5.0 out of 5 stars "I can't help what I do! I can't help it, I can't....."

O.C. · August 4, 2024

(function() { P.when('cr-A', 'ready').execute(function(A) { if(typeof A.toggleExpanderAriaLabel === 'function') { A.toggleExpanderAriaLabel('review_text_read_more', 'Read more of this review', 'Read less of this review'); } }); })(); .review-text-read-more-expander:focus-visible { outline: 2px solid #2162a1; outline-offset: 2px; border-radius: 5px; } Considered Fritz Lang's masterpiece, "M" offers up scathing social commentary, a bit of police procedural, some satirical black humor and a whole lot of darkness that verges on horror. As chills run up and down your spine off and on during this film one wonders how a movie like this was even made in its time and place. Mirroring a decrepit German society in the midst of depression and on the precipice of the Nazi evil soon to come, "M" has a lot to say even though much of the film is still silent. One of the earlier scenes that sticks with me is when young Elsie Beckmann is bouncing her ball off of a poster warning of the serial killings and the shadow of Hans Beckert crosses over the poster. We immediately know the fate of poor Elsie. In fact, Pete Lorre's magnificent portrayal of one of film's very first serial killers is mostly silent or offers very little dialog until the final chilling, dizzying monologue in front of the kangaroo court. Amazingly, Lang creates an almost sympathetic creature in front of us. Is it mental illness, just plain evil or something in between? "M" will haunt the viewer and challenge our ideas about justice, crime, vigilantism and punishment and the many hypocrisies in our modern societies.This Criterion Blu-ray release holds pretty much to the standards of the series. Although the source material itself is fairly marginal at best the restoration is mostly a success. The film is now about as complete with its various scenes in proper order as it ever was. The picture, while still filled with some bits of noise, damage, white vertical creases and scratches, flashes and picture frame jitter here and there, comes across as eminently watchable with nice blacks, moderate film grain leading to some good, detailed grayscale and even some nice, popped whites on occasion. The audio is a bit harsh, again due to the source but the PCM mono track gives a mostly listenable experience from the bits of dialog to the haunting whistle motif of the killer. Some excellent special features include an extensive interview with Lang, a lost English version of the film, and other interviews, documentaries and the usual included thick booklet containing many goodies to read.While the mainstream viewer might not think of this as an easy watch, I can say that for any lover of movies this disc of a most essential, extremely unique film belongs in every physical media collection.

5.0 out of 5 stars Fascinating and surprisingly effective classic.

R. · January 16, 2012

M is an extremely impressive movie...but very difficult to review. Part of what is so compelling about this early talkie from 1931 is how MODERN much of it feels. And is it really fair to give a movie points for simply surprising the viewer with how similar the plot feels to serial killer movies of today?However one might come down on that subject, I can't deny that this is a fascinating experience...made truly memorably by Peter Lorre's spectacular (and spectacularly over-the-top) performance as a psychopath before that genre was even remotely familiar. He had no prior performances to draw from or reference.Lorre plays the normal (okay, slightly odd, but mostly normal) neighbor who "kept to himself...I never saw this coming." He is a killer of children. He lures them on the streets with bon-bons or balloons and then they disappear...until their corpses are found later. Although the film never explicitly mentions sexual abuse...it is deeply implied.M spends much of its time focusing on the investigation into these serial killings. We literally have law-enforcement authorities talking to each other on the phone and detailing all the efforts they are making. It's fascinating, because in the days LONG before computers or any tech gadgetry...these policemen undertake a painstaking and organized search for evidence throughout their German city. What they lack in whiz-bang technology, they make up for in sheer numbers, determination and German precision. And they REALLY put the squeeze on the criminal element of the city. And this has a fascinating result of galvanizing the BAD guys into looking for this killer as well. Not from altruism, but self-preservation. This big search for a child killer is putting a damper on their business.So M is a serial killer movie, but truthfully most of it is more like a police procedural. There are some pretty intense scenes as they get closer to their quarry...for such seemingly formal and dry material, the brilliant director Fritz Lang conjures up some real tension. And when we do get to spend time with Lorre and the demons that plaque him begin to surface...well, the film becomes downright creepy. Lorre throws himself into his role and his gigantic monologue is a bit overdone (it's more suited for stage than screen...but this was such a problem in those days), but it is also riveting and truly memorable.I think the best way I can articulate my thoughts about the film is to say that it really wasn't much like I expected it to be...it was better. Lang is a master of mood and lighting. Lorre is a perfect match of actor to role. And both the psychology of the killer and the form of the police work make a great deal of sense. You won't find yourself rolling your eyes at the primitiveness of it all...you'll be drawn in by much of the logic. Not to say it's perfect...but it probably has no more holes than a typical episode of LAW AND ORDER. I also felt the film was well paced, and even had a sly sense of humor at times.I watched the Criterion Blu-ray and it was excellent. The black and white was gorgeous. You'll note that many scenes lose their sound altogether. Apparently, this was on purpose...so don't blame Criterion; blame Lang for a convention that feels odd. Subtitles were sometimes hard to read. I've seen several Criterion black and white films lately that have surprisingly shoddy subtitles.The bonus materials are NOT shoddy. They are plentiful as usual, but my favorite was the English language "redo" of the film. They took the German movie and refilmed scenes, dubbed others and generally did a butcher job. I skipped most of it, but you MUST see Lorre recreate his famous monologue in English. It's far less effective and a great argument for letting folks act in their native languages.So a great movie, presented with typical panache by Criterion (subtitling being a notable exception). Of course, this is a film for film-buffs and my review is written with that understanding in mind. I'm not sure what a more casual film fan might make of this. I can envision them being fascinated or bored. But if you've read this far, I'd say you're a film buff and this ought to go on your must-see list.

Fritz, the dog's.

N.M.F. · January 3, 2016

(function() { P.when('cr-A', 'ready').execute(function(A) { if(typeof A.toggleExpanderAriaLabel === 'function') { A.toggleExpanderAriaLabel('review_text_read_more', 'Read more of this review', 'Read less of this review'); } }); })(); .review-text-read-more-expander:focus-visible { outline: 2px solid #2162a1; outline-offset: 2px; border-radius: 5px; } No matter what you think of the film itself ( I think it was groundbreaking), this Criterion release is quite amazing considering it was made in 1931. It's been cleaned up unbelievably well and the German dialogue is clear with new English subtitles. Extras go on forever including a wonderfully inciteful commentary by Professor Anton Kaes and Professor Eric Rentschler. Also included is a 93 mins English version! Absolutely indispensable.

Excellent!

d.p. · January 12, 2025

Mandatory viewing!

Not much of a thriller, but what a movie !

D.M.G. · May 6, 2011

In my view, most reviews of this film have it all wrong. A crime thriller it most certainly is not. There is no thrill to be had in the discovery of the criminal since his identity is generously revealed in the very earliest frames. Not a trace of horror is generated by the murder itself since we are never allowed to see it. A balloon floating skyward is the only hint we are given of its enactment. Instead of murderer and victim, the protagonists that generate the compassion, the hatred and the anger of Lang's singular masterpiece are two competing systems of morality, one favouring the victim and the other the perpetrator. The final 'shoot-out' takes place in the grim warehouse to which M is brought by the criminals who have caught him in revenge for ruining their profession, and is 'tried' by a judicial process that in many ways comprises more of the elements of true justice than the conventional trial that follows when the hitherto inept Police interrupt the impending execution and drag him before the strong arm of the Law, where a parade of lawyers and psychiatrists mouth the usual meaningless platitudes that result in his acquittal by reason of insanity, to the dismay of the grieving parents of his 14 or so victims. The crooks seemingly got it right: they, after all, and not the Heidelberg-educated jurists and medics were his 'true peers', whose opinions are proudly supposed to count most in the traditional legal systems of Western Democracies.Lang's main concern and his seminal triumph is to explore the impact of crime and a failure of retribution upon various layers of Society: Criminals, Police, Politicians, and the Public at large. His analysis is larded with wit, cynicism and satire, covering all aspects of the issue with all-embracing thoroughness, and he presents all sides so objectively that we never really know the nature of his own opinions and agenda. This is not surprising when we call up the fascinating extras included in this excellent Criterion package that reveal what a liar and dissembler this great artist was in his own life. But what an artist! The cunningly angled shots of sinister streets and buildings; the close-ups of individuals revealing almost every emotion that the human face is capable of displaying; the scenes of crowds moved by fear, anger, suspicion like a pack of animals; all of these skills are deployed to build up excitement and tension in the viewer as no film-maker achieved before or since, no matter how much blood and violence were lavished on the attempt. Much is made of Lang's role as a fore-runner of Hitchcock, but in my view this is not accurate in the sense that Lang was so far ahead that the latter never really caught up.In summary, we should all be grateful to Criterion for making available a remarkable piece of cinematic history so fresh and well-preserved that it comes across as history made contemporary.

Five Stars

M.b. · February 18, 2017

An excellent film with a wonderful performance by Peter Lorre.

Magnificent M

T.K. · August 13, 2016

Masterful B&W cinematography and compelling story.