🎦 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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outstanding film from Fritz Lang
Don't let the fact that this is a German language film get in the way of letting you watch it M is one of the best expressionist thrillers i have ever seen fritz Lang dose an incredible job of creating suspense and keeps you griped from the very start. Peter Lorre is a kind of actor you don't see much anymore and his performance is outstanding witch goes for most actors in this film. the film follows the story of Berlin suffering from horror of a child murderer although this might sound like a grim story the film is really very beautiful this is a must see for any fan of film or German expressionism. the use of sound is really what makes this film amazing, peter Lorre's whistle will be in your head for day. the only other fritz Lang movie i have seen is metropolis and i have to say although metropolis begin a great science fiction masterpiece i enjoyed M a lot more its not only a brilliant exciting film it is also a piece of history from a time when Germany played a massive part the world of cinema and if my word is not enough to persuade you into checking out this film maybe the fact it is part of the criterion collection can.
M = Milestone...Mesmerizing...Masterpiece!
Fritz Lang's second absolute landmark (after the equally brilliant but completely different 'Metropolis') and also his first opportunity to work with the wonders of sound. And boy, did he ever deliver a great piece of work! Like the M (for murderer) is marked on Peter Lorre's coat, the film M (for masterpiece) is branded on cinema history annals for all eternity. Lang's film is a triumph in every possible viewpoint and it covers a lot more genres and elements than just simply the manhunt for a child-molester.

*** SPOILERS ****

The horrors 'M' handles about is timeless and of all cultures, but yet it'll always remain a taboo subject and for that reason alone Fritz Lang deserves extra praising. In an utterly astonishing way, Peter Lorre portrays Hans Beckert, a child murderer who single-handedly terrorizes four and half million people simply by his uncontrollable urge to kidnap and molest young schoolgirls. The grim and haunting atmosphere is terrifically built up by images of previous Beckert-victims and the disappearance a new unfortunate girl. Her toy rolling of a remote hills...a balloon drifting away on the wind. Really simple but extremely efficient methods to reflect the ominous actions that just took place. Other than to focus on the further actions of the killer, Lang turns to the effect this terror has on the city and how the manhunt for Beckert develops. Our director is obviously fascinated by how a police procedure is organized and he serves the viewer a detailed overview of all the steps taken by the investigators. Meanwhile, he grabs the opportunity to forcefully criticize the media's influence and the German law system with both hands. I'd really like to stress that Lang's subtle mockery was a really risky thing to do with the upcoming Nazi-reign, so you can't admire him enough. Due to the constant (and fruitless) raids the police are holding in the hope to capture the killer, the criminal underworld begins to lose its profits as well and they start their own manhunt for the killer, assisted by whores, beggars and petty thieves. With the carefully observing eyes all over town, it becomes practically impossible for Becker to satisfy his monstrous needs. The almighty Peter Lorre arrives late in the film every moment he's on screen is a moment worth treasuring. His sad appearance and cruel testimony are sequences that leave no human being unmoved. Lorre is a brilliant actor and this is inarguably one of the most impressive performances of all time.

'M' features constant tension, outstanding dialogue and stunning camera-work. As said before, Fritz Lang had the opportunity to work with sound for this film and he immediately makes the most out of this. This was the first 'big' German production that featured sound and it STILL ranks as the title that made best use of it...and that sure means something after more than 70 years. There's the chilling and legendary tune Lorre constantly whistles but also the absence of sound Lang uses to portray the besieged city. As you can tell from the above review, 'M' is absolute must-see and easily one of the most essential productions ever shot. It's light-years ahead of its time and still disturbing after all these years. This film is a mesmerizing portrait about the darkest, most alarming aspects of humanity and yet still it doesn't live up to real-life facts. As you probably know, the plot of 'M' is based on the whereabouts of the serial killer Peter Kürten who brutally murdered many victims in the city of Düsseldorf. I read a biography on Kürten recently and the true details of his crimes and animal-lusts go beyond every filmmaker's wildest imagination.
Lorre's Little Secret
From the elongated opening scene of "M", you know you are in for more than a simple film could ever imagine. The elongated lunch scene as a mother waits for her daughter to return, as we, audience members watch the daughter stray from her journey home with a stranger with a sharpened whistle. It is foreboding, it is depressing, it is mesmerizing. It has been a very long time since a film, especially one made 78 years ago, seemed so delicate, so thought provoking, so timeless as "M" does. From these opening shots, Lang let's us know that this isn't going to be your happy utopia where criminals are caught the next day by the police and our world goes back to liquorish and lollipops, but instead a world where the locals collect like a mob and trust is thrown violently out of the window. With excellent cinematography and a strong balance between humor and honesty, Lang creates this visceral world where the line between truth and justice get blurred, where good and evil are similar, and a man defines his actions as "uncontrollable". This merely scratches the surface of "M", a masterful film that ranks amongst the best this world has offered.

What makes "M" shoot ahead of anything modern, anything by cult directors, anything close to popular? It begins with the actors, goes to the man behind the camera, and finally the skillful craftsmanship of the story. Each of these elements never lack, never fall behind, and constantly build upon each other until that final breath that encourages you to repetitively rewatch. To begin, Peter Lorre. How could you not talk about "M" without mentioning this doe-eyed murderer. From the beginning, we know his role in this film, yet Lang pulls every emotion out of us as we follow his route. We feel sympathy for Lorre when he is tried, we feel scared when he is trapped in the attic, we feel hatred when he voyeuristically looks at the children - and yet, he isn't the only character in this film. Lang introduces us to other well placed personas throughout. The infamous Inspector Lohmann (not to mention that great floor-up shot) is the perfect example of Lang's impressions on the local German police. The fact that Lohmann whistles, counter productive to what Lorre represents, only solidifies that idea. To add to these already dynamic people, we have the background criminals that decide to take the matter into their own hands in hopes to eliminate the looming police presence. The "Safecracker" is idealistic of what Germany was to become, the classic SS look, with the idea of eliminating the opportunity to be tried in a true court of law. Each one of these characters provide humor, excitement, and full-blown emotion to the screen, adding to the overall impact to this film.

With Lorre already bedazzling us with his range and taut emotion, it is up to Fritz Lang himself to ensure that edits, angles, and direction doesn't hinder the power of his actors. Lang steps up to the plate and delivers with his avant-garde film making. I use the words avant-garde because the techniques used in this film are far beyond 1931. Lang incorporates powerful close-ups, amazing track following, and shots nearly unseen at this time. The overhead shots, the ability to make the crowds look ravenous, the camera puns adds just as much as another lead would. If you were impressed by his ability in "Metropolis", "M" is only going to solidify that idea of Lang. A favorite is the raid on the office complex by a group of criminals. Every shot, every detail is directed with ease, but complexity. It is easy to be in awe of this film, but to take the time to see Lang's ability behind the camera will take "M" to a whole new level. Personally, it is my belief, that he announces himself with this film. A pioneer of the camera, a grandfather of what cinema is today - one cannot watch anything released today and not see Lang's influences. See Fincher's "Zodiac", a nearly identical film in themes to what Lang was trying to produce here.

Finally, we have acting and direction, but one must also credit the story for being not just creative and unflinchingly original, but for supporting a strong message. The idea of being more careful was impressive to watch due to the time being 1931, a time well thought of that children could be anywhere without any worry. The story brings evil into an American thought that good guys always prevail, that suburbia is always safe, and that the police actually do keep the streets safe. The story of "M" challenges you as a viewer even today, one could argue even more so today than in 1931. With crimes continually on the rise in this country, with the idea that pleading insanity cures the disease of murder (or is an easy innocence) the idea of "M", especially that final dialogue seems more important today. The fascination also arises with the concept of the mob within this story - the horror that simple events, kindness even, could turn on anyone in a moment of panic. Police arresting anyone that even looks at children in a peculiar way - a fascinating concept that Lang is not afraid to develop. Imagine if this film were made two years later, what a different theme Lang would have tackled.

A deeply enticing film, Fritz Lang proves that he was a ground breaker in his field. Not only could he handle Science Fiction, but nearly every other genre imaginable. "M" is no exception to his skill. If you have not seen this film, watch it - experience it - know what it means to be marked like Lorre.

Grade: ***** out of *****
A Terrifying Masterpiece.
I have no words to describe Fritz Lang's masterpiece M. It is brimmed with suspense that will make you shiver throughout. Peter Lorre's performance in all is mind-boggling, in one particular scene he describes how he cannot help killing children and it is a masterful moment, the actor who went on to feature in Casablanca and the Maltese Falcon makes M, seventy-fourth on the IMDb Top 250. It has immediately jumped into my top ten favourite films of all time, joining Cinema Paridiso in foreign films, which are films I don't usually like, but yet the most firm hater of foreign films must be drawn to a film like M. Fritz Lang is a film genius and I will continue to love this film, I have also been asked to watch another Fritz Lang film, Metropolis, so here I come!
Good movie but great, I beg to differ
Was this the first movie about a child murderer? I guess so. This movie certainly quite some good stuff going for. It is unconventional in the sense that we do not really have a main character. Well you could call the murderer the main character but he doesn't have that awful much of screening time. OK the best about the movie is that we have the mob and the beggars who join forces to catch the murderer, hoping to succeed where the police have failed this far. The shock and hysteria it causes among the people is believable for the time. People suspect and accuse each other, are suspicious when an adult is friendly towards a child. However this also results in long dialogs and shouting at each other which did tedious at times. It's rather odd that no one ever remembered anything while the murderer operated in broad daylight on the streets and was not actually secretive whistling "King of the Mountain Hall" tune constantly. Good performance from peter Lorre. Yes the chasing scene at the bank was exciting even if a bit overdue. The court scene was interesting but I didn't like the way how the murderer tried to be empathic. A big minus point to me was that the mystery surrounding the murderer was quickly gone for me as viewer as he came into full view pretty early in the movie.
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.

Incredible movie
I have heard about M for a long time, but had never gotten around to viewing it. I am glad I finally did. Although the cinematography is very unlike modern cinema it is quite gripping. The sense of paranoia that Lang was able to create was incredible. People turning on strangers in the street, the police performing constant raids to try to find the murderer. This movie will leave its mark on your memory.
Due respect to this pioneer, but nothing exceptional in and of itself
So this isn't an older film as in it's from the 60's or 80's. It's from 1931. The bare, sheer beginnings of 'sound film'. That Fritz Lang managed to utilize cinema in a way so constructively to ask a philosophical/society-type question is certainly something to behold, how he carefully lays out the hints from the very first scene to the end certainly demonstrates great originality and good technical command, a film made by pioneers in good command of their craft.

But in itself, if it should be judged by all-time standards with a general perspective on cinema from the earlier days to contemporary, the film lacks a bit of pace. The main segments of the film do take longer than they should to make their point and we're often stuck in a part of the plot too slow to develop. If you stop and think about it, there's really very little actually going on and few events occurring and the film really is merely driving at a point that's made obvious from the start. The film really is inherently a plain societal question, the one actually asked in the end scene - added a few interesting cinematic methods along the way to get there.

Credit due for what this film represents and its significance in the historical timeline of cinema but it isn't a "masterpiece" either, that would be exaggerated: 6.5/10
Great examination of society and a heart felt issue which many can not agree on.
Great story with incredible development of ideas and feelings while giving the audience an in-depth perspective for each side to an extremely difficult issue to resolve. Every film lover should take the time to see this film for its ingenious style and execution of ideas. Adds a little comedy in interesting ways to help entertain and engage the audience. Acting is incredibly real and heart felt. Dramatic and tender to fit to any interest.
M – Masterpiece!
'M' is brilliant! This film was so way ahead of its time that it still holds up today and doesn't feel dated one bit but rather modern. The only thing that seems a bit odd by today's standards is the complete lack of incidental music and the fact that many scenes don't include sound effects and are virtually silent. You have to remember, though, that this film was made right at the transition from silent film to sound film, so the concept of sound in films was still rather new and director Fritz Lang used the technology to its full potential in 'M.'

Lang's direction is magnificent, especially if you take into consideration that this film was made in 1930. The camera angles, tracking shots and zoom shots Lang used here were groundbreaking back then and they are still marvelous today. The three main characters of the film are played by Peter Lorre, Otto Wernicke and Gustaf Gründgens and all three of them are fantastic in their respective roles. Lorre's acting is intense, especially in the finale. That performance is something else!
📹 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. 📀