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Buy M 1931 Online (mkv, avi, flv, mp4) DVDRip
Year:
1931
Country:
Germany
Genre:
Crime, Drama, Thriller, Film-Noir
IMDB rating:
8.4
Director:
Fritz Lang
Peter Lorre as Hans Beckert
Ellen Widmann as Frau Beckmann
Inge Landgut as Elsie Beckmann
Otto Wernicke as Inspector Karl Lohmann
Theodor Loos as Inspector Groeber
Gustaf Gründgens as Schränker
Friedrich Gnaß as Franz, the burglar
Fritz Odemar as The cheater
Paul Kemp as Pickpocket with six watches
Theo Lingen as Bauernfänger
Rudolf Blümner as Beckert's defender
Georg John as Blind panhandler
Franz Stein as Minister
Ernst Stahl-Nachbaur as Police chief
Storyline: In Germany, Hans Beckert is an unknown killer of girls. He whistles Edvard Grieg's 'In The Hall of the Mountain King', from the 'Peer Gynt' Suite I Op. 46 while attracting the little girls for death. The police force pressed by the Minister give its best effort trying unsuccessfully to arrest the serial killer. The organized crime has great losses due to the intense search and siege of the police and decides to chase the murderer, with the support of the beggars association. They catch Hans and briefly judge him.
Type Resolution File Size Codec Bitrate Format
720p 864x720 px 4479 Mb h264 1536 Kbps mkv Download
HQ DVD-rip 720x576 px 2897 Mb mpeg4 3647 Kbps mp4 Download
DVD-rip 528x432 px 1551 Mb mpeg4 1952 Kbps avi Download
Reviews
Good for its time - but has many flaws
In my opinion this is just an OK film. Except for some little stylistic tricks there is nothing special. The story is OK, how it is told is rather weak, in some parts it's even ridiculous, the acting is mostly very weak except for Lorre who you don't see much of anyway, and the sound quality is horrible (something you can't blame it for, but I had to use HEADPHONES on full volume to even understand the words!) but switching from sound to silent all the time is very distracting and has no dramatic effect at all (even if some say so) - the opposite is the case, it seems very amateurish. The slow pacing is typical for it's time. And suspense? I don't think so.

In my opinion the main reasons why this film is so critically acclaimed are:

A) Lorre's overacting. Whenever overacting has a purpose it's critically acclaimed. And his acting as a madman is very effective.

B) I'd call it "heavy look". The topic seems "heavy" and the plot and style seem all too heavy and important. You almost want the film to be successful so you search for it in Lorre's acting. As a justification so to say.

I'm sure you like the film for many other reasons too. Some more important reasons maybe. But that doesn't mean I'm wrong. It's a film we want to like and where you don't want to look for the flaws. Well, long story short, I don't think the final result is a success. There is too much Average in it and the Great isn't all that great.

Metropolis, Nosferatu, Caligari, Sunrise, I think, have all a more stunning look. All silent and all made before "M". Don't get me wrong, the cinematography is good and also inventive in little parts, but not THAT revolutionary that it deserves the reputation it has.

Probably the flaws are too big for me to fully appreciate the rest. Like every time one said: "He doesn't leave any marks...blah, blah" I had to laugh. He talks with the kids in the middle of the day in the middle of the street, he walks along the streets with them, he goes into shops, buys stuff for them, he makes mad gestures in public. And then he also whistles this damn song all the time so loud you hear it from three streets away while everyone in the audience knows from beginning on that this will be his doom.

6/10
2006-03-24
A black and white gem where nothing is black and white
I was curious about the movie M because in Firesign Theater's "Further Adventures of Nick Danger", the Peter Lorre like Rocky Rococo says "This hasn't happened to me since M". When I realized that M was a 1930 black and white film in German, about a serial child murderer I was ready to fast forward to the the end just to see what happened to Peter Lorre. I was expecting a simplistic plot with the over-acting typical of the early talkies, and an unsympathetic evil Peter Lorre.

What I really like about M is that things are not good vs. evil, black and white. You end up with conflicting feelings about all the groups. The evil Peter Lorre is sadly mentally ill and you worry about him as he is being tracked like an animal. The good police are ineffective and doing evil by trampling on everyones rights and subsequently making everyone mad at the police. The evil gangsters, in reaction to the increased police activity hurting their businesses, are doing good by systematically tracking down the murderer.

I was very surprised at how modern M felt. It felt like a modern Hitchcock movie. You are given more information than any of the characters and then you worry about what the players will do as the discover what you already know. Peter Lorre was used perfectly in M. He has very little dialog until his speech at the end of the film. That makes him both more frightening and more sympathetic in the beginning and it makes his final speech more dramatic because you have been waiting through the entire movie to hear what he thinks. That works especially well for Peter Lorre because of either his limited acting range or his type-casting his voice immediately suggests someone evil and deranged. Keeping him quiet keeps us guessing about what is going on inside him.

Some of the reviews called this a scary movie, but I thought is was thought provoking and compelling. I could not stop watching it.
2001-04-13
A hidden message warning against Nazi Germany, Lorre's performance, and Lang's direction all make this a very good film
The first question you might find yourself asking while watching this movie is just where the hell is the 'stranger danger'? Despite the news of a serial killer preying on children in the news for a long time, we still see children on the street alone, and one easily lured in with candy and treats. Peter Lorre is brilliant in the role of the killer, setting the tone early on as director Fritz Lang cuts to him looking in the mirror, and, like a child, distorting his face to look monstrous, while the police are talking about the psychological profile of a killer.

While the police are shown at work with some early examples of forensics – fingerprints, handwriting analysis, and sifting through physical evidence in concentric circles around the crime scene – the overall picture of them is unflattering. In a very heavy-handed way they begin putting heat on the street and in pubs, asking for papers and rounding people up for little reason, motivating an organized crime ring to get involved to find the killer themselves and get things back to normal. The police and mob are barely distinguishable as they both discuss the matter over cigars and alcohol in separate meetings as Lang flips back and forth between them, and perhaps that's one of his larger points about Germany at the time. He does do a fantastic job at establishing a dark feel to the film throughout, and is brilliant when he cuts the sound a few times, letting the action speak for itself, which is heightened because of the darkness of it all.

Unfortunately the movie gets a little bogged down in its middle portion, when Lang could have shown us other sinister acts from Lorre or at built some type of backstory in his characters. Instead, he shows us the surveillance network of beggars and focuses too much on procedure. At one point we do see Lorre nearly salivating at the sight of a child's reflection in the window of a shop he's looking into, and at another, him trying to lure in his next victim, but he's simply not on-screen enough. I have to also say that when the mob have found him holed up in a building and don't just call the police instead painstakingly going through the rooms, it seems like a plot hole, since from their perspective all they need is to get the police off the streets.

The ultimate scene showing Lorre confronted by a mob intent on killing him after a mock trial redeems the film, however, and is riveting. The scene of Lorre seeing them all staring at him as Lang has the camera pan slowly from left to right is brilliant, as is his own statement in self-defense shortly afterward. We have an unruly mob confronting a child killer, where both sides are reprehensible. We feel for the mob when they voice their concern that he will simply serve a little time in a mental institution, then be back on the street again and kill again. Perhaps improbably, we even feel for Lorre, as he says he's sick, in what is one of the great scenes in film.

There are few positive role models here, except perhaps the counsel who stands up and says and tries to defend him. This a dark, brooding film showing us some of the worst aspects of mankind. A child killer, sure, but also a mob which draws the wrong conclusions and gets violent without evidence. There is a lot of smoking and drinking. Lang shows one guy drinking out of a giant stein with a plateful of sausages in front of him, and another guy from a camera angle up his crotch practically as he's sitting down. If it was made by someone other than a German, you might think it a caricature, as it's made by Lang, we know he's expressing his frustrations with the state of Germany at the time. The ending that has a mother simply asking the audience to watch out for their children probably refers to watching out against predators, but also watching out for them that they don't get swept up into mob hysteria (history would turn out differently of course). It's this hidden message warning against Nazi Germany, Lorre's performance, and Lang's direction that all make this a very good film.
2016-05-01
Masters Of Cinema Cast
Listen here: http://moccast.blogspot.no/2013/05/episode-three-m.html

A colleague of mine recently asked about 'that film that used to be on with Peter Lore'. I instantly replied 'M'; it wasn't some smug retort to show how film literate I was it, was because of the simple fact M is not shown on television anymore. Why? Well I dare say the answer may have something to do with the fact that despite being made in 1931 it is as shocking today as it was upon its original release. Indeed, M is one of the rare films to never lose its relevancy, to never cease asking the type of questions that society chooses to ignore.

Fritz Lang didn't just make a film about a serial killer and a police investigation designed to thrill audiences, he made a film that probed areas of psychology and the world we live that wasn't just native to the films country Germany; but one that transcends national boundaries and more worryingly time.

In this episode we delve into M share our thoughts on what makes it such an important addition to the Masters of Cinema collection.

http://moccast.blogspot.no/2013/05/episode-three-m.html
2013-05-06
Chilling movie
This movie is definitely one of the scariest movies I've ever seen. It's about this childlike, pity evoking man (brilliantly played by Peter Lorre), who also happens to be a psychotic child killer. The city in which he lives is, of course, panicked by the mysterious child-killings, and both the criminals and the police starts to haunt the man down. I won't reveal more then this, but I will say this: Just because it's an old movie, don't let your guard down. This movie is one of those rare movies, which are so good that you'll never forget them.
1999-01-05
sheer genius!!!
what outstanding movie making!!! M is the most intelligent thriller about a serial killer that ive ever seen. the movie acts on so many levels, the suspense, the trauma, the questions of justice, morality, right and wrong.

the light humour through which the story is woven to provide relief from the mounting tension is simply brilliant. fritz lang is on top of his art. he knows how much tension to weave before letting a bit go. the visualisation is simply awesome, the image of the ball rolling away and the balloon on the electric pole will stay with audience for a long time. the contrast of the still shots with the rapid action shots are another highlight. and its not just the visuals either, the use of Grieg's "In the hall of the Mountain King" is unbelievably eerie.

the premise of how a hunt for a mad serial killer affects the underworlds business is brilliant.fritz lang cooks up a masterpiece here, one to be watched and enjoyed. and to imagine that all this was done 70 years back is unbelievable!!!! bound to rise up to one of my alltime favorite movies!!!

a brilliant 10!!
2001-12-25
M is for Mediocre
There is a child murderer about, and because the police can't catch him, and because it is hurting their business, organized criminals take it upon themselves to do so instead. The murderer is identified by a signature whistle, before being pursued into the attic of a large building. Once caught, the criminals then hold him to their own "trial" in the basement of an abandoned building, where he attempts to present a case that he himself shouldn't be killed.

It is well shot, and for the first two-thirds, well acted. The editing is without excess, meaning it moves along efficiently. But although the plot has some intrigue, it is quite thin, very predictable, and never manages high tension. At first it is simply an expose of how the investigations are to be carried out, while the chase sequence to capture the criminal is all too simple. We also suffer from lack of identification with characters. In the first half we get scenes from the perspective of many different characters, but no single character or group emerges as the "lead", curtailing any emotional response we might have otherwise had - and noir lighting alone, quality as it may be, is not enough to establish a compelling mood.

The thrill of suspense films usually lies in seeing how the good guys will escape the bad, but as this film gives little screen time to anyone likable, there is no attachment, and very little suspense. The film may attempt to leverage some social/political gravitas at the end by sympathising with the murderer and debating whether he deserves to be killed by the mob (aka capital punishment), or given a reprieve due to mental health issues, but instead of any intended depth, it simply descends into ham-fisted melodrama.

At the end of the day, this film cannot be called entertainment - it amounts to no more than weak fearmongering.
2017-08-15
"...they never leave me. They're always there..."
There's a serial killer in Berlin who targets children. The police have been unable to catch him but their increased presence has made life more difficult for the criminal underworld. So the criminals band together to try and find the child killer themselves and issue their own brand of justice. Exceptional German film from the great Fritz Lang. His best sound film and second best film overall, behind only the silent sci-fi masterpiece Metropolis. The cast is terrific. Peter Lorre is amazing in this, which put him on the map. The direction, the cinematography, the angles, the lighting, the dark atmosphere all help to create this visually arresting film. It's a classic in every sense. Don't let its age or the subtitles turn you off from trying it. You're missing out on a truly great film if you do.
2014-06-29
A pioneering drama and cinematic landmark
Fritz Lang, dubbed as the "Master of Darkness", achieved new heights with his groundbreaking, 1927 silent masterpiece "Metropolis". Four years later, Lang would create his first 'talking' film in "M", a precursor to the film-noir genre that, even today, serves as the quintessence of crime thriller.

One thing I truly admire about B&W films is its use of light and shadows to manipulate setting, emotions and character development. Lang's visual style was said to mirror his contempt and increasingly pessimistic worldview. In "M", Lang creates an atmosphere of fearful apprehension; men are seen in shadows, in smoke-filled rooms.

This is a powerful and fertile piece of art. Hans Beckert, the disturbed child killer, uncannily portrayed by Peter Lorre, is often seen looking through glass windows or mirrors for expressive purposes. Sometimes we see just his shadow. His words are few and far between, and yet his general frame of mind and emotions are quite apparent to us.

The acting is superb and the story is a riveting one. But it was the cinematography that took my breathe away. One spectacular shot, among many, occurs when Becker is unwillingly dragged down to a basement. His cries for help are quickly silenced as he turns around to the sight of hundreds of criminal faces - silent, eerie, menacing.

The flow of this story is guided by two seemingly distinct groups seeking out the notorious child murderer - the police and the criminals. And yet, they are both cleverly shot (in their dark, smoky rooms) to appear as virtually homologous beings - even the criminals deem this man's freedom as injustice, with this commonality almost blending two morally opposite figures into one force.

The film is masterfully crafted and serves as an important message for parental neglect of their children. As we hear our killer compulsively whistle the same tune from "Peer Gynt," we are continually reminded of the innocence children can see in others and the perils of them acting on that naiveté. "M" is an unpredictably formidable film.
2016-07-29
Peter Lorre's Tour de Force in Fritz Lang's Film Classic, M
"M" is just one of Fritz Lang's many film classics and concerns a child molester, played by Peter Lorre. He gives both a very simple yet gut-wrenching performance that made him an international star. He is possessed and evil one minute and childlike the next, changing from vicious to fragile. (His babyface smile is the most sinister, deceptive thing about him.) The film sets the tone with a group of girls chanting a very foreboding and disturbing song, which a mother tells them to stop and the shadow and sight of Peter really gets you stirred up. The tables are turned on him when he is trapped not by the law but by a combination of the town's crooked element (who want him out of their hair, due to the police's tighter rein on them) and the poor tramps who are enlisted in the quest to find him. The film's use of silence was so, so quiet that the viewer feels something's wrong with the audio of the TV, the DVD, or something - only to hear all of a sudden a mother's yell to her children! The silence heightens the viewer's tension and Peter's desperation. The ending may be the eeriest thing of all! If you've never seen "M," this unsettling experience is one to put on your list and is one film you'll remember forever.
2016-10-14
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