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M (The Criterion Collection) [Blu-ray]

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I'm sorry for those who already own the former 1999 Criterion DVD of M (including myself, of course....) but this one is a must-buy item.

After more than 7 decades since its making, Fritz Lang's M remains a poignantly modern film; a striking portrait of the contemporary human world as we live in.

Fritz Lang, who always regarded M as his best film and the one by which he would be remembered, used to call it "a documentary". It is one of the first films about serial killers, and already Lang goes beyond depicting the pathology of such criminal; what M examines is the pathology of our contemporary society of urbanization, mass politics, and mass media: it's also a film about a 20th century metropolis of mass society and mass media culture.

The former Criterion DVD edition of M was made of the best available material back then-- a print restored from many different sources, re-establishing as close as possible, Lang's original release cut. It was also a good transfer for a standard, NTSC digital medium.

But what sometime happen in the world of film restoration is, some materials that have been considered to be lost are suddenly be re-discovered. This new edition of M is created (for the most parts, expect for one reel which was missing) from the original camera negative, and transferred to HD video master. The result is-more details, less scratches, finer grains, and more subtleties.

The earlier DVD was a bare one. This new edition presents Lang's portrayal of social pathology of the 30's also with an audio commentary by Anton Kaes and Eric Renteschler. Kaes's book about M published as part of BFI classics series had already revealed Lang's freighting vision, pointing out how much of M was based on real events and real details of Berlin, including some underground figures played by actual underground celebrities of Berlin. With audio commentary, his points can be more articulately appreciated.

The supplements on the second disc can be seen as a testimonies of how many filmmakers and critics regarded M as a their contemporary film, how much inspiration M has been provoking in film history. But they have seen the film in far less complete versions than we can do now; for M has constantly victim of censorships, banning, alternations and mutilations over the years. The DVD also includes that history, including the Nazis who banned the film using segments of it in a propaganda film accusing "decadent art".

Watching M again on this new DVD was again a real inspiration. Though it is an early sound film, with very limited resources compared to the modern sophisticated technologies...well, it testifies how much one can do with the medium of cinema.

Having seen most of director Fritz Lang's wonderful films noir, I finally decided to get a copy of his famous "M" from 1931. After seeing it I readily agree with previous reviewers who call this one of the true masterpieces of German cinema. And, as many film noir historians have written, "M" paved the way for the entire genre in terms of style and cinematography. Peter Lorre, despite playing a dispicable character, gave the performance of his career. Oh and in case you haven't seen the film, the movie's title refers to the letter that's used to identify Peter Lorre as the murderer when he tries to escape.

Peter Lorre plays a psychotic child murderer in Berlin who kills "because he can't help it". The police have looked everywhere for the elusive killer but can't find him. The crime leaders of Berlin are fed up, not because there's a child killer on the loose, but because his murders are causing the police to interfere with the underworld's business activities as they bring in and question virtually every criminal in sight. The crime leaders organize their own searching party and they finally catch up with the now terrified murderer after a relentless chase (which takes up a large portion of the film). Next the underworld leaders set up their own trial and the child killer trembles in fear as his life is in the hands of these mob leaders. I won't spoil the ending, but let's just say it's classic Fritz Lang.

I've seen some truly awful prints of "M" released on vhs but was very relieved to discover that Criterion had carefully restored the classic masterpiece. In short, you won't find a better print of "M" anywhere else! The image is sharp and clear and the sound quality is superb. I only wish many other classic films could get the same high-quality restoration. The bonus features are also wonderful and are furthur proof that the Criterion special edition of "M" is THE one to buy. Highly recommended!

"M" has everything you could hope in a great film. The acting by Peter Lorre, Gustaf Gründgens, Otto Wernicke, and the rest of the cast all perfectly convey the different personalities in this complex story. The use of black & white and shadows is very moody and haunting. The use of sound is very important since it will tell you things the camera isn't showing. The camera work itself is amazing. I especially love the long shot in the beginning of the scene of the beggars are signing up to watch the streets where the camera moves back and forth, up and into a room through a window without a cut.

"M" offers so much for the viewer -- thrills, suspense, humor, terror! I enjoy it more and more with every repeated viewing. Fritz Lang does more than just give ideas on insane criminals. He compares and contrasts the police and the underworld criminal systems. You learn about the "state-of-the-art " systems of that time. And the last words harken a most important message that unfortunately is still true today. Also, if you look deeper, you can even sense Lang's anti-Nazi sentiments.

It's a Criterion Collection DVD, so I had high expectations. I was disappointed with a lack of extras, but I happily noticed scenes that weren't on my VHS version. The picture was mostly clear with white lines rarely popping up. There were long passages of no sound at times, but it's possible it's supposed to be like that. (I no longer have my VHS version to compare.) The subtitles were clear and easy to read. There's interesting details on the film in the liner notes. And not like this would influence anyone's buying decisions, but I also loved the design on the case and the disc.

This movie sounds VERY intriguing to me and I will probably purchase it... however, in fairness to the complaints about the Criterion transfer specifically, the lines at the top of the frame, I sent an email to Jon Mulvaney (who responds nearly immediately to ANY questions you have about Criterion releases) and I quote his reply:
"The line that you are referring to was caused by the optical printer during the creation of the original film elements of M. Most video versions have cropped out the line, therefore deleting almost 25% of the picture. We choose not to, making our decision in consultation with the restoration group who did the work from original film elements in Germany. We've tried to correct the problem as much as possible, but no matter what, it can be distracting. Even Fritz Lang knew about this."

As you would expect from them, Criterion did the best they could do (as ALWAYS!).

Another reviewer here has covered the plot of the film and how good a film it is quite well, so I will concern myself with the merits of the DVD itself. The transfer is very good for a film that is nearly 70 years old. It is clear and reasonably free from defects. There is one small place in which the film appears to fold over on itself, but this lasts for only a moment. It is presented in 1.33:1 aspect ratio, the standard at the time the film was made. The soundtrack is mono and presented entirely trough the center channel. The dialog is easily heard and understandable (if you speak German) and the subtitles are well done. The whistling of the piece from Grieg's Peer Gynt suite is a bit high and tinny at times, but that merely adds to the jarring effect that it is meant to (and does) have on the viewer. This film is a masterpiece from the earliest era of sound motion pictures, and it holds up well to this day. The presentation is not perfect, but it is pleasing and given the age of this film, I don't know that it could be done any better.

When sound was first introduced into film, the natural response from filmmakers was to use it as much as they possibly could. For Fritz Lang, however, it was to be used sparingly, more like punctuation then narrative. The story of 'M' should be familiar to those who have seen Spike Lee's magnificant 'Summer Of Sam'. There's a killer on the streets, kidnapping and slaying young children, and the police and the underworld of criminals have both set their sights on him. The film doesn't really concern itself with the killer, although he does have a few striking scenes (especially at the film's end where he pitifully tries to plead his case before the kangeroo court of criminals before him) but more so with the dividing line between criminals and police. Both want the killer caught for different reasons. The police want him to end the murders, the crooks want him caught so the cops will ease off their nightly patrols. The film makes these comparisons strikingly clear. It is a powerful film about desperation and fear, justice and innocence. Peter Lorre is remarkable in the role of the killer, his bug-eyed face twisting and contorting with considerable creepiness. His ending monologue is one of the greatest moments in the history of film. Fritz Lang's direction is near-perfect and again his use of sound is breathtaking. The shrill whistling of a tune has never been so frightening before. For all those interested in seeing just how great a film can be, this is one of those must-have films in your collection.

I have always had the greatest respect for this film, ever since I first saw it in a blurry print almost 30 years ago. I've acquired no less than four versions over the years: an early VHS dub, the much better Janus Collection VHS version, the still better first Criterion version, and now this one. I have to say that this new version is a tremendous accomplishment. M was a very early sound film, and was shot in a peculiar, almost square, non-standard aspect ratio, and every version prior to this one had technical problems dealing with it, as I understand it, to some extent because many of the existing prints chopped of the top of the frame. This restoration is presented exactly as it was filmed, and it is breathtaking. Lang made great use of every bit of the frame, which can be appreciated now like never before.

While they were at it, the restorers did amazing things with the soundtrack. It is vastly clearer. If you understand German, you will hear things you never heard before, and if you don't, you still benefit from the improved subtitling (the subtitlers heard things they hadn't heard before, too).

If you have the previous Criterion version, don't hesitate for a second to acquire this one as well. It is a revelation.

Criterion is taking this DVD out-of-print, and then releasing a new edition at the end of 2004, with a pristine transfer from newly restored film elements and a bunch of special features. So wait for that one- don't buy it yet!

Released in 1931 by independent production company Nero Films, at the height of director Fritz Lang's career in Germany, "M" was Lang's first sound film and is second in renown only to his 1927 film "Metropolis". A serial child-killer who may have abducted and murdered as many as 8 little girls is on the loose in a German city. Citizens have become cautious, paranoid, wary of innocent conversations, suspicious of strangers, and quick to accuse anyone at the slightest provocation. The police have looked under every rock, combed through every blade of grass, arrested every miscreant with no consequence except an exhausted and overworked police force. The criminal underworld, frustrated by the constant police raids and resulting loss of income, decide that the only solution is to find the killer themselves. So two simultaneous manhunts ensue, one by the police and one by the criminals.

Because this was his first "talkie", "M" was also the first film that Fritz Lang did not edit himself. Editor Paul Falkenberg does a great job of cross-cutting between the police and underworld strategy meetings and of letting Hans Beckett's pathetic speech before the kangaroo court run. The editing really makes those scenes memorable. Comparing this edit of "M" to some of the other, choppier versions that were released over the years highlights Falkenberg's good judgment. The criminals' "kangaroo court" is a powerful sight, and it gives actor Peter Lorre the opportunity to define Hans Beckett late in the film. Lang used real members of the Berlin underworld as extras and was forced to get his footage in time for them to elude the cops, who had been tipped off. The tune that Hans Beckett whistles was actually whistled by scriptwriter Thea von Harbou, Fritz Lang's wife at the time, by the way. To Lang's irritation, Peter Lorre could not whistle.

"M" is often cited as the first film in which a monstrous criminal was portrayed in a sympathetic light, as a feeling person compelled by an almost irrestible compulsion. But what Fritz Lang was trying to say in "M", if anything, has long been the subject of debate. The debate took on political significance in Nazi Germany. Nazi Propaganda Minister Josef Goebbels admired "M" because it advocated the death penalty, but "M" was later used in an anti-Jewish propaganda film accusing Peter Lorre of trying to create sympathy for child-murders with his portrayal of Hans Beckman. Fritz Lang did advocate the death penalty and, in interviews, didn't seem to agree that Beckman was depicted sympathetically, so I don't think "M" was intended in the way it is often taken today. It may be unlikely that a film would be received in the spirit it was made 75 years later and several cultures apart. But today's viewers either find Hans Beckman sympathetic or they do not, just like audiences in 1931.

The DVDs (Criterion Collection 2004 2-disc set): There have been many different edits of "M" over the years, initially on account of language difficulties in distributing the film outside of Germany. This 111-minute version of the film is as close to Fritz Lang's original as we will ever get, barring the discovery of earlier prints, which editor Paul Falkenberg says contained a few more scenes. This transfer retains the film's original aspect ratio, the short-lived 1.19:1, so it is pillarboxed, meaning that there are thin black bars on the sides of the screen (the opposite of letterboxing). The print has been restored, with major flaws removed, but there are still white specks and lines in a few scenes. Sound is good. The film is in German with optional English subtitles.

All bonus features are on Disc 2: "Conversation with Fritz Lang" (48 min) is a 1975 interview filmed by director William Friedkin. Lang recalls his time in Brussels and the beginning of his film career in Vienna, 1917-1918. He talks about "Metropolis", "M", and recounts the famous story of Goebbels alleged offer that he head the German film industry and Lang's subsequent departure to Paris. "Claude Chabrol's 'M le Maudit'" (11 min) is a condensed version of "M" made for the French television program "Ciné-Parade" in 1982. A useless exercise really. "Harold Nebenzal Interview" (14 min) is an interesting 2004 conversation with the son of "M" producer Seymour Nebenzal about his family's pioneering independent film studio Nero Films and recollections of Fritz Lang. "Peter Falkenberg's Classroom Tapes" (35 min) are excerpts of Falkenberg's lectures about "M" at The New School University in New York, 1976-1977. He talks about filming and editing "M" as we watch the first half-hour of the film, taking questions from students, and then it jumps to the final scene. "A Physical History of M" (25 min) is about the restoration and all the "chopping, splicing, and reworking" that created so many different versions of the film since 1931. We see examples of those versions that sometimes called for re-shoots and dubbing as well as re-editing. "Stills Gallery" includes production stills, behind-the-scenes photos, and production sketches by art director Emil Hasler. English subtitles for the film clips are optional.

'M' was a film that was as beyond its time as it was enigmatic in title. Who could have imagined that 1931 audiences would have been able to stomach witnessing the harrowing descent in the fortunes of a Berlin paedophile-homicide? The answer to that could well lie in Peter Lorre alone. The instant he is shown, he clicks in our minds as the template for any pervert-sociopath conjurable by any society. He is as pathetic as he is depraved, the near-two hour run of the film lending tremendous scope to the spiralling crash course he is on. Stripping away the heavy warning overtones inherent to 'M', the viewer is really left to gape at a horrific piece while feeling sprawled, reeling from an almost self-negating mix of want for Lorre's destruction and the dread of capture to be found in any set of chase sequences. The suspense surmounts as the minutes wear by, begetting terror that is just too great to abstract from and contemplate. The viewer is also left in a confused state because there is no protagonist body at all to identify with, only a bruised satisfaction of evil quashed by an unknowing coalition of societal elements being there to fill the emotional void. There are but four players in this work: the Molestor, the Mob, the Law and the Victims, each one turning like a set of gear-wheels in a machine, but all at the same desperate, frenetic rate. The pervert's capture and Mob trial are particularly intense areas of the story (this is a part Lorre was created by God to play), the overpowering sense of dread conveyed by the deluge of realism Lang's camera injects. Still, the Mob itself is a phenomenon. These are REAL gangsters whom Lang utilised to maximise effect and some of whom were arrested in real life during filming. The mob trial they facilitate is too real to watch, too demanding on the senses to appreciate as being merely an essential portion of the film. Peter Lorre is a wounded, thrashing wolf one moment and a gibbering tangle of Freudian/Durkheimian/Jungian cables the next.'M' is a documentary-film, not the other way round. As for the product itself: the print is as good as any from the early Thirties. Several versions of the 1931 'M' are in circulation and I don't think that this is the longest (try Eureka videos in the UK). Given the merits of the work it contains, the price is fair. This is really a more unsung hero in the Lang celluloid vault. It's interesting to note that the 1951 French remake, while capable of holding water as a film in its own right, just can't hold a candle to the shock-value of this. This was Fritz Lang as Christopher Columbus, discovering a territory in film that was not only unknown before but also forbidden.