| PRODUCT DETAILS | | M - Criterion Collection |  | |
M - Criterion Collection
Behind every great suspense thriller lurks the shadow of M. In this, Fritz Lang's first sound film, Peter Lorre delivers a haunting performance as the cinema's first serial killer, a whistling pedophile hunted by the police and brought to trial by the forces of the Berlin underworld. Greig's "Peer Gynt Suite" will never sound the same. Criterion is proud to present Lang's seminal film in a new transfer.
Manufacturer: Paramount Pictures
Price: $67.33
 M - Criterion Collection
|
| User Reviews |  | Hall of the Mountain King; Lorre Covers Grieg
rating: 5
Of course, Edvard Grieg was the composer of the "Peer Gynt Suite" which included "Hall of the Mountain King". In this film, Peter Lorre's character whistles this little ditty whenever he gets a "Jones" for murder; so much for my title. As far as "M" goes; if you haven't heard, it's an incredibly good film. I could go on and on about its historical significance, its artistic merit or Fritz Lang, but you've all heard that before. All I have to say is that I highly recommend this movie to anyone who likes movies.
What, you need more?
Here we go...
-PUTTING IT IN MODERN PERSPECTIVE
You might think that since this film was made in 1931, that you will need to turn back your expectations to 1931 levels. Think again. If you remade this film shot for shot with today's actors and with today's technology you would never figure out that this film was conceived 77 years ago. The story could have happened yesterday and the execution is timeless. When you consider that this was Lang's first sound film, it's astounding how many sound techniques he pioneered that are still in use today (or not used enough). Adding to the realism and preservation of "M's" timelessness is the complete lack of a dated musical score. This is better than you can imagine.
-CHARACTERS, CHARACRERS
This film is packed with great characters. Another tribute to Lang's talent is his ability to establish characters with just a few words, a simple but telling action or even a look. The dialogue is very real and powerful (even though it's all in German). Not one line is wasted. The characters run the gambit from strong and forceful to meek and poignant. Peter Lorre is the main character despite his limited screen time. But, when he's on screen he is loathsome, heartbreaking, pitiful and human all at the same time. I've never seen anything better from him. Other characters make their presence strongly felt but be warned; Herr Lohman gets in your face in a very unpleasant, yet funny way.
-THE FIRST SERIAL KILLER FILM
Of course, it's not simply just about a serial killer. It's about society's response to him. It's about the underbelly of society's response to him. It's about the institutions of society's response to him. It's about all of those things in great detail. I was amazed at how advanced police techniques were at the time of this film as well as the depth of psychological profiling. The only thing missing was infrared and DNA mapping. Lang used all of these devices as a means to establish great frustration at failure to solve the mystery; who is the murderer? Particularly interesting is Lang's apparently well researched depiction of the inner working of the German underworld. Even the beggars had a union with member ID numbers and log books.
-OK, LANG WAS A GENIUS!
There, I said it. Are you happy now? Lang made this film for the explicit purpose of warning parents to watch their children more closely. In the years leading to this film, Germany had a rash of serial killers haunting its cities. So, this was a timely yet somewhat reviled film. It was reviled for the perception that it was exploiting the actual killings for the sake of ticket sales. Of course, Lang insisted "M' was a cautionary tale and nothing else. Despite its reviled status and raw subject matter, "M" limits its depictions of violence to a few punches. The rest of the violence is simply implied for one simple reason; the audience can imagine more horrible acts than the Director could or would depict. Fritz Lang thought showing violence against children would be tasteless. It was this kind of thinking that motivated many of Lang's best devices that carried the story in the viewers mind, which is more powerful than anything on the screen; a lesson for today's film makers.
-THE DVD
This is what you would expect from a Criterion release; an informative booklet, a film restored as completely as possible and an extra disk chocked full of rare and informative material. I managed to get this new for under $17 so I am very pleased with my purchase. In retrospect, I would probably pay more.
-VERDICT OF THE KANGEROO COURT
This is a film for anyone who likes crime dramas done well. But, if you aren't a fan of crime dramas, don't turn away; it's more than that. You don't need to be a film snob to enjoy this film; it is so well made that it's easy to enjoy. I would recommend that you pay close attention though; you don't want to miss the beautiful details of which there are many. The worst thing that could happen is that you'll learn a few cuss words auf Deutche (in German).
P.S.; the whistling was actually done by Fritz Lang's Wife since Lorre could not whistle.
-Acting...5 Stars
-Story....5 Stars
-Visuals..5 Stars
-DVD......5 Stars
|
Ahead of its time
rating: 5
This is a very interesting film on so many levels, and very well presented by Criterion. The commentary is well-done and stays on topic, and the video is so crisp and clear you can't believe it was filmed in 1931. 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.
|
A Masterpiece!!!
rating: 5
Criterion has done it right again by presenting "M" the classic Fritz Lang masterpiece film in an outstanding 2 disc collection. This edition is worth owning in your film library. I enjoyed the bonuses especially the Fritz Lang interview along with the informative film commentary. This was Lang's first sound film. Let's not forget Peter Lorre's groundbreaking role as Beckert, the child killer. This edition is a must have!!!
|
hard to believe this film was made 77 years ago
rating: 4
Perhaps the very first serial killer film ever made--way back in l931!
Although, as far as directors go, I preffer the works of Claude Chabrol (especially Chabrol's The Butcher, over Lang's M), Lang's M holds up pretty damn well.
What you really get here is three films in one: first third feels like a serial killer film, middle third feels like a police procedural, and the last third feels like a crime caper flick.
For me, the first and last third worked exceptionally well. Peter Lorre convincing in the title role. Middle part (with the cops doing what cops do) lagged and felt drawn out, only because we have seen so many scenes like this over the years in other films of this nature.
Friedkin interviews Lang in the two-disk package.
|
A visceral feast for any lover of film; truly one of the greatest ever filmed...
rating: 5
My feelings for this iconic piece of filmmaking mirror those I've previously expressed for David Lynch's masterpiece `Eraserhead'; namely that it exceeds the boundaries of perfection and thus defines the very word that is `film'. There are very few films today that can even come close to capturing the brilliance that is captured within the frames that make up `M', a harrowing story about a murderer of children who manages to elude the police but finds himself in the angry hands of the criminal underground. `M' (shortened from the original title `Eine Stadt Sucht Einen Morder' which translates to `The Murderers are Among Us') broke many boundaries and paved the way for the expressive filmmaking of today, but still it holds it's own as supremely better than most everything released today.
`M' tells us the story of Hans Beckert and the misery and panic he spread throughout a small German city. As children come up missing and or dead parents and concerned citizens alike find themselves in disarray as the police continue to search for this killer of children with no real success and or advancements. As the police too begin to panic in their faulted efforts they begin to weigh heavy on the German community which has some adverse effects on the criminals controlling the underground. These criminals come together to try and better their own situation which leads them to conclude that the only way they will get the police off of their backs is if they catch and put an end to this horror of a man once and for all.
There are so many facets to this film that make it one of the grandest of all time. It sets a perfect mood for the subject at hand, never once straying from that eerie and heart stopping vibe that permeates the screen. The film flows magically from one scene to the next, never chopping and or losing our interest. The rich black and white film and grainy atmosphere only add weight to the already weighty subtext; and then there is the sublime inclusion of the tune `In the Hall of the Mountain King', which is whistled by Beckert while he is on the prowl. It is a simple detail, but that one detail is probably the most haunting facet to the entire film.
And then, there is Peter Lorre.
Peter Lorre has received much acclaim and attention for this gutsy role, tackling the first ever on screen serial killer, and rightfully so. His fearless performance is one of the greatest of all time. There is a scene where he is staring in the window of a toy store, watching a young girl in a mirror and his face bleeds forth with this wretched pain and confusion; utter torment eating away at his very soul. He makes this man human, which was very gutsy especially at the time. His final breakdown towards the end of the film where he tries to explain his horrible condition, his sickness if you will, is actually quite moving in his dire conviction and commitment to his performance. It reminds me of the shivers one receives when witnessing Edward Norton's portrayal of Neo-Nazi Derek in `American History X'; a horrible man yet so convincing in his plight you wind up sympathizing with the Devil.
`M' is not a film to be taken lightly. There is so much power packed within this picture that one should be made aware of its affects on an individual. `M' captures almost all too well the true extensive deteriorating powers of panic and fear. As the general public begins to wear down with the police's inability to capture this murderer they begin to turn on one another, ready and willing to condemn any man who comes within speaking distance of a child. The police likewise resort to rash and overzealous methods in order to uncover this murderer, feeling pressured by the innocent public merely trying to safeguard their offspring. The criminals too feel compelled to take matters into their own hands in an effort to rid their town of its eternal distress and all of this culminates into a melding pot of dread and misery.
`M' may be hard to stomach at times. No, this is not a graphic film but it is haunting in that it manages to strike at the heart of the audience, seeping into their soul. The aftereffects are as distressing as those brought on by the recent `4 Luni, 3 Saptamani si 2 Zile' (`4 Months, 3 Weeks and 2 Days'); a film that brings out in us the human desire to correct all evils and save our loved ones from the exhausting touch of pain and suffering. `M' is a film that finds itself in your heart and soul and wrecks havoc on your inner being; ultimately becoming a part of you and thus never leaving your side. As many have noted, `M' is one of the greatest films ever filmed, and I too stand by that statement.
In fact, it's quite possibly the best; possibly.
|
|
M - Criterion Collection
|
|
|
|
