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When the police in a German city are unable to catch a child-murderer, other criminals join in the manhunt.
Peter Lorre: Hans Beckert
''I... I can't help myself! I have no control over this, this evil thing inside of me, the fire, the voices, the torment!''
In the world of film, there is certain subject matter that is just too taboo to be explored by mainstream filmmakers. Even now, with Hollywood's shameless predilection for blood, sex, and drugs, some topics are still just too incredulous to address. Movies that contain serious portrayals of homosexual romance, scenes of rape, or strong anti-governmental themes are certainly unusual in Hollywood; but the biggest way to guarantee a permanent shun from most film studios is to make a film regarding child murder. Better yet, why not make the child murderer a sympathetic character whom has no memory of his killing?
This is exactly what Fritz Lang did in his phenomenal 1931 feature, M. M was truly ahead of its time, and not simply because of its early use of synchronized sound or the use of voice-over narration which was a groundbreaking new technique at that time. What amazed me most about M was that it featured a character whom when introduced, is utterly despicable. The audience quickly learns of his unforgivable crimes, and although none of the murders are actually shown, they are talked about in grim detail, with the camera often focusing; unbearably on the reactions of the distraught parents as they speak of their children's demise. As the film progresses, however, our perceptions begin to change, and we start to take pity on this man, all the while coming to the realization that the vigilant mob who wants to beat this man to death is no better than the murderer himself. After all, is mercilessly pummeling a defenseless man to death somehow more civil than killing a child? To some, the answer may be yes; but to me, murder cannot be divided into degrees of acceptability like that; it is wrong, no matter who does it or who it is done to, just as the concepts of freedom are extreme resolutes; one cannot be half free or half dead, only one or the other.
''Just you wait, it won't be long. The man in black will soon be here. With his cleaver's blade so true. He'll make mincemeat out of YOU!''
But it goes much deeper than that. Aside from just feeling sympathy for the murderer simply because an entire town wants his head on a stick, you can't help but be affected by his genuinely sorrowful personality. After all, he honestly cannot control what he is doing, and he is just as horrified learning about his crimes, as the parents of the children he kills; perhaps even more so, since the shock of discovering that you are the one responsible for such evil is enough to want to die. His speech at the end, is not only heartfelt and pitiful, but it's thought-provoking as well. A speech comprising of substance rather than length, it provides a great deal of insight into the relatively simple mindset most people have regarding issues like these.
Another fascinating quality about M was its constant, almost overwhelming references to angry mobs and vigilante forms of justice. Even before the final chase segment, there are many scenes wherein a dominant force bullies an innocent person or group of people with little or no justification. The scene that sticks out most in my mind is one where a man is beaten down by some nearby pedestrians, simply because he asked a child if she knew the time. The main purpose behind this particular scene is obvious: it serves as a harrowingly realistic portrayal of the dangerous type of hysteria that can infect a highly emotional group of people. But the more I think about it, the more I realize that these types of scenes were probably meant to be sly referendums to the recent existence of the Nazi party in Germany, at the time. Lang seems to be commenting not only on the steadily growing support of the party, but also his disdain for their violent and often extreme dictatorial methods of government and international relations.
Obviously, Lang succeeds in hitting a nerve central to the heart of Germany, unsurprisingly the Nazis banned the movie in July 1934.
Other reasons crediting to the ban was matters of nationality; the main actor Peter Lorre was Jewish and fled Germany in fear of Nazi persecution shortly after the movie's release. Fritz Lang, who was half Jewish, fled two years later.
Contrary to popular rumour, Fritz Lang did not change the title from The Murderers are Among Us to M due to fear of persecution, by the Nazis. He actually changed the title during filming, influenced by the scene where one of the criminals writes the letter on his hand. Lang thought M was a more interesting, more mysterious title.
M is a movie that not only forces you to think, but to feel as well. Peter Lorre's portrayal of the murderous antagonist (or is he indeed, the protagonist?) is both frightening and heart-rending, and Fritz Lang's script and direction are both exceptional in execution, it's no wonder Lang has claimed that M was his favourite film of all those he had directed, presumably for it's controversial nature and success in causing timeless debate.M's cinematography marvelous, not only helping to tell its story in a fluid, stylish manner, but also causing the film to have an ominous, unsettling vibe.
Fritz Lang's M retains its ability to shock almost 70 years after its conception. Some of the images are unforgettable, the sounds echoes of brilliance, and Lorre gives the performance of his career. Do not be allowed to be swayed or put off by the use of subtitles because you will miss out, this film, this story, is a first rate character study and one of the most profoundly disturbing psycho thrillers ever created.
''This won't bring back our children. We, too, should keep a closer watch on our children.''
9/10
