🎦 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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*Movie Quote*) - "I'm not done yet!"
With 1931's "M" now being 86 years old - Believe me - I really did try to look beyond it flaws (etc.) and cut it some slack .

But, I have to be honest with my opinion here and say that (at 110 minutes) this German production about a pedophile serial-killer seriously cried out for some major editing. It really did.

Of course - It certainly didn't help matters much that (though actor Peter Lorre certainly did look the part of "M") his hammy, bug-eyed, scenery-chewing performance in his final scenes was so agonizingly over-the-top that it became downright laughable to watch, in the long run.

The one real plus about this b&w picture was the impressive clarity of the print. "M's" flawless restoration was truly remarkable.

Anyway - If you happen to be a true film-buff of vintage cinema, then Fritz Lang's "M" may appeal to you more than it did me.
German Expressionism at its cinematic best
Being a huge fan of German Expressionist art, I'm naturally drawn to the films of Fritz Lang. I recently was able to see the restored version of "Metropolis" on the big screen, and was delighted to see "M" on the Sundance channel - especially since it was the uncut version. M follows the trail of a child killer (Peter Lorre), sought both by the police and the members of the underworld whose businesses are being effected by the investigation.

This film is ground-breaking for many reasons: It is Fritz Lang's first talking picture, it is one of the first in the serial killer genre and it was overtly anti-Nazi. This film was banned in Germany shortly after it premiered, and Fritz Lang and Peter Lorre, both Jews, soon fled the country. It has superb acting (most notably, Peter Lorre's trial scene in the catacombs) and very stark yet at times gritty cinematography. The story is indeed suspenseful and at times, very creepy (what whistling child killer isn't?). The entire movie, however is extremely thought-provoking and challenging, much like the German Expressionist movement itself.

This is not a movie for everyone; some may find it boring, some may find it too abstract. It also has one of the most bizarre shots I've ever seen in film - essentially it's a 30 second shot of the police inspector talking on the phone, but you're under his desk and looking up his pants leg. It actually kind of baffled me and made me chuckle for a second, but it was avant garde if anything.

To those who appreciate early cinema that truly makes you think, both about the film and the subtext with which it was written and filmed, it is a must-see.

Dark and suspenseful
M is quite the film. It shocks you throughout its runtime: the subject matter is scary and mature, the acting isn't over-the-top like its counterparts from the era, and there's swearing. Extreme swearing for the time. To top this all off, it's suspenseful. The entire last half is edge of your seat.

Despite being indirectly named after Peter Lorre's character, he isn't directly prevalent in the film, but his presence is always in the air. Right from the start a mother yells at kids for "singing that awful song", a little rhyme about the child murderer. The citizens of Berlin are antsy: anyone could be the killer, and accusations fly. The entire police force is worn down, combing the city for one man. It even interrupts the criminals. So they decide to hunt this monster too, but at the same time while remaining separate from the police, who on any other day are their enemies. This is the dynamic of M, and the stubbornness leads to tension.

The first half is informative, organic, but slowly paced. There were many opportunities to advance the plot that weren't taken. But once the ball gets rolling... it stays rolling, and right to the end you're right in the film.

Lang makes interesting artistic choices, like the use of silence in suspenseful scenes. Seeing a man run completely scared but without even the noise of his shoes hitting the ground is harrowing. Mirrors also have interesting applications too.

I was reading about this film before seeing it and people said how they could sympathize with the murderer. Personally, I would see about checking their heads: the murderer is 100% deranged. The only inner demons he faces are those of his previous exploits. This leads to the final conflict, of how justice should be administered, which is an great debate, but the killer is sick, through and through.

M is groundbreaking, going where film had not gone before and doing it supremely anyway. An entertaining 2 hours, though it's not exactly a 'fun' film, and the end, while being powerful, isn't handled to the same standard as the rest of the film. It just... fades to black. Maybe this will grow on me, but after seeing it, it puts the tiniest damper on the end of a genius film. 8.7/10
M-1931: Where Fritz Lang bares the soul and psychology of the child-killer.
This is, unequivocally, a psychological thriller that all films buffs must see. I've now seen it three times, but I'm certain to see it again.

The fictional character of Hans Beckert (Peter Lorre) is based upon a real-life serial killer who stalked the streets of Dusseldorf. Fritz Lang, the director, had read an article about that killer and constructed this thrilling story that relates how Beckert is finally brought to justice.

The film opens with a sequence that establishes the latest disappearance of a small girl, Elsie Beckmann (Inge Landgut), with her mother (Ellen Widmann) waiting and waiting, and finally calling anxiously for Elsie from her apartment window, set high in the lower-class tenement block. The expected hue and cry ensues at yet another ghastly murder; the citizens are again outraged that the murderer is still loose; the police are stumped for clues; and, most importantly, the well-connected criminal bosses in the city are angry – because the police step up raids across the city trying to find the killer and, in that process, prevent them from continuing their criminal activities. So, they decide to find the murderer themselves and get rid of him…

And, to compound the dramatic irony, Lang has the police launch a massive manhunt, across the county, for all men with a history of mental illness. As a result of that search, the file on Beckert turns up, and so the police set up a stake-out at his apartment when clues there substantiate their suspicions.

Hence, both sides of the law are frantically trying to find Beckert, but for very different reasons. The question is: who will get to him first?

The narrative then moves on to where Beckert is currying favor with his next little victim, when he is spotted by one of the city's criminal low-life, who then follows him around to make sure it's the killer he's found. Satisfied, the man cleverly marks Beckert on his overcoat, with a large, white M, and then runs off to raise the alarm and get help from the rest of the gang.

Thereafter, it's a three-way race: Beckert finds the mark on his back and runs to ground, to hide in a large office block, but not before the criminals see him enter the building; the criminal gangs then assemble a large force that breaks into that block after hours to find him; and the police, alerted by a tripped alarm from the office block, finally rush over to find only one criminal still there, ironically forgotten by his friends.

The sequence in the office block, with Beckert trying to stay hidden, while the searchers get closer with each passing minute, is one of the most suspenseful – and quasi-comedic – actions ever put to film. Years later, Ray Milland appeared in The Big Clock (1948) with a very similar setting which, in turn, was remade with Kevin Costner and Gene Hackman in No Way Out (1987) – and both of which I'm sure owe much to Lang's superior effort with M.

It's a great visual story (reason enough to see it, in my opinion), but it's also Germany's first talking film. And, to say anymore about the narrative would spoil it, if you haven't seen it yet.

What's equally great is Lang's filming and direction, using light/dark; high and low angle shots; shot-reverse shot; voice-over narration that matched remote action (a first in cinema); and sequences that tell a story with no words; and all with the consummate originality and skill of a master practitioner. Little wonder that this film constantly ranks within the top 100 of all time.

Special mention must also be given to Peter Lorre, an actor unknown to Hollywood at the time of release. His portrayal of a child-killer is flawless. For the first hour, he hardly says a word, his looks and actions doing more than enough to show his character. Only after he is trapped in the office block does he break his silence, and with devastating effect. Lang then does the unthinkable, almost: he shows Beckert's psychology and vulnerability, with exquisite irony, to the extent that the viewer begins to feel sympathy for the worst of the worst. It's an unforgettable narrative achievement. (In contrast, who has ever felt any real sympathy for Norman Bates, the psychopath from Psycho [1960]?)

Interestingly, when Lorre did get to Hollywood, he appeared in a film called The Stranger on the third floor (1940), in which he again played the part of a psychopathic killer, this time of women. And, of course, who can forget his droll portrayal as Dr Herman Feinstein in Arsenic and Old Lace (1944)?

The rest of the cast for M is more than adequate; in fact, I understand that Lang actually used a number of real criminals during shots of the criminal gangs, and especially during the final act. I was particularly taken with the boss of the criminal gangs, Schränker (Gustaf Grundgens) and the two main policemen of this story, Inspectors Lohmann and Groeber (Otto Wernicke and Theodor Loos, respectively).

Some reviewers exhibit frustration with what appears to be an ambiguous end. Considering the times, however, I think there's little doubt about the outcome. You'll have to make your own assessment, obviously.

Highest recommendation for all.
M For Masterpiece
One of the greatest movies ever made.

Based on the murders committed in the late 1920's by Peter Kurten in the area around Dusseldorf (Kurten was guillotined in 1931, the year that 'M' was made and released)

The black and white cinematography is wonderful to see - modern colour photography is lost when trying to evoke gas lit or fog laden streets and the sense of atmosphere that pervades this film is remarkable.

The murder of children is a topic difficult to portray on screen - usually (for reasons of taste) we are merely shown the grief of the bereaved parents and the steely determination of detectives to catch the killer. Nothing in 'M' fits this stereotype.

Peter Lorre is superb as the killer who sits in greasy cafes whilst whistling Grieg's 'In The Hall of the Mountain King'from the 'Peer Gynt' Suite in an effort to drive the evil compulsions that he is unable to resist from his mind. As the music grows faster and more insistent, he succumbs, unwillingly to his terrible urges. He is seen picking up a small girl and buying her a balloon; the pair descend a flight of stairs into a murky alley and seconds later the balloon drifts up the stairway - a throat clutching image that speaks more to the fears of the viewer than the goriest of special effects.

We have a stout and jolly policeman (who greatly resembles Ernst Gennert, the detective who investigated the Kurten case) in hot pursuit of the killer.

Also in pursuit are the criminal fraternity - who are annoyed at the intense police activity generated by the killings, which is stifling their predations. Indeed, it is eventually the criminals who catch the killer and subject him to a trial in their lair. Lorre argues that they cannot understand the compulsions that drive his actions and is mocked by his captors.

Suspenseful, artistic and intellectually satisfying, 'M' is a great cinema classic which I unhesitatingly award a munificent 10 out of 10
The first sound masterpiece
Probably the first sound masterpiece. Though it's one of the first to use the new technology, it doesn't feel like it, as the camera is fluid and expressive and the sound effects are utilized perfectly and are even essential to the story. Lang's direction is superb, amping up the suspense and terror by using the cinematography, lighting, and sound together to create a very tense and distinctive atmosphere. Peter Lorre is fantastic in what is really the lead role of the film, making us feel sympathy and pity for a horrific child-murderer. The combination of German expressionism, film-noir tendencies, and social commentary that Lang injects into the film makes for a brilliant and gripping work. Simply a terrific film all-around.
Spoilers herein.

Seeing this again makes me wonder about the different ways people evaluate filmmakers. For me, a filmmaker has to have skills in conveyance ideally through novel as well as effective means, but he/she also must have something worth conveying.

In the first measure, I've always regarded Lang as a production designer not a filmmaker. He poses as a filmmaker just as the seducer here poses as a friend. Both are talented fakers.

In the second half of the equation, I have always been unsatisfied by the elementary social commentary he selects.

Ted's Evaluation -- 2 of 3: Has some interesting elements.
"...they never leave me. They're always there..."
There's a serial killer in Berlin who targets children. The police have been unable to catch him but their increased presence has made life more difficult for the criminal underworld. So the criminals band together to try and find the child killer themselves and issue their own brand of justice. Exceptional German film from the great Fritz Lang. His best sound film and second best film overall, behind only the silent sci-fi masterpiece Metropolis. The cast is terrific. Peter Lorre is amazing in this, which put him on the map. The direction, the cinematography, the angles, the lighting, the dark atmosphere all help to create this visually arresting film. It's a classic in every sense. Don't let its age or the subtitles turn you off from trying it. You're missing out on a truly great film if you do.
Fritz Lang's Masterpiece
Fritz Lang was one of those remarkable directors who not only gracefully transitioned from work on silent films into the world of talkies, but also continued to develop styles and techniques that would become mainstays in the years to come. The difference between M and one of his earlier silent films, such as Metropolis, is striking. While the latter compensated for technical limitations with heavy acting and visually appealing sets, the former was driven by comparatively rich dialogue and developed its plot in a way that might seem familiar and appealing even to modern audiences. Lang used the recent addition of a soundtrack to great effect leading up to the climax as the killer, played by Peter Lorre, came to be identified with a particular whistled tune. Lorre's desperate plea for clemency would have been difficult or impossible to capture using intertitles and hand gestures, but Lang made it one of the most powerful and memorable scenes in his first talkie. This new technology allowed Lang to develop an entire cast of characters whose machinations and quirks made this movie unforgettable.
Who is the murderer?
Peter Lorre is absolutely unforgettable playing that most despicable of criminals, the murderer of children. The police of Berlin are having a very tough time identifying him as the culprit, but ultimately he is found out. Not by the police, but by the city's criminal underworld. They determine to mete out their own brand of vigilante justice. Not so much for altruistic motives, but because the increased police action is hurting their way of life.

This early sound effort for both Germany and the highly regarded filmmaker Fritz Lang is a classic example of that form of cinema known as "Expressionism". It's stunningly shot and directed, counteracting its police procedural aspects with a matter of fact depiction of the machinations of this underworld. There's no music score, but then the script (by Thea von Harbou and director Lang, based on an article by Egon Jacobson) gets by just fine without one. Director Lang is still able to generate sufficient tension without that kind of assistance.

A film of this kind wouldn't quite be to all tastes, as some people might feel that there is more talk (and the script *is* dialogue heavy) than action. But there is also plenty of wonderful black & white imagery on display, and a riveting climax where these gangland bosses give Lorre their own version of a trial.

Although one shouldn't feel pity for such a beast - and Lang doesn't try to make the viewer feel that way - the killer is turned into a vivid, compelling character by Lorre. He desperately tries to make the case that he's not in control of his own actions, and is simply compelled to murder. He may not be pitiable, but he *is* pathetic.

86 years later, the theme is still extremely relevant, and the fact that the story was at the time contemporary and not a traditional Gothic or anything like that gives it real immediacy. The setting may have been Depression era Germany, but much of the dialogue could easily be heard today.

Nine out of 10.
📹 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. 📀