In a futuristic city sharply divided between the working class and the city planners, the son of the city's mastermind falls in love with a working class prophet who predicts the coming of a savior to mediate their differences.
In Germany, Hans Beckert is an unknown killer of girls. He whistles Edvard Grieg's 'In The Hall of the Mountain King', from the 'Peer Gynt' Suite I Op. 46 while attracting the little girls for death. The police force pressed by the Minister give its best effort trying unsuccessfully to arrest the serial killer. The organized crime has great losses due to the intense search and siege of the police and decides to chase the murderer, with the support of the beggars association. They catch Hans and briefly judge him. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Fritz Lang and his wife Thea von Harbou collaborated on the screenplay. According to Lang, the couple wanted to create a film based on "the ugliest, most utterly loathsome crime." The first script they produced was about a man who sent vulgar and anonymous letters; however, both Lang and von Harbou rejected the story as too tame. Ultimately, as Lang recalled, they "decided that the most horrible crime was that of a child murderer." See more »
An outsider is ruining our business and our reputation. Measures taken by the police and the daily raids to catch this child murderer are hampering our activities to an almost unbearable degree. We can no longer tolerate the fact that we're not safe now in any hotel, bar, cafe or even private home from the clutches of the police.
Criminal Syndicate Member:
This state of affairs must end. Things must return to normal or we'll go under. Our coffers will soon be depleted. If we can't get funds to support the ...
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All of the original credits appear only in the beginning with no music. See more »
A masterpiece of visual drama; brilliantly acted by Peter Lorre. **** out of ****.
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?
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