M

Fritz Lang's M follows the police and a group of organised crime lords as both attempt to put an end to the stir caused by the serial-child-murderer, while making strong statements that can be analysed and seen as relevant even today. The dark, depressing, and untrusting tone of the film is a fair representation of the state of affairs in post World War I Germany. Lang is a pioneer of film and film techniques, and M is an important film in terms of the development and enhancement of film technique and story telling through film. The main plot in 'M' remains shocking today, as it is about a serial child murderer. It explores several themes, including the most obvious being the horrors of child-based crimes, the unity found when facing a common criminal no matter what sort of people it is that are found in the situation (local crime lords unite in order to find the murderer, as it disrupts their business as the police conduct raids and tighten up security), and the breaking down of a society under stressful situations. When the criminals take more action and produce results faster than the police can, the city is turned into chaos, as the local citizens in their rage side with the criminals and propose horrible things to be done to the alleged child murderer.


 * Mise-En-Scéne in 'M'**

1.) In one of the opening scenes of the film, a shadow of a man with a hat appears on a sign that a little girl is bouncing a ball off of it. The sign is about a reward (10,000 marks) for the identity of a child murderer who has previously killed several children. The audience (correctly) assumes this to be the killer, and it manages to send chills down our spines. Lang uses shadows effectively throughout the film, including during discussions between crime/mob leaders, and to show the passing of time as the most recent victim's mother realizes that something is wrong when her daughter doesn't come home from school.



2.) In the Police raid scene, the streets are empty, until the police fill the street as they march down to raid a bar. The sheer emptiness of the street is eerie, and is also representative of how scared the masses are of the now famous child killer.

3.) Lang also uses mirrors in two key shots of great importance that shed light on Beckert's (Lorre) personality. The first shot shows him smiling at himself in the mirror after his letter is printed in a newspaper. The second shows his horrified and shocked expression of being discovered when he discovers the letter 'M' chalked on to his shoulder. The second time also shows a bit of guilt at what he has been doing, however the most obvious emotion is fear, and the audience feel a bit of a thrill as the man hunt starts to really heat up and the film's pace picks up.

4.) Speaking of the film's pace, the film initially starts out very, very slowly. The police are unable to find a lead on the killer after 8 months on the case, and the population are getting restless and more fearful for their children. The mob leaders and big shot every day criminals also start getting restless, and as soon as they start to make an effort to find the killers themselves and get him out of the picture, the pace picks up. The change in pace represents the inability of the police to do any productive work, and the criminals' ability to get results.

5.) The sound in the film, or lack there of, also contributes in the tone of the film and although sound isn't always considered a part of the mise-en-scene, in this case I believe it is one of the most important aspects. The only music used is in the opening sequence that sets the tone for the film with just a short tune, and Beckert's whistling. The whistling is creepy and unsettling, but it is also used to identify the killer. It is the only music used during the actual film, and the lack of sound for the rest of the film makes the whistling even the more creepier when it is heard.

6.) Lang again uses mirrors, however more metaphorically in this sequence, as Beckert sees a little girl in a mirror at a store. As he stands outside the store, a reflection of the mirror's frame 'frames' Beckert's face. This time, he is looking into a mirror, but forgetting himself, and only thinking of the girl. Yes, in a very creepy and horribly wrong way.

7.) As the homeless follow Beckert, there are several shots taken from inside doorways or windows that face the street. This gives the audience a thrilling feeling, as it gives the feeling that the audience themselves are tracking and following him. The same idea is used when Beckert is shown distraughtly ordering cognac at a cafe through the vines that surround the outside seating.

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