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
[All goofs for this title are spoilers.]
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Let me go, you dirty bastard! Let me go, you son of a bitch! Goddamn bastard! Put me down! Let me go!
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All of the original credits appear only in the beginning with no music. See more »
In the English and French language versions, in addition to having been dubbed, had some footage re shot. These scenes include the telephone conversation between the minister and the police commissioner, and the ending of the film. Peter Lorre's performance in the trial was re shot, however this time he spoke his lines in English or French, depending upon the version. The shots of him are lit and photographed much differently than Fritz Lang's original footage. Additionally, a shot of the police arriving was inserted, taken from an earlier part of the film (whereas in the original German version no police forces are shown at all). The court scenes have been eliminated and replaced with happy endings where young children play a game similar to the one seen in the opening (English) or a smiling couple watching their children play in the street (French). See more »
This is a very interesting film on so many levels. 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.
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