M (1931)

Fritz Lang’s 1931 film “M” stands as a pivotal work in the transition from silent to sound cinema. This German thriller, centered around the hunt for a child murderer in Berlin, demonstrates Lang’s adept handling of the new sound medium while maintaining the visual storytelling prowess he honed during the silent era.

“M” marks a significant point in Lang’s career, following his silent masterpieces like “Metropolis” (1927). The film stars Peter Lorre in his breakthrough role as Hans Beckert, the disturbed antagonist. Lorre’s performance would go on to define much of his later career.

Interestingly, “M” also features Otto Wernicke as Inspector Karl Lohmann, a character he would reprise in Lang’s subsequent film “The Testament of Dr. Mabuse” (1933). This continuity between films hints at Lang’s broader vision for his cinematic world.

In this review, we’ll examine how “M” utilizes sound to enhance its narrative, explore its themes of justice and social responsibility, and consider its lasting impact on the thriller genre. Despite being nearly a century old, “M” remains a compelling watch, offering insights into both the filmmaking techniques of the early sound era and the social concerns of Weimar-era Germany.

Historical Context

“M” was produced and released during a tumultuous period in German history known as the Weimar Republic (1919-1933). This era, sandwiched between World War I and the rise of Nazi Germany, was marked by significant political instability, economic hardship, and rapid social change. These factors contributed to a climate of uncertainty and anxiety that’s palpable in the film’s atmosphere.

The early 1930s also represented a crucial transition period in cinema history. The shift from silent to sound films, which began in the late 1920s, was still ongoing. Many filmmakers were grappling with how to effectively use this new technology. “M” was only Fritz Lang’s second sound film, following “The Testament of Dr. Mabuse,” which was actually completed first but released later due to censorship issues.

Lang’s career up to this point had been primarily in silent cinema. He had already established himself as one of Germany’s preeminent directors with films like “Dr. Mabuse the Gambler” (1922), “Die Nibelungen” (1924), and “Metropolis” (1927). These films showcased Lang’s visual flair and his ability to tackle complex themes, traits that would carry over into his sound work.

The German film industry of this period, centered in Berlin, was one of the most innovative and influential in the world. The expressionist movement, which had flourished in German silent cinema, was evolving in response to new technologies and changing social conditions. “M” represents a bridge between the visual emphasis of expressionism and the more realistic, socially engaged filmmaking that would come to dominate in the 1930s.

It’s worth noting that “M” was released just two years before the Nazi Party came to power in Germany. The film’s themes of mob justice and societal panic can be seen as prescient in light of subsequent historical events. Many key figures in the German film industry, including Lang himself, would soon leave the country due to the rising tide of fascism.

Understanding this historical context helps us appreciate “M” not just as a groundbreaking thriller, but as a document of a specific time and place, reflecting the anxieties and artistic innovations of Weimar Germany on the brink of momentous change.

Plot and Themes

Synopsis

“M” unfolds in a Berlin gripped by fear as a serial killer preys on children. As panic spreads, both the police and the criminal underworld launch intense manhunts. The police’s increased presence disrupts the city’s illegal activities, motivating the criminals to find the killer themselves. The murderer, Hans Beckert (Peter Lorre), is eventually identified by a blind beggar who recognizes his whistling. What follows is a tense pursuit through the city streets, culminating in a climactic scene that brings the themes of justice and societal responsibility to the forefront.

Exploration of Justice and Mob Mentality

Lang’s film delves deep into questions of justice and the nature of societal response to crime. As the manhunt intensifies, we see a breakdown of the usual distinctions between law enforcement and criminals. Both groups employ similar tactics in their search, blurring the lines between legal and illegal pursuit of justice.

The film’s climax, set in an impromptu underground “court,” serves as a powerful examination of mob mentality and vigilante justice. Here, Lang forces us to confront uncomfortable questions: Who has the right to judge? How do we balance the need for justice with the rights of the accused? The scene presents a chilling portrayal of mob rule, while also allowing the killer to plead his case, adding layers of moral complexity to the proceedings.

Psychological Portrayal of the Antagonist

Perhaps most striking is Lang’s nuanced portrayal of Hans Beckert. Rather than presenting a one-dimensional villain, “M” offers a complex character study of a man grappling with his own monstrous impulses. Peter Lorre’s performance is key to this portrayal, capturing Beckert’s inner torment and inability to control his urges.

The film doesn’t excuse Beckert’s actions, but it does force the audience to see him as a human being rather than a faceless monster. His impassioned speech during the “trial” scene is a tour de force, revealing the psychological depth of his character. Beckert describes himself as pursued by an uncontrollable compulsion, raising questions about free will, mental illness, and criminal responsibility that remain relevant today.

Through this psychological exploration, Lang challenges the audience’s preconceptions and complicates our understanding of criminality and justice. The film suggests that society’s monsters may be of its own making, products of systemic failures rather than simply “evil” individuals.

This multifaceted approach to plot and character elevates “M” beyond a simple thriller, turning it into a profound meditation on crime, punishment, and the nature of justice in modern society.

Performances

Peter Lorre as Hans Beckert

Peter Lorre’s portrayal of Hans Beckert is nothing short of revolutionary for its time. This role launched Lorre’s career and set a new standard for the portrayal of complex villains in cinema. Lorre brings a unsettling vulnerability to Beckert, creating a character who is simultaneously repulsive and pitiable.

Lorre’s performance is most memorable in the film’s climactic “trial” scene. His frenzied monologue, where Beckert pleads for understanding while describing his uncontrollable urges, is a masterclass in acting. Lorre’s bulging eyes, sweaty brow, and trembling voice convey a man torn apart by his own nature. This nuanced performance challenges the audience to see Beckert as a troubled human being rather than a simple monster.

Otto Wernicke as Inspector Karl Lohmann

Otto Wernicke’s portrayal of Inspector Karl Lohmann provides a solid counterweight to Lorre’s frenetic energy. Wernicke plays Lohmann as a no-nonsense, determined detective, bringing a grounded realism to the role. His performance helps anchor the film’s more procedural elements, providing a sense of methodical progress amidst the city’s growing hysteria.

Interestingly, Wernicke would reprise this role in Fritz Lang’s subsequent film, “The Testament of Dr. Mabuse” (1933). This continuity allows Wernicke to bring additional depth to Lohmann, hinting at a richer character history that extends beyond the confines of “M”.

Supporting Cast

While Lorre and Wernicke deliver standout performances, the strength of “M” lies equally in its ensemble cast. The film populates its version of Berlin with a variety of distinct characters, each bringing authenticity to their role:

1. Gustaf Gründgens as Schränker, the criminal boss, delivers a chilling performance that serves as an effective foil to Wernicke’s Lohmann. His calculated demeanor contrasts sharply with Lorre’s erratic Beckert.
2. Ellen Widmann as Frau Beckmann, the mother of Beckert’s first victim, provides some of the film’s most heart-wrenching moments. Her performance in the opening scenes sets the tone for the entire film, conveying the personal tragedy behind the manhunt.
3. Franz Stein as the Minister brings gravitas to his brief role, effectively portraying the pressure on authorities to solve the case.
4. The group of beggars, particularly Gerhard Bienert as the blind balloon seller, add texture to the city’s underworld and play crucial roles in the plot’s development.

The strength of these supporting performances helps create a fully realized world, making the Berlin of “M” feel alive with tension and intrigue. Each character, no matter how small their role, contributes to the overall atmosphere of unease and urgency that permeates the film.

Lang’s direction draws naturalistic performances from his entire cast, a significant achievement in the early sound era when many actors were still adjusting to the transition from silent film acting techniques. This ensemble work significantly contributes to the film’s enduring power and realism.

Conclusion

Fritz Lang’s “M” stands as a towering achievement in early sound cinema, a film that has lost none of its power to provoke and disturb in the decades since its release. As we’ve explored, the film’s strengths are manifold: its innovative use of sound, its complex exploration of morality and justice, and its outstanding performances, particularly Peter Lorre’s career-defining turn as Hans Beckert.

Set against the backdrop of Weimar Germany, “M” captures a society on the brink of chaos, its themes of mob mentality and the breakdown of social order resonating eerily with the historical events that would soon unfold. Yet the film’s concerns are not merely historical; its questioning of justice, free will, and societal responsibility remains deeply relevant to modern viewers.

Technically, “M” showcases Lang’s masterful transition from silent to sound filmmaking. The director’s use of sound is never gimmicky, but integral to the storytelling, from Beckert’s haunting whistle to the silence that amplifies moments of tension. Visually, the film retains the expressionist flair of Lang’s silent work while moving towards a grittier, more realistic style that would influence film noir and urban thrillers for decades to come.