M

Fritz Lang's first sound film, "M," is a chilling psychological thriller set in 1930s Berlin. The city is thrown into a state of panic and paranoia by a serial child murderer, Hans Beckert (portrayed by Peter Lorre), whose crimes are disrupting daily life. The police, led by the methodical Inspector Lohmann, launch an intensive investigation, conducting widespread raids that inadvertently disrupt the city's criminal underworld.

Frustrated by the constant police presence impacting their illegal activities, the city's organized crime leaders, under the command of the formidable Schränker, decide to take matters into their own hands. They organize their own manhunt, utilizing a network of beggars to keep the city under constant surveillance. This creates a tense, dual pursuit where both the upholders of the law and its breakers are hunting the same man, blurring the lines between justice and criminality.

The film masterfully builds suspense not through graphic depictions of violence, but through suggestion and psychological tension. The killer's presence is often signaled only by the haunting tune of "In the Hall of the Mountain King," which he whistles. As both manhunts close in, the film culminates in a powerful confrontation that questions the very nature of justice, guilt, and societal responsibility.

At its core, "M" is a profound exploration of societal decay, justice, and the nature of evil, set against the backdrop of the failing Weimar Republic. Director Fritz Lang uses the hunt for a child murderer to critique a society on the brink of collapse, where the distinction between law and criminality becomes dangerously blurred. The film poses critical questions about who has the right to dispense justice when official institutions are perceived as ineffective.

Furthermore, "M" delves into the psychology of a killer, not to elicit sympathy, but to question the origins of his compulsions and whether he is a product of his own tormented mind or a symptom of a sick society. Lang stated he made the film "to warn mothers about neglecting children," but its message transcends this simple warning. The film ultimately holds a mirror to society, exposing the hysteria of mob rule and the dark, vengeful impulses that lie beneath a veneer of civilization, leaving the audience to grapple with unsettling questions about collective guilt and the very definition of humanity.

While the film is most commonly seen as a critique of societal decay and a commentary on justice, several alternative interpretations exist, particularly concerning Hans Beckert's final monologue and the film's ending.

Beckert's Monologue as Manipulation: One interpretation posits that Beckert's impassioned plea of insanity is not a genuine confession of torment but a desperate, calculated act of self-preservation. Proponents of this view point to his earlier cunning, such as writing taunting letters to the press and police. In this reading, his performance in the kangaroo court is his final, desperate attempt to manipulate his audience—both the criminals and the film's viewers—into seeing him as a victim rather than a predator. He may be exaggerating his lack of control to escape the mob's death sentence.

A Critique of Capital Punishment: Fritz Lang was a known opponent of the death penalty. Therefore, the film can be interpreted as a direct argument against it. By making the killer a mentally ill man who claims he cannot control his actions, Lang presents the most challenging case possible. The film forces the audience to question if it is just to execute an insane person, regardless of the horror of their crimes. The criminals' bloodlust is portrayed as barbaric, suggesting that state-sanctioned execution is no more civilized.

The Ending as a Warning Against Complacency: The final line, "One has to keep closer watch over the children," can be read in multiple ways. While it is a literal warning, it can also be interpreted as a broader statement about societal responsibility. It suggests that the institutions of justice and the dramatic manhunts are ultimately insufficient. The real solution, Lang may be arguing, lies in the vigilance and moral fabric of the community itself. It's a critique of a society that becomes fascinated by crime stories but fails in its fundamental duty to protect its most vulnerable members.

"M" was released in 1931 during the final, turbulent years of Germany's Weimar Republic, a period of immense social, economic, and political instability. The film captured the pervasive anxiety of a society losing faith in its government and legal institutions, a sentiment that paved the way for the rise of Nazism. Its depiction of mass hysteria, mob justice, and a charismatic, authoritarian figure (Schränker) organizing a parallel form of order has been retrospectively seen as a chilling allegory for the impending Nazi takeover.

Its influence on cinema is immeasurable. "M" is considered a masterpiece of German Expressionism, utilizing stark shadows, unsettling camera angles, and psychological tension to create its world. It is widely regarded as a foundational film for both the police procedural and the psychological thriller genres, setting a blueprint for countless films to follow. Its innovative use of sound, particularly the leitmotif, was revolutionary and became a staple of cinematic storytelling. Alfred Hitchcock was greatly influenced by Lang's work. The film's dark tone, morally ambiguous characters, and urban paranoia were direct precursors to the American film noir movement of the 1940s and 50s, a genre in which both Lang and star Peter Lorre would later become key figures after fleeing Germany.

Initially met with mixed reviews, "M" is now almost universally hailed by critics as one of the greatest films ever made. In 1994, it was voted the most important German film of all time by a poll of German film professionals. Its central performance by Peter Lorre defined his career, typecasting him as a sinister yet compelling villain and making him an international star.

Upon its initial release in 1931, "M" received a mixed reception from audiences and critics. However, over time, its reputation has grown immensely, and it is now widely regarded by audiences and cinephiles as a timeless masterpiece and one of the most important films ever made. Viewers consistently praise Peter Lorre's haunting and complex performance as Hans Beckert, often citing his final monologue as one of the most powerful moments in cinema history. The film's suspenseful atmosphere, innovative use of sound, and chilling psychological depth are also frequent points of acclaim.

A common point of discussion among audiences is the film's moral ambiguity. Some viewers are critical of the way the film appears to humanize a child murderer, finding it difficult to feel anything but revulsion for the character. Others appreciate this complexity, arguing that the film doesn't ask for sympathy but for a deeper understanding of the nature of compulsion and evil, which makes it more thought-provoking than a simple monster movie. The film's ending is also a subject of frequent debate, with some finding it abrupt or unsatisfying, while others see its ambiguity as a powerful statement on the unresolved nature of justice and grief.