M by Fritz Lang - Movie Review Example

M by Fritz Lang M is yet another Thriller Master Piece by Director Fritz Lang that presents the predicaments of a society and its ramifications. It reasons with the making of a contorted psyche: Strange is often the norm. “It is an incredible portrait of a society at war with itself, tormenting itself from within. M reveals in a frighteningly visceral way just how prepared the ground was in 1930s Germany for the ascension of a Hitlerian regime. It shows Germany’s loss of order as a society disappearing into an atomised existence of individual jungle rule: anarchy and insecurity at its best. There is a complete breakdown of the social contract, paranoia in extremes - people are guilty until (dis)proven innocent, everyone is spying on everyone else – it’s a descent into madness” (Westcombe n.d.).       The Film employs poignant symbolism repeatedly highlighting “an alienated (stark geometric staircases shot from above) and de-personalised (empty spaces as the first child abduction is seen) world” (Westcombe n.d.).       The story was probably shaped in the late 20s "when the German public was exposed to a growing number of serial killers and their horrible actions. If rumours are to be believed then it has to be assumed that one particular serial killer, the Vampir von Düsseldorf (the vampire of Düsseldorf) Peter Kürten became the real-life inspiration to M” (Anon. n.d.)      “During that time the special edition of the publication Kriminal Magazine described the Düsseldorfer Massenmörder (serial killer of Düsseldorf) and proclaimed Alles vergebens! Der Mörder bleibt unerkannt! Er ist mitten unter uns! (Everything in vain! The murderer remains unknown! He is among us!). Interestingly enough the working title for M was Mörder unter uns (murderer among us)” (Anon n.d.).   “The original title, in the fiery environment of the time, earned Lang death threats and bans on its production from Nazi party members in the film industry. It’s erring to see motifs of Nazism deployed years before Hitler’s election as Chancellor in 1933“(Westcombe n.d.).       M shows a wide underworld network that doesn’t wish to cease. The point that hoodlums of the underworld themselves, irritated by Police’s meddling, take up searching the murderer and later go back to their businesses establishes the unimportance of law at that time in Germany. The cops look panicked. There desks are overflowing, rooms are claustrophobic and dark which depicts confusion, helplessness and over-burden.     “The State functioning as a criminal entity has never been better portrayed. The President’s conclusion, after Lorre’s testimony that he blacks out and does not consciously commit acts of evil (which the President twists to an ‘admission’), makes plain there is no rule of law here and this inquisition is a throwback to the dark ages” (Westcombe n.d.). M writing a letter to the Press about his intentions to kill more children reveals the blatant disregard of the Law. To instil more suspicion shadow of Lorre and his back shots were used, such as the scene where he meets Elsie (Inge Landgut) and his shadow is cast on the Wanted poster and the mid-level back shot in shadows where he is writing to the Press respectively.       An atmosphere of suffocating suspicion and lack of free-will is portrayed in the film. For example, the scene where an old man talks to a little girl and is immediately accused of being the killer - until the police arrives and saves him from the angry mob. Or parents picking up their children at school - a scene featured prominently during the first minutes of M.       The film takes place in a sad and tired middle class environment which is clear from the dull abodes and dark attire of the characters. The initial scenes of the kids playing under the balcony of an appartment with clothes hanging on strings as dead and helpless as the people themselves speak volumes for an irritated middle class set up ruled by insecurity and fear. It is portrayed directly without any dilly-dallying in the initial scenes itself when the women are talking and Elsie’s mother (Ellen Widmann) says, “Oh let them (the children) be. As long as we can hear them singing, we know they are safe” [02.40-02.46].       The German drama - an early talkie - used interesting techniques of story telling such as the radio-scoring and overlapping of dialogues from scene to scene; the riveting expressionism created by Fritz Arno Wagner through shadows and clutter and symbolism (empty staircase, the empty plate at the dining table, Elsie’s ball rolling off into a deserted pit, the jigsaw puzzle like hedge area searched for clues, depiction of the widening search area through compass drawings of circles on paper and an atmosphere of predestination that seems to be closing in on Lorres terrified villain); visual effects and architectural depth (Beckert seeing the image of a girl in the window screen of a shop, the basement); the editing technique by Paul Falkenberg of cross-cutting to show multiple actions during a sequence, for instance, when the sleuth comes to secretly search Beckert’s apartment while he is out in the streets; the echo effects in many scenes (the scene of children playing, Elsie’s mother calling out for her from the window in terror); direct camera confrontations (the shots where there is confusion about the colour of the child’s hat); Point of View (POV) shots (the scene of a white candy wrapper being checked, beggars’ play cards, Inspector Lohmann reading the reports of the mental patients). We see inter-cutting jump cuts and fade ins/outs as linkers to different scenes.       In the film wherever there is commotion of people, the shots are dark (the streets, the buildings, and the people), whatever is light is empty and lonesome (the rooms, the staircase). High key lighting and natural lighting against dark shadows depicts intersection of freedom with the fear of the unknown. The use of top angle shots and plain camera follow movements extend to the audience an edge to peek in the lives of the distressed populace of Germany. Their despair reinforced by the contrasting natural lights and shadows solidify the fear of the unknown and an unenthusiastic struggle against their insecurities.       “It was one of the very first movies with audio track. Music is not just the link for the plot-twist but often used dramatically as mise-en-scene. Fritz Lang employed the off-voices, and personal music themes (he even goes so far as tying a specific melody - Griegs Hall Of The Mountain King - to the dangerous state of the murderer, in one of the most impressive scenes of the movie where the Beckert tries to suppress his devious instincts and as he struggles to control himself he starts whistling the trademark melody until his transformation into the killer is complete). These are traits that may be quite common for todays good movies but it is absolutely brilliant for a directors very first experience with a brand-new technology” (Anon n.d.).       Peter Lorres portrayal of a serial killer is one of the defining performances of movie history. Not only did it set the benchmark for his own career it also defined the role of serial psycho killer itself. In the film, his dark coat and hat are in consonance with his covert and dark character. On the contrary he seems sweet, friendly, trust-instilling and respectable despite the low key lighting effect. His apartment is neat and clean which is by virtue of discipline and clear mindedness of intent. His acting in the trial scene is remarkable, chilling and unforgettable!       Not only did Peter Lorre play his character to perfection but also Georg John the Blind Panhandler: an impoverished balloon seller who acts as a spy to catch the Mörder giving a well-finished performance. He plays an important part in film by recognising the Murderer through his whistle which is least expected through his initial short stint in the movie. He is old but he has a sharp memory as he still bore in mind the tune of the whistle which he heard the day Elsie Beckmann was murdered.       Otto Wernicke as Inspector Lohmann is equally well-rounded and powerful in performance. An old-staggered. Strong and experienced. He is a stout man, formally dressed in a dark suit that enhances his authoritative stature. His superiority is established through the dialogues, the files being presented to him at his order, and the use of state-of-the-art techniques such as fingerprinting and handwriting analysis under him. He has a commanding and clever demeanor. “Just a moment…did you say ‘Ariston’...that rings a bell.” [13.12-13.41]       Ellen Widmann shot in mid-range in high key lighting played a haggard mother. She is a simple woman seemingly tired with life. She plays a reticent character busy in household chores – laundry, cooking, setting the dinner table, etc. Her simple make-up and tightly tied hair and appearance enhance the staleness and gloominess of her character. M is quintessential of Film Noirs where sadism, pessimism, paranoia, ambiguity and fear and suspicion are the norms. Beckert (Peter Lorre) is possessed by evil when he commits the crime. He gets delight in murdering innocence. Probably it is a replacement of sexual sadism with violent one. The film is hard hitting because of the murder of innocent children. More so disgusting is that around his evil intentions he whistles a tune which worsens his sadistic character. It is devoid of guilt and humanity.  What is ironical is the end where the culprit is sympathized with and parents are demanded of being more watchful. There is no happy ending but a bitter catharsis. The theme of the film like that of Alfred Hitchcock’s is stimulated more toward the psychological landscape of the characters. It presents hard to digest motivations behind the actions of the Protagonist. The base of the film does not only revolve around an entertainment driven, self-professed theme but holds point-blank relevance to the insecure and ramshackle social and legal environment of Germany of that time. It is an important piece of cinemas past long with a number of Langs early German works. Bibliography 1. Lang, Fritz, Harbou. Thea. Von. & Garnhyam. Nicholas., 1973. M: a film, 7th ed., the University of Michigan: Simon and Schuster. 2. Eisner, Lotte. H., 1986. Fritz Lang, illustrated ed., s.I. Da Capo Press. 3. Armour, Robert. A.,1978. Fritz Lang: Filmmakers Series Twaynes theatrical arts series, the University of Michigan: Twayne. 4. Barron, Stephanie, Dube, Wolf. Dieter., 1997. German expressionism: art and society, illustrated ed., the University of Michigan: Rizzoli. 5. Muth, Jon. J., 199?. M: A Graphic Novel based on the Film by Fritz Lang, Illustrated ed., s.I. Abrams. 6. Spicer, Andrew, 2002. Film Noir, illustrated ed., the University of Michigan: Longman/Pearson Education. 7. Waqner, Seaton. Margaret., 1932. The monster of Düsseldorf: the life and trial of Peter Kürten, s.I. Faber & Faber. 8. Bordwell, David. & Thompson, Kristin., 1986. Film art: an introduction, 2nd ed., the University of California: Knopf. 9. Westcombe, Roger, 199?, M (1931) [Online] Available at http://www.crimeculture.com/Contents/FilmReviews/M.htm. [Accessed 7 March 2010]. 10. Anon., n.d., Fritz Langs M [Online] Available at http://www.cyberroach.com/m/default.htm.[Accessed 7 March 2010]. Read More