🎦 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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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.
Truly Deserves to be in the Top Ranks
I started watching this movie with some skepticism. Having seen many Thrillers and murder mysteries of 40s and 50s, i somehow felt i had seen it all. Oh boy was i wrong. This movie just kept building up at a pace that beats even some of the movies of current era. This movie is absolutely Flawless and an experience that shouldn't be missed. Depth and accuracy of Clinical investigation demonstrated in this movie is just jaw dropping. For god's sake this was in 1931. Beyond being a Serial Killer, Thriller film, it touches upon the questions of morality of Legal and Ethical systems of the society then. And i think those questions are still relevant in our times.
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.
Good cinematography presentation even though technically flawed
The movie opens up subtly but directly addressing the main conflict at hand. It then speedily goes into arrival of the main conflict, also speedily explaining the background through a text and then continues on building the atmosphere of the environment setting. I like how the movie builds its story quite slowly up to one third of its duration and then quickly changes pace to medium speed long sequences starting from where the murder suspect is identified by the blind man. It then lets the viewers ride a roller coaster of a story, inciting more and more curiosity as the movie provide room for it by presenting the two sides of the story, the police side and the organized crime side. The cinematography tries very hard to looks sophisticated for its time. Using camera movements that may be complicated to execute at that time, the movie continues on despite all those major and frequent hiccups. The sound department also doesn't escape this, as all the entire voice-over acting are misplaced by a third to half a second. The twist with Franz is also quite funny for me. The acting in general is quite okay. Much over-acting here and there but I think that's quite common for movies from that age.
Difficult to watch, but outstanding
The content of this movie is extremely hard to stomach, even today. It is also filmed in German, so one has to frequently pause it to read the subtitles. After 80+ years - with even more nut-cases running around society, this movie really hits home. Peter Lorre is as sinister as it gets, and really makes himself the most vile villain known to movie audiences up until that time. Fritz Lang was way ahead of his time, and this movie essentially brought him to Hollywood, along with Peter Lorre. The movie also addresses the same, timeless issue we are still dealing with today, in stark reality - child abductors, murderers, and pedophiles, with such complete frankness, that it would rival a current amber alert story. One of the top 100 films of all time.
One word: Chilling!
What can I say? It's a classic. The fact that it was based on a REAL case in Düsseldorf, Germany, really scares me, knowing that huge crime sindicates were able to form one league, to battle this common enemy. If they could do it then, then why not again? Peter Lorre's portrail of the murderer was brilliant, completely believable. At times, I was compelled to feel sorry for him, seeing how he was caught between two existences. So for anyone who hasn't seen "M", I strongly recommend it. :)
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.
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 *****
Chilling movie
This movie is definitely one of the scariest movies I've ever seen. It's about this childlike, pity evoking man (brilliantly played by Peter Lorre), who also happens to be a psychotic child killer. The city in which he lives is, of course, panicked by the mysterious child-killings, and both the criminals and the police starts to haunt the man down. I won't reveal more then this, but I will say this: Just because it's an old movie, don't let your guard down. This movie is one of those rare movies, which are so good that you'll never forget them.
A pioneering drama and cinematic landmark
Fritz Lang, dubbed as the "Master of Darkness", achieved new heights with his groundbreaking, 1927 silent masterpiece "Metropolis". Four years later, Lang would create his first 'talking' film in "M", a precursor to the film-noir genre that, even today, serves as the quintessence of crime thriller.

One thing I truly admire about B&W films is its use of light and shadows to manipulate setting, emotions and character development. Lang's visual style was said to mirror his contempt and increasingly pessimistic worldview. In "M", Lang creates an atmosphere of fearful apprehension; men are seen in shadows, in smoke-filled rooms.

This is a powerful and fertile piece of art. Hans Beckert, the disturbed child killer, uncannily portrayed by Peter Lorre, is often seen looking through glass windows or mirrors for expressive purposes. Sometimes we see just his shadow. His words are few and far between, and yet his general frame of mind and emotions are quite apparent to us.

The acting is superb and the story is a riveting one. But it was the cinematography that took my breathe away. One spectacular shot, among many, occurs when Becker is unwillingly dragged down to a basement. His cries for help are quickly silenced as he turns around to the sight of hundreds of criminal faces - silent, eerie, menacing.

The flow of this story is guided by two seemingly distinct groups seeking out the notorious child murderer - the police and the criminals. And yet, they are both cleverly shot (in their dark, smoky rooms) to appear as virtually homologous beings - even the criminals deem this man's freedom as injustice, with this commonality almost blending two morally opposite figures into one force.

The film is masterfully crafted and serves as an important message for parental neglect of their children. As we hear our killer compulsively whistle the same tune from "Peer Gynt," we are continually reminded of the innocence children can see in others and the perils of them acting on that naiveté. "M" is an unpredictably formidable film.
See Also
📹 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. 📀