5/5 Great Film and Peter Lorre
  by Lynn Ellingwood (Webster, NY United States)
This is a chilling film about a child murderer who terrifies a Berlin neighborhood. The police seem to focus on the lowly criminals and prostitutes in the area and seem more interested in making a show of the hunt at least in the beginning. The community members are terrified and numb at first then become activist in hunting for the killer. Police eventually bring in skilled investigators who come close to catching the killer. The people use a blind possible witness for better effect. What happens to the killer, who captures him and his explanation form the essential thought provoking finale. Capital punishment, evil deeds and uncontrollable compulsions are discussed and become part of the story. The psychological background of the killer, the police and the community were ground breaking at the time. The DVD comes with a story booklet, several interesting documentaries and quite a lot of information on Fritz Lang and German film-making at the time. I found all very interesting. Loved them.

5/5 Lorre's Little Secret
  by A. Gyurisin (Wet, Wild, Wonderful Virginia)
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.

To conclude, I loved, perhaps loved is a soft word, I worship this film. It is intensely powerful and timelessly accurate for a 78-year old film. I cannot wait to watch it again - not only to bath in Lang's glory, but to really see if the "true" killer was caught. There is plenty left unknown, and I just want to ensure that points connect. This is a slice of cinema that could be watched again and again, knowing that something new would be encountered each time. 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 *****

5/5 M
  by Karen L. Schmidt (St.Joseph, MO USA)
The product was exactly what I wanted and I received it in a timely manner. I was very satisfied with the service received from this company and would order from them again as well as recommend it to my friends and business associates.

5/5 A classic film
  by Terrence W. Faulkner (Rochester, NY USA)
M, by any definition, qualifies as a classic film. This latest DVD version is a high quality reproduction. I think that there are elements of this film that remain unequalled in their dramatic impact. One example would be the cutting back and forth between the police meeting and the criminals meeting with each developing a plan for capturing the child killer.

4/5 M für Mörder
  by Samantha Kelley (USA)
M is the story of a child murderer (Peter Lorre), a man who walks the streets and lures children to him through candy and balloons. Soon, the whole town is in fear of their children's lives, so they follow them around like mad. The trouble is, the criminals are being watched more closely now too, so it is difficult for them to earn their living (albiet in a less-than-moral way). They band together to catch the criminal, and take him to their own court to render a verdict.

There are some points when the early sound technology causes this film to suffer, but director Fritz Lang does a great job of getting around some of the restrictions. Instead of allowing the camera to become stagnant, he shoots the scenes as silent scenes and then dubs in the dialogue later. This is not noticable because there are no close-ups on faces; there are no lips moving out of sequence with the sound. There are times when there is no sound at all, and then it is broken by piercing noises. This makes them more noticable and jarring, although one might be drawn out of the movie by the initial silence.

There are some great scenes, though. One involves cutting from the criminals creating a strategy to catch the murderer to the police doing the same. Lang uses the Peer Gynt Suite to illustrate a scene where the murderer tries to lure another child to him. There are some great overhead shots as well. At the trial, Lang films actors facing the camera directly, which creates a claustrophobic feeling. Although no violence is shown, and nothing is explained in great detail, the construction of the film is so good that this movie's subject will disturb you just the same. Credit must be given to Lorre whose performance is very powerful.