, are unable to catch him, mainly because there is no rhyme or reason in his choice of victims. At first there is a focus on the victims and the hole left in their families by their killing. Then, the film shifts to two normally opposed groups - the police and the underworld. After several months of no results by the authorities, the police are unhappy because it reflects badly upon them, and the underworld is unhappy because their activities are being disrupted because of the police doing constant raids in their efforts to capture the killer.

In a particularly well-done part of the film the scene shifts back and forth between a conference of police and one of the underworld. They discuss how they are going to catch the killer. The police settle upon the idea of looking for people with a history of past mental problems that were pronounced cured and released. The underworld decides to enlist an invisible group - the beggars - to follow every child at all times and therefore catch the killer. Both groups focus on the right suspect, the question is - who gets there first? M is a fascinating film that raises many topics - the death penalty, a group of criminals that are criminals by choice causing less stress on society than a lone criminal that acts out of an uncontrollable compulsion, and the motivations of the authorities often being their own bureaucratic survival rather than the larger issue of ending a series of horrible acts against humanity.

Being a huge fan of German Expressionist art, I'm naturally drawn to the films of Fritz Lang. I recently was able to see the restored version of "Metropolis" on the big screen, and was delighted to see "M" on the Sundance channel - especially since it was the uncut version. M follows the trail of a child killer (Peter Lorre), sought both by the police and the members of the underworld whose businesses are being effected by the investigation.

This film is ground-breaking for many reasons: It is Fritz Lang's first talking picture, it is one of the first in the serial killer genre and it was overtly anti-Nazi. This film was banned in Germany shortly after it premiered, and Fritz Lang and Peter Lorre, both Jews, soon fled the country. It has superb acting (most notably, Peter Lorre's trial scene in the catacombs) and very stark yet at times gritty cinematography. The story is indeed suspenseful and at times, very creepy (what whistling child killer isn't?). The entire movie, however is extremely thought-provoking and challenging, much like the German Expressionist movement itself.

This is not a movie for everyone; some may find it boring, some may find it too abstract. It also has one of the most bizarre shots I've ever seen in film - essentially it's a 30 second shot of the police inspector talking on the phone, but you're under his desk and looking up his pants leg. It actually kind of baffled me and made me chuckle for a second, but it was avant garde if anything.

To those who appreciate early cinema that truly makes you think, both about the film and the subtext with which it was written and filmed, it is a must-see.

--Shelly

The first time I saw M, by Fritz Lang, I almost didn't know what to make of it. I was overwhelmed by the power of the performances, the staging of the scenes, the locations, and the power that the simple story had with such complex circumstances. Then I saw it again, and a third time, and I know that this is one of the best films ever to come out of Germany- it's a powerful statement about protecting our children (if you're looking at it as a "message" movie), but in reality it is just a piece of cinema heaven. Thrillers today only wish they could draw a viewer into the mystery elements, and have such unconventionality of the times. Boiling down to this, M is about a child Killer - the legendary character actor Peter Lorre in his first major role - who snatches children when their parents don't watch, and continues on until an investigation goes underway. But as the police investigate overly thoroughly into the real criminal underworld, they know something is up, that this is someone far more gone than they could ever be, so they join in the hunt. This all leads to one of the supreme dramatic climaxes in any thriller.

On the first viewing I just went straight for the story, which is able to suck one in enough to make you feel dizzy. But on the multiple viewings it becomes even more interesting as one can study the intricacy, and indeed full-on artistry, of Lang's camera. He puts it in unusual places at times, and adds for good measure shades of dark and gray in many of the night scene (this is, by the way, a precursor to 'film-noir', which Lang later became an important director in the 40's and 50's). On top of this, there is a very modern sense of style in the editing- I remember a couple of scenes that surprised me editing wise. One is where the cops (I think it was the cops) have an argument about the investigation- two of them get into a shouting match, and we get medium close-ups of them going back and forth. This is done quickly, with a kind of intensity that isn't even captured in today's thrillers. There is also the hunt for Lorre in the digging of the house, where Lang cuts around constantly, heightening the tension between the predators (the criminals) and the prey (Lorre), until it's almost too much to take.

The disturbing aspects of the story, of child abduction and murder, have become benchmarks of a number of today's thrillers, where the cop is usually the subject and the killer left more in the shadows, in cat & mouse style. This doesn't happen here, and because of it by the time we get to the final scene, with Lorre being interrogated and giving his "I can't help it" speech, it becomes something poetic, tragic, frightening. Lang doesn't leave his "message" so simplistically, he makes sure we know Lorre's side too, however twisted it has become, and the antagonist is shown as human as opposed to these present-day thriller where the killers are barely given one dimension let alone two. There were reports that during filming Lang put Lorre through torture, ultimately causing the two to never work together again. But nevertheless, out of this comes a towering performance of a small, wild-eyed criminal in the midst of an extremely well-told and unpredictable mystery story. In short, if you don't know what you're in for when you hear that whistle, those several infamous notes, you may not at all.

Casting its shadow through motion picture history and continuing to do so to this day, suggesting that societies throughout the world have struggled to resolve the most despicable actions of their citizens (inc. those in the police and armed forces) and the penalties they should pay - as seen by the gamut of forfeits that can be incurred for the same crimes across the planet, as well as those that are crimes in some territories and not in others.

Ultimately this film asks the question: what makes us who we are, how responsible are we for our actions and what should be done about it and by whom? To this day, as subjective a set of questions as you could wish to ask - but ones we will forever continue to try and answer and cinema will continue to catch in its shadows.

M / (1931) ****

"M" is a cinematic masterpiece of visual drama. The stunning performances define the careers of exceptional actors such as Peter Lorre and Gustaf Grundgens. Director Fritz Lang gives depth and dimension to his production by distinctly capturing the ecstasy of the film's many characters and focusing accurately on individual situations. This is an intriguing journey into the mind of a psychotic child murderer, blending terror, complexity, and malignity in one amazing motion picture.

Screenwriters Paul Falkenburg and Adlof Jansen construct the characters of "M" with distinctive personalities and three dimensional emotions. Many lesser filmmakers give their characters no creativity outside the confines of the script. In this movie each individual character has a mind of their own; they are free to roam the landscape of a inviting atmosphere.

Fabricating such an impressive atmosphere is some of the best cinematography and lighting effects that I can remember watching. This resplendent component creates the film's terrific moody ambiance. Suspense is one thing "M" contains in full context. The movie's third act is sheer peak-high tension.

Shot in black and white, "M" stars Peter Lorre as Peter-Hans Beckert, an extremely disturbed child murderer in the process of wreaking havoc on a neighborhood. Parents everywhere are living in fear of their children being kidnapped and abruptly annihilated.

This picture contains a brilliantly crafted setup. The visual setting creates a strongly developed opening. Every scene works to either complicate the initial problem or propels the story through a firm narrative through line.

The film captures the chaos of the town in terror perfectly. "M" is more about the results of a serial killer than an actual serial killer. Never do we directly witness a murder; the violent encounters are implied. This method of film making perhaps makes the movie's impact even greater. With an creative perspective through a third person point of view, the filmmakers repeatedly give us examples of a solid structure through characters and occurrences.

"M" offers a unforgettable, challenging performance by Peter Lorre. This extraordinary actor is tormenting and disturbing without embracing in extreme violent conduct. He perspires with momentum and rapture. This productions closing scenes are so deeply penetrating they entirely captivate the viewer. Isn't this what movies are supposed to do?