One of the great movie from Germany. It is considered as a masterpiece from director Fritz Lang. M is really changing a face of world cinema. This movie invented some unique techniques and a different kind storytelling. Although, this movie is the first "talkie" for Mr. Lang, in this movie - he looks like a pro. Just look at how he created a suspense without showing the real murder. He knew how to amaze the audiences
A very early prototype noir, in a way. You will see very familiar plot devices at work here, but Lang still has a touch that makes them seem new again. Lorre steals the show at the end with a career defining performance. A great early 30s talkie, showing Lang was capable of making the jump from silent to sound masterfully. 5 easy stars. Essential.
Substituting expressionism for gritty realism, Lang & co. simultaneously predict the grammar of the modern procedural, the film noir & the entire serial killer sub-genre. Placing the emphasis on the community & finding disquieting political parallels in scenes of mob justice, irrationality & civil unrest, the film's slow crawl from docudrama towards a kind of heightened theatre of the absurd is endlessly compelling.
Eternel et incontournable chef-d'oeuvre de Fritz Lang avec ses inoubliables scènes de référence et de citation (le ballon acheté à un aveugle, l'air de "Peer Gynt" sifflé machinalement par Peter Lorre, la lettre "M" sur son pardessus, le tribunal de la pègre) qui se voit et se revoit sans lassitude aucune... www.cinefiches.com
With the exception of a quickly-glanced young victim and her mother at the beginning, the Lorre character is the closest character that we sympathize with, but that's not until the very end and after he gives us the shivers long beforehand. Great film, even if it's an unemotive procedural until the finale that says a lot about our world and despite no one commanding our attention like the child-murdering Lorre.