M (1931 film)

In Berlin,[8] a group of children are playing an elimination game in the courtyard of an apartment building, using a chant about a murderer of children. A woman sets the table for lunch, waiting for her daughter to come home from school. A wanted poster warns of a serial killer preying on children, as anxious parents wait outside a school.

Little Elsie Beckmann leaves school, bouncing a ball on her way home. She is approached by Hans Beckert,[9] who is whistling "In the Hall of the Mountain King" by Edvard Grieg. He offers to buy her a balloon from a blind street-vendor and walks and talks with her. Elsie's place at the dinner table remains empty, her ball rolls away across a patch of grass, and her balloon is lost in the telephone lines overhead.[10]

In the wake of Elsie's disappearance, anxiety runs high among the public. Beckert sends an anonymous letter to the newspapers, taking credit for the child murders and promising that he will commit others; the police extract clues from the letter, using the new techniques of fingerprinting and handwriting analysis. Under mounting pressure from the Prussian government, the police work around the clock. Inspector Karl Lohmann, head of the homicide squad, instructs his men to intensify their search and to check the records of recently released psychiatric patients, focusing on any with a history of violence against children. They stage frequent raids to question known criminals, disrupting organized crime so badly that Der Schränker (The Safecracker) summons the crime bosses of Berlin's Ringvereine to a conference. They decide to organize their own manhunt, using beggars to watch the children.[11] Meanwhile, the police search Beckert's rented rooms, find evidence that he wrote the letter there, and lie in wait to arrest him.[12]

Beckert sees a young girl in the reflection of a shop window and begins to follow her, but stops when the girl meets her mother. He encounters another girl and befriends her, but the blind vendor recognizes his whistling. The vendor tells one of his friends, who follows Beckert and sees him inside a shop with the girl. As the two exit onto the street, the man chalks a large "M" (for Mörder, "murderer" in German) on his palm, pretends to trip, and bumps into Beckert, marking the back of his overcoat so that other beggars can easily track him.[12] The girl notices the chalk and offers to clean it for him, but before she finishes, Beckert realizes he is being watched and flees the scene, abandoning the girl.

Attempting to evade the beggars' surveillance, Beckert hides inside a large office building just before the workers leave for the evening. The beggars call Der Schränker, who arrives at the building with a team of other criminals. They capture and torture one of the watchmen for information and, after capturing the other two, search the building and catch Beckert in the attic. When one of the watchmen trips the silent alarm, the criminals narrowly escape with their prisoner before the police arrive. Franz, one of the criminals, is left behind in the confusion and captured by the police. By falsely claiming that one of the watchmen was killed during the break-in, Lohmann tricks Franz into admitting that the gang only broke into the building to find Beckert and revealing where he will be taken.[13]

The criminals drag Beckert to an abandoned distillery to face a kangaroo court. He finds a large, silent crowd awaiting him. Beckert is given a "lawyer", who gamely argues in his defense but fails to win any sympathy from the improvised "jury". Beckert delivers an impassioned monologue, saying that he cannot control his homicidal urges, while the other criminals present break the law by choice, and further questioning why they as criminals believe they have any right to judge him:

What right have you to speak? Criminals! Perhaps you are even proud of yourselves! Proud of being able to crack into safes,[14] or climb into buildings or cheat at cards. All of which, it seems to me, you could just as easily give up, if you had learned something useful, or if you had jobs, or if you were not such lazy pigs. I can not help myself! I have no control over this evil thing that is inside me—the fire, the voices, the torment![15]

Beckert pleads to be handed over to the police, asking: "Who knows what it is like to be me?" His "lawyer" points out that Der Schränker, presiding over the proceedings, is wanted on three counts of manslaughter, and that it is unjust to execute an insane man. Just as the enraged mob is about to kill Beckert, the police arrive to arrest both him and the criminals.

As a panel of judges prepares to deliver a verdict at Beckert's real trial, the mothers of three of his victims weep in the gallery. Elsie's mother says that "No sentence will bring the dead children back" and that "One has to keep closer watch over the children". The screen fades to black as she adds, "All of you".[16]

• Peter Lorre as Hans Beckert. M was Lorre's first major starring role, and it boosted his career, even though he was typecast as a villain for years afterward in films such as Mad Love and Crime and Punishment. Before M, Lorre had been mostly a comedic actor. After fleeing from the Nazis, he landed a major role in Alfred Hitchcock's first version of The Man Who Knew Too Much (1934), picking up English along the way.
• Otto Wernicke as Inspector Karl Lohmann. Wernicke made his breakthrough with M after playing many small roles in silent films for over a decade. After his part in M he was in great demand due to the success of the film, including returning to the role of Karl Lohmann in The Testament of Doctor Mabuse, and he played supporting roles for the rest of his career.[17]
• Gustaf Gründgens as Der Schränker (The Safecracker). Gründgens received acclaim for his role in the film and established a successful career for himself under Nazi rule, ultimately becoming director of the Staatliches Schauspielhaus (National Dramatic Theatre).[18]

Lang placed an advert in a newspaper in 1930 stating that his next film would be Mörder unter uns (Murderer Among Us) and that it was about a child murderer. He immediately began receiving threatening letters in the mail and was also denied a studio space to shoot the film at the Staaken Studios. When Lang confronted the head of Staaken Studio to find out why he was being denied access, the studio head informed Lang that he was a member of the Nazi party and that the party suspected that the film was meant to depict the Nazis.[20] This assumption was based entirely on the film's original title and the Nazi party relented when told the plot.[21]

M was eventually shot in six weeks at a Staaken Zeppelinhalle studio, just outside Berlin. Lang made the film for Nero-Film, rather than with UFA or his own production company. It was produced by Nero studio head Seymour Nebenzal who later produced Lang's The Testament of Dr. Mabuse. Other titles were given to the film before "M" was chosen; Eine Stadt sucht einen Mörder (A City Searches for a Murderer) and Dein Mörder sieht Dich an (Your Murderer Looks at You).[22] While researching for the film, Lang spent eight days inside a mental institution in Germany and met several child murderers, including Peter Kürten. He used several real criminals as extras in the film and eventually 25 cast members were arrested during the film's shooting.[23] Peter Lorre was cast in the lead role of Hans Beckert, acting for the film during the day and appearing on stage in Valentine Katayev's Squaring the Circle at night.[24]

Lang did not show any acts of violence or deaths of children on screen and later said that by only suggesting violence, he forced "each individual member of the audience to create the gruesome details of the murder according to their personal imagination".[25]

Peter Lorre as Hans Beckert, gazing into a shop window. Fritz Lang uses glass and reflections throughout the film for expressive purposes.

M has been said, by various critics and reviewers,[26] to be based on serial killer Peter Kürten—the "Vampire of Düsseldorf"—whose crimes took place in the 1920s.[27] Lang denied that he drew from this case, in an interview in 1963 with film historian Gero Gandert; "At the time I decided to use the subject matter of M, there were many serial killers terrorizing Germany—Haarmann, Grossmann, Kürten, Denke, [...]".[28][29] Inspector Karl Lohmann is based on then famous Ernst Gennat, director of the Berlin criminal police.[30]

Lang's picture of the Berlin underworld in the film was inspired by the real Ringvereine, which played a role in the German underworld analogous to the Mafia in the Italian underworld.[31] The film's portrayal of the Ringvereine as organized like companies with a board of directors that were dominated by a charismatic master criminal was based on reality.[31] Likewise, the practice of the Ringvereine shown in the film of providing financial support for the families of imprisoned members was also based on reality.[31] The break-in of an office building depicted in the film was inspired by the real life 1929 break-in of the Disconto Bank in Berlin by the Saas brothers gang, though unlike in the film the objective was larceny, not to capture a serial killer.[31] The Ringvereine, which were officially wrestling associations that existed for the physical betterment of German men, always sought to promote a very 'respectable', almost middle-class image of themselves.[32] Like the Mafia, the Ringvereine paradoxically portrayed themselves as the guardians of society's values, who upheld a certain social order. The image the Ringvereine sought to project was as "professionals" whose crimes did not harm ordinary people.[33] Though the Ringvereine were known to be gangsters, their hierarchal structure and strict discipline led to a certain popular admiration for them as a force for social order unlike the psychopathic serial killers who murdered random strangers for reasons that often seemed unfathomable, sparking widespread fear and dread.[33] In an article originally published in Die Filmwoche, Lang wrote that the crime scene in Germany was "such compelling cinematic material that I lived in constant fear that someone else would exploit this idea before me".[34]

The Weimar era was marked by intense debates about the morality and efficiency of capital punishment with the left arguing that the death penalty was barbaric while the right argued that the death penalty was needed to maintain law and order.[33] Adding to the debate was the popular interest in the new science of psychiatry with many psychiatrists arguing that crime was caused by damaged minds and emotions, which could be cured.[33] In the background was a popular obsessive fear of crime and social breakdown, which was fed by sensationalist newspaper coverage of crime, which certainly gave the impression that crime was out of control in Weimar Germany.[33] In addition, for many conservative Germans, the Weimar republic was itself born of crime, namely the November Revolution of 1918 which began with the High Seas Fleet mutiny of October 1918. According to this viewpoint its origins in mutiny and revolution made the Weimar Republic into an illegitimate state that could not maintain social order because the Republic itself was born of disorder.[33] Lang followed these debates closely and incorporated them into several of his Weimar films such as M. The debate at Beckert's "trial" about whether he deserved to be killed or not paralleled the contemporary debates about capital punishment in Germany.[35] The fact that Der Schränker, a career criminal, serves as both the prosecutor and judge at the kangaroo court, egging on the mob of criminals to kill Beckert, seems to suggest that Lang's sympathy was with the abolitionists.[35] The arguments that Der Schränker makes at the kangaroo court, namely that certain people are so evil that they deserved to be killed for the good of society was precisely the same argument made by supporters of the death penalty.

M premiered in Berlin on 11 May 1931 at the UFA-Palast am Zoo in a version lasting 117 minutes.[24] The original negative is preserved at the Federal Film Archive in a 96-minute version. In 1960, an edited 98-minute version was released. The film was restored in 2000 by the Netherlands Film Museum in collaboration with the Federal Film Archive, the Cinemateque Suisse, Kirsch Media and ZDF/ARTE., with Janus Films releasing the 109-minute version as part of its Criterion Collection using prints from the same period from the Cinemateque Suisse and the Netherlands Film Museum.[40] A complete print of the English version and selected scenes from the French version were included in the 2010 Criterion Collection releases of the film.[41]

The film was later released in the U.S. in April 1933 by Foremco Pictures.[42] After playing in German with English subtitles for two weeks, it was pulled from theaters and replaced by an English-language version. The re-dubbing was directed by Eric Hakim, and Lorre was one of the few cast members to reprise his role in the film.[24] As with many other early talkies from the years 1930–1931, M was partially reshot with actors (including Lorre) performing dialogue in other languages for foreign markets after the German original was completed, apparently without Lang's involvement. An English-language version was filmed and released in 1932 from an edited script with Lorre speaking his own words, his first English part. An edited French version was also released but despite the fact that Lorre spoke French his speaking parts were dubbed.[43] In 2013, a DCP version was released by Kino Lorber and played theatrically in North America[44] in the original aspect ratio of 1.19:1.[45] Critic Kenneth Turan of the Los Angeles Times called this the "most-complete-ever version" at 111 minutes.[46] The film was restored by TLEFilms Film Restoration & Preservation Services (Berlin) in association with Archives françaises du film – CNC (Paris) and PostFactory GmbH (Berlin).[47]

Lang considered M to be his favorite of his own films because of the social criticism in the film. In 1937, he told a reporter that he made the film "to warn mothers about neglecting children".[36] The film has appeared on multiple lists as one of the greatest films ever made. It was voted the best German film of all time with 306 votes in a 1994 poll of 324 film journalists, film critics, filmmakers, and cineastes organized by the Association of German Cinémathèques.[51] It's included in Empire Magazine's 100 Best Films of World Cinema in 2010.[52] It is listed in the film reference book 1001 Movies You Must See Before You Die, which says, "Establishing conventions still being used by serial killer movies, Lang and scenarist Thea von Harbou intercut the pathetic life of the murderer with the frenzy of the police investigation into the outrageous crimes, and pay attention to issues of press coverage of the killings, vigilante action, and the political pressure that comes down from the politicians and hinders as much as encourages the police."[53] In 2018, it was voted the thirteenth greatest foreign-language film of all time in BBC's poll of 209 critics in 43 countries.[54] The film is also referenced in the song "In Germany Before the War" by American songwriter Randy Newman in his 1977 album Little Criminals.[55]

A scene from the movie was used in the 1940 Nazi propaganda movie The Eternal Jew.[56]

• Trial movies
• List of films featuring surveillance
• List of films with a 100% rating on Rotten Tomatoes, a film review aggregator website
• List of films considered the best

• Kaes, Anton; Dimendberg, Edward; Jay, Martin (1994). The Weimar Republic Sourcebook. Los Angeles: University of California Press. ISBN 9780520067752.
• Lee, Daryl (2014). The Heist Film Stealing with Style. New York: Wallflower. ISBN 9780231169691.
• Lessing, Theodor (1993) [1925]. Monsters of Weimar: Haarmann, the Story of a Werewolf. London: Nemesis Books. pp. 293–306. ISBN 1897743106.
• Schulte-Bockholt, Schulte-Bockholt (2006). The Politics of Organized Crime and the Organized Crime of Politics A Study in Criminal Power. Latham: Lexington Books. ISBN 9780739113585.
• Thomas, Sarah (2012). Peter Lorre, Face Maker: Stardom and Performance Between Hollywood and Europe. United States: Berghahn Books. ISBN 978-0857454423.

Wikiquote has quotations related to M (1931 film).

• M at IMDb
• M at AllMovie
• M at the TCM Movie Database
• The Restoration of M (2003) from TLEFilms.com
• The Mark of M an essay by Stanley Kauffmann at the Criterion Collection
• M Photographs and literature
• M and the making of Peter Lorre