M (1931)

Fritz Lang's classic "M," is about a subject that is as unsavory today as it was in 1931: the murder of children. Lang does not sensationalize this subject. In fact, he spends much time showing us how a child murder in the midst of a community causes disharmony, fear and wrongful accusations; In other words, an overwhelming feeling of paranoia. He shows us how this situation affects families, friends, cops and criminals.

"M" was made during the introduction of sound to the movies and, like his European contemporaries, Lang experiments with this new technique. After beginning with a harrowing segment. Lang brings us a lengthy exposition utilizing a phone conversation. But, of course, Lang only shows us the man on the phone momentarily. He spends much more time bringing us interesting images while this phone conversation takes place. And while the images often visuals the dialogue, more often they express the idea or theme of the dialogue. Lang also utilizes sound in an interesting way by making the child killer a man who whistles the same tune each time he appears in shadow on screen. The tune he whistles becomes unnerving.

Lang's images amazes us here and there with shadows and lighting used in the Noir tradition of black and white film. There are also elements of expressionism, but these are rather subdued. His shadow which introduces the child killer is awesome. And later there is interesting lightening in key scenes. Indeed, his images can haunt. Note the wonderful expressionist shot used where a child's balloon caught in electric wires represents that child's death. It is intense.

Lang's film gets extremely boring during it's midsection when a cat and mouse hunt for the killer takes place in an office building after all the employees have gone home. This goes on forever and seems to go nowhere for much too long. But all of this can be forgiven when one gets to the payoff of the film: The final sequence.

The murderer exposed pleads his case with troubling sincerity. This segment is one of the most thought provoking and interesting segments ever put on film. The acting is extraordinary! If the paradoxical quandary expounded here does not spark a lengthy discuss with your filmgoing companions upon the end of the film, you really need new friends.

The topic of Lang's film and the questions it raises are just as relevant and timely today as they were in 1931. It's odd that the last spoken line in the film, a women's voice imploring us to watch our children, is a admonition that still echos through society - and media - today.

Note:

In German with English subtitles. Several videocasette versions with badly translated subtitles have circulated in the US. The 118 minute release has also been edited to 99 minutes for some versions. I saw this 99 minute version myself. I am unsure what the extra 19 minutes might include.

With Peter Lorre in his first film role. It is said that Lang saw Lorre on the stage and wrote the film for him. While "M" made him an international star, it also typecast him and he never could obtain the "leading man" roles he desired.

Based on a true story. Lang wrote the script with 5 others including his wife Thea Von Harbou.

Music by Edvard Grieg from "Peer Gynt."

The ending where a woman says we must all watch our children was often cut off especially when shown on TV for some reason. It's odd also that this plea, which ends the film bluntly, also dramatically changes the focus of the final scene.

The killer's whistling was overdubbed by Lang.

AKA "M - Morder unter uns."

Remade in US in 1951 also as "M" by Joseph Loosey with David Wayne and Raymond Burr. The 1973 feature "Tenderness of the Wolves," which was produced by Fassbinder and features Peter Lorre look-alike Kurt Raab as a gay male vampire has been compared to the film.

Review written in 1998

Report Card

Script: B

Acting: A+

Cinematography\Lighting: A

Special Effects\Make Up: A

Music: A

Final Grade: B+