🎦 M full movie HD download (Fritz Lang) - Crime, Drama, Thriller, Film-Noir. 🎬
Crime, Drama, Thriller, Film-Noir
IMDB rating:
Fritz Lang
Peter Lorre as Hans Beckert
Ellen Widmann as Frau Beckmann
Inge Landgut as Elsie Beckmann
Otto Wernicke as Inspector Karl Lohmann
Theodor Loos as Inspector Groeber
Gustaf Gründgens as Schränker
Friedrich Gnaß as Franz, the burglar
Fritz Odemar as The cheater
Paul Kemp as Pickpocket with six watches
Theo Lingen as Bauernfänger
Rudolf Blümner as Beckert's defender
Georg John as Blind panhandler
Franz Stein as Minister
Ernst Stahl-Nachbaur as Police chief
Storyline: 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.
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I can't help what I do! I can't help it, I can't...
We see the beginnings of film noir in Germany's first talking picture. It also has some remnants of German Expressionism. But what is most impressive is the story itself.

Anyone that has followed cases of missing children know what the police go through, and watching this crime/psychological thriller and the search for a child serial killer is just like watching the 6 o'clock news today.

The acting is superb, and the story is compelling. It is not so much about the killer, but about the people's reactions to the fear he has filled them with. Of course, the thieves and prostitutes are too happy either with cops everywhere. It was absolutely hilarious to watch the cops planning how to step up raids while, at the same time across town, the underworld was trying to figure out how to catch the murderer and get back to business.

Both the police and the underworld get a break at the same time. But the underworld has him cornered and things are getting really tense. You cannot image what they do to try and find him. This was the most innovative story I have seen.

The "trial" was magnificent! The print was absolutely perfect and the lighting was superb. The sound was even OK for the first use.

Gustaf Gründgens was superb as the leader of the underworld, Theodor Loos equally so as the head of the police, and Peter Lorre was great as usual.
A great procedural--cum--thriller
The mind—blowing panoramic aspect is obvious—Lang was not going to simply shot a police inquiry, but choose one of Berlin's proportions—all, stuffed with procedural elements and realist approach—and, significantly, not flirting with exploitation—Lang does not, despite what folks say, turn 'M' into a chiller. It is Lorre who indulges a bit in _picturesqueness and histrionics—though his performance constitutes of course a great show, the vividly Expressionistic element of this otherwise realist movie. A police procedural at the scale of a mega-city—this puts a conceptual problem, and Lang solved it by alternating his approaches—first, a city—scale survey—then, in the second half, a suspenseful, hugely thrilling urban thriller—and then a few treats in the form of several actors' recitals. Lang aims at scaring and terrifying, delighting, amusing, informing, thrilling his audiences with his procedural epic—a movie that investigates a whole city of Berlin's scale, a tight ordering of the essential elements of the story.

The pace of 'M' is constantly excellent, yet the movie looks a bit patchy—changing quite suddenly from the panoramic police procedural to the crisp breathless thriller of the Benno Street operation and then to the several recitals—'Lohmann', 'Franz' (--the arrested thug--), and, of course, Lorre, whose performance is stagy but commending. The organic heterogeneity of 'M' is not perhaps a flaw, yet it somehow comes across as a lack and a partial loss of mastery. But the approach is changed and heterogeneous on even another plane—as visual storytelling—because 'M' becomes, slightly, smoothly, a truly sound movie as it progresses, the storytelling resembles less that of the silent flicks.

The general level of the performances is visibly respectable, with the actors using fully their screen—time.

'Lohmann', the tough, crushing and imposing cop, is a great role, and there's a long shot of his penis, from under the desk; the scene of the murderer's branding with chalk is awesome, and the fact that he's tracked down and identified by the middle of the movie.

It seems immediately noticeable that M's artistic logic is, in the first third, essentially that of a silent movie, Lang doesn't really play or juggle with the sound, didn't really make it his own—thought the assassin's signature whistling is an important gimmick, then Lang's approach evolves, he takes heart, the sound is put to full use, it's wonderful to see this; a large part of Lang's career consists in his work as a genre director, he made perhaps more genre movies than any other great director (--except, of course, for Hitchcock, Hawks, Ford and --), and when he tries a more meditative form of cinema he was truly nowhere as good as Murnau or Renoir. Yet Lang's approach in M's first part is strikingly not that of a genre thriller—suspense, atmosphere, action (--though it latter picks up very alertly and becomes a brisk exciting thriller--), instead there's an almost humorous approach, satire elements, and the movie is conceived like a police procedural, an inverted detective story, a how catch'em, as they call these …, with all the focus of a realist drama, and this brings us also to how could Lang's M be tentatively described—as a police procedural realist drama canvas with witty filming devices and comic embroidering for humorous relief, all told from a commonsensical and documentary POV –in a sense, and for the buffs interested in this stuff, Hitchcock's older crime story THE LODGER is Expressionistic to the hilt—but not Lang's M (--I know there are people who have found a reason to live in talking about how Hitchcock learned it all from German Expressionism via Lang whose sets he visited as a youngster, etc.--). But then—rewarding suspense to the hilt! And in a word, 'M' is a police epic, a police procedural epic on Berlin's scale, from a time when the German cinema had something to say ….
"M" = Mesmerizing!
Fritz Lang's "M" took me by surprise completely! It is one of those amazing motion pictures which holds the audience in their grasp and never lets go. And when it is finally over, it refuses to exit the mind and forces the viewer to constantly think about what he/she has just seen! I wasn't expecting much, but I was more than satisfied when I was finished with this timeless classic. I have watched countless films, but this is one story that is definitely unique. It is one of those films which will leave the viewer in two minds about who to sympathize with..and puts him/her in (for lack of a better expression) a true moral dilemma! Peter Lorre delivers a bravura performance as a child murderer who is the center of this whole drama involving everyone from the police to the families who lose their children to even the underworld! That is pretty much all that can be said about the plot of this gem which has to be seen to be believed.

This also happens to be Lang's first talkie film and is probably one of the greatest films ever made about a pathological serial killer.

True, due to the era it was released in(1931), it lacks some of the finesse that is used in "creating" a motion picture in today's times. But that hardly mars the overall viewing experience. There are some great movie moments, masterfully shot sequences and nail-biting proceedings in the narrative combined with great display of acting from Peter Lorre, as mentioned earlier, along with some commendable supporting acts from Otto Wernicke as Inspector Lohmann and Gustaf Gründgens as Schränker.

Go ahead and rent/buy this and treat yourself to a wholly satisfying movie experience! Highly recommended!
Serial Child Murderer Whistles While He Works
This is One of those Great Movies that has been Contemplated, Written About, Studied, Dissected, Discussed and Never Dismissed. it is So Good that even those Averse to Foreign Language Films with Subtitles, Early Sound Era, and Black and White, can't Help but be Impressed if the Movie is Given a Chance.

The Film is so Ripe with Cinematic Excellence, Timeless Themes, and Controversy that it was and has Remained a Movie that Made its Indelible Mark and shows Absolutely No Signs of becoming Irrelevant or Dated even Decades after its Release.

There are In Depth Studies to be Found Elsewhere and Research on this One is Recommended for the Casual Movie Fan and is Required for the Film Enthusiast. It is Rightly Considered one of Director Fritz Lang's Best Movies in a Career that is Filled with Contenders. His Roots in German Expressionism along with His Technical Prowess Helped Him Make some of the Most Influential Films of All Time.

It was the Debut Starring Role for Peter Lorre and Spawned a Fifty Year Career of Character Acting at its Best. This Film is Unsettling and Provocative and is an Example of Film as High-Art and Cultural Significance. It was also made in Germany at the Beginning of Nazi Power and there are Parallels to be Found.

Highly Influential Movie that Anticipated Police Procedural Exposes, Psychological Horror, Film-Noir, Socially Relevant Message Movies, and Overall in the World of World Cinema this is One of the Great Ones.

Note...Many have made the obvious explanation that M stands for…Murderer...but it could also stand for…Monster…Maniac...or more profoundly…Man...and the Horrors that He commits. Was Lang warning of what to expect from the…Man...wearing the Swastika.
A Landmark Psychological Thriller
M is a German drama-thriller directed by Fritz Lang and written by Lang and his wife Thea von Harbou. It was Lang's first sound film, although he had directed more than a dozen films previously.The film has become a classic which Lang himself considered his finest work.

Fritz Lang's classic early talkie crime melodrama is set in 1931 Berlin. The police are anxious to capture an elusive child murderer, and they begin rounding up every criminal in town. The underworld leaders decide to take the heat off their activities by catching the child killer themselves. Once the killer is fingered, he is marked with the letter "M" chalked on his back. He is tracked down and captured by the combined forces of the Berlin criminal community, who put him on trial for his life in a kangaroo court. The killer pleads for mercy, whining that he can't control his homicidal instincts. The police close in and rescue the killer from the underworld so that he can stand trial again in "respectable" circumstances. Some prints of the film end with a caution to the audience to watch after their children more carefully.

Filmed in Germany, M was the film that solidified Fritz Lang's reputation with American audiences, and it also made a star out of Peter Lorre. The moral issues are complex and deftly handled: Lorre is at once entirely innocent and absolutely evil. Lang's detached, modified expressionist style gives the action a plastic beauty.It can also be classified as an extraordinary, good, impressive and strong talker.And most of all,it is a landmark psychological thriller with arresting images, deep thoughts on modern society.
"L" Before "M"
In an eerie propagandist fashion, the phrase "in the name of the Law" is repeated over the last two scenes of Fritz Lang's "M" as a child killer is brought to justice. If "L" represents the State and the Law, then "M" is meant to represent the Individual (who in this case is a Murderer). Lang boldly asked us way back in 1931, whose rights come first: the State or the Individual? A master of his craft, Lang leaves the question open-ended and let's the audience decide.

"M" is shockingly contemporary in its psychological complexities. It explores the psychology of individualism vs. group think while showcasing how a state of fear can be inflicted upon a populace when a government fails to protect society from a single individual terrorizing the people. The story is fairly straightforward: An elusive citizen begins killing innocent children in a large nameless German city. The media fuels a paranoid frenzy that incites the public. The clueless police begin to raid "the underworld" after the populace is turned into a raving mob because of the failure to capture the killer. "The underworld" comes to a screeching halt as their business is ruined by the police and starts their own manhunt for the killer.

Unlike a modern period piece that attempts to evoke a certain place and time, "M" WAS a certain place and time. Lang, in an almost prophetic sense, captured the state of mind of the German people in 1931 as the Weimar Republic was on the brink of collapse and the Nazi Regime was preparing to take over. When individuals live in a state of fear, as they do in "M", society collapses and the Individual is crushed. Only the State, it seems, can bring order.

"M" is a also a masterpiece for its technical aspects. The way in which Lang uses his camera to move through windows, capture shadows, reflections, empty spaces, and shift points-of-view is staggering even by today's standards. He also played with the new technology of recorded sound with extensive voice-over narration and dialogue used to overlap and transition between scenes. Didn't critics recently praise "Michael Clayton" for utilizing just such a technique as if it was something revolutionary? One can also see a protean style the would eventually birth the Film Noir movement with the creation of tension and suspense in the use of shadows and camera angles.

Yet "M" is not perfect. It has some major flaws. There are no real "characters" in the film to speak of in the modern sense. The film is virtually all built around mood and plot. The only time Lang invites us to emotionally connect is in the opening and closing scenes with a mother of one of the victims, and in the classic scene of Peter Lorre giving his writhing and primal "I can't help it!" speech in front of the kangaroo court of criminals. The mother's grief and Lorre's madness are presented so sparsely and in such a raw form that it becomes too painful to want to connect with them. Another flaw that is often overstated about films from this time period is the slow pace of the early police procedural scenes. These inherent flaws combined with the inherent brilliance of Lang's vision make "M" one of the most challenging films a modern viewer could ever sit through.

What impressed me most about "M" was the subtlety of the symbolism Lang created with his haunting images. As harrowing as the story is, none of the gruesomeness is shown on screen. It's all transmitted to the viewer through the power of suggestion. Is it any wonder Hitler wanted Fritz Lang for his propaganda machine, which thankfully led to Lang fleeing to America? I'll never forget the wide shots of the kangaroo court (and the looks on those people's faces as the killer is brought down the steps for trial) or the vast expanse of that empty warehouse. The scene of the ball rolling in the grass with no one to catch it, the balloon caught in the telephone wires, and the empty domestic spaces the mother has to inhabit after her child has been murdered are the types of scenes that tape into Jungian archetypes and shared fears. The look on Lorre's face as he confesses, the hand of the Law coming down to save Lorre from being lynched, and the ghastly plea from the mother in the final scene will stick with me for the rest of my life.

"M" is a communal nightmare; one that from which we have yet to awake.
You wont believe its from 1931
This movie is so intense and enthralling, it doesn't have to hide from even the most amazing Action-movies. But unlike the most action-movies, it really has a story to tell with a very interesting conclusion at the end.

When people talk about Fritz Lang they always talk about Metropolis, but I think this is his masterpiece. This movie MUST HAVE inspired pretty much every police movie or show ever made.

Rarely have I rated a movie a 10 with more confidence than this one.


....... so I don't have anymore lines, but they make me write "10 lines" apparently, so Im writing this. I know a joke ...ehm, well, its not a good one, so I will quote GEORGE BEST:"I spent a lot of money on booze, birds and fast cars. The rest I just squandered"
Peter Lorre wears two masks as Fritz Lang enjoys a vision of society through Berlin.
Watching this movie unfold, specifically the plot, has been a great learning experience for a burgeoning cinephile. I haven't learned as much since watching 'Witness For the Prosecution'. Yes, I do understand that this movie came before the that.

A child murderer is at large. The police cannot find him, the criminals cannot live their lives, and the civilians cannot relax. It has been 8 months since the first murder and there is naught to go on but a few clues. Among those clues, a red pencil and a wooden table. All citizens of Berlin despair as life continues in an unlivable fashion.

The criminals can no longer work in the capacity that regular life affords them. The police intensely pursue all walks of life since they can afford no alternative. And the civilians of Berlin just want balance to be restored.

The criminals recognize what needs to be done, as the police remain frustrated. Working towards the same purpose as the police they begin to piece together a suspect. Setting out to catch the murderer in their own way using talents unique to them.

The police find a clue while the criminals find a hint. As both close in on the same suspect we must ask ourselves, who will catch him first?
eerily relevant
The interesting thing about M is not that it was Lang's first film with sound, but that he was able to use sound so effectively with no prior experience with it. Rather than just adding another layer to the visuals, sound is often completely divorced from the visuals, creating two distinct elements working in concert. Another thing that marks M is its' subject matter, which was many years ahead of it's time and influenced countless other films while making Fritz Lang an enemy of the Nazi party.

From the very beginning of the film, characters are heard before they are ever seen. We hear children playing and singing a violent nursery rhyme as they camera tilts down to reveal them on an eerie downward angle. Hearing the voices off screen, and without music makes for a haunting, almost ghostly screen presence that Lang will use again and again throughout the film, particularly with the killer Beckert.

Borrowing a technique from opera known as Leitmotif, Lang first introduces Beckert by having us hear his whistling "Hall of the Mountain King" off screen, then representing him as a shadow on a wanted poster. From this moment on we understand that when we hear this tune, the killer is prowling. In fact, this is how the blind balloon seller recognizes Beckert in the end.

One particularly memorable scene occurs shortly after the first child is abducted, when the child's frantic mother calls out for her repeatedly, with increased panic as we are shown several dark, empty scenes culminating in a small, childlike balloon figure caught in power lines before coming free and silently floating away.

Almost as important as the technique used in this film is it's content. While much of our entertainment today involves psychotics and dark, violent stories, it goes without saying that in the late 20's and early 30's, the subject matter of film was somewhat tamer. M received heavy criticism from the Nazi party not for this however, but for the scenes in which the narrative switches back and forth between the police and the criminal element as they both discuss ways in which to catch the dangerous serial killer. This, along with the fact that the criminals beat the police to Beckert, supposedly degrades law enforcement by showing it as incompetent, although this is debatable, as the police would have caught Beckert soon anyway.

There are also undercurrents of socialism in the film, which undoubtedly made the Nazis a little nervous. The criminals talk of pooling their money and using it to support the families of members temporarily incarcerated. At one point a policeman even says, "each individual is responsible for what happens to the poorest child on the streets". At another time someone is heard to lament the effects of fear on a desperate population, " there's no privacy anymore". For a government built on fear after the Reichstag fire, this might have been seen as sly criticism.

Impressive films wisely use new technology in ways that push the boundaries of film. Classic films use bedrock principals of good storytelling to keep our interest and stay relevant even many years after their creations. While it's not often that a film can combine both of these elements to create a truly great film, Fritz Lang's M definitely qualifies. This is a groundbreaking film with a potent message that touches on debates about the nature of criminality and the ultimate responsibilities for actions. Debates that are still occurring more than 70 years after this films release.
This movie ROCKS
Even though it was made in the 1930s this film is actually very good. It is very exciting and even though some parts look rubbish and it is spoken in FOREIGN you will ignore that and enjoy it.

I can say with conviction that this is a film all about the cops hunting for a child killer, which is where the film gets its short title. He is a man who kills children (which is horrible), not a killer who is a child. He is so mean that even the local criminals gang up on him and they want to catch him too. But you must feel no sadness for the man, even though he is hated by everyone. It's not that kind of film.

This movie has some really cool parts that I didn't even know they could do back in those old times, like nice camera moves and cursing. The killer even screams like a pig at the end! This film is very good and if you see it you will like it without any nefarious reservations.
📹 M full movie HD download 1931 - Peter Lorre, Ellen Widmann, Inge Landgut, Otto Wernicke, Theodor Loos, Gustaf Gründgens, Friedrich Gnaß, Fritz Odemar, Paul Kemp, Theo Lingen, Rudolf Blümner, Georg John, Franz Stein, Ernst Stahl-Nachbaur, Gerhard Bienert - Germany. 📀