🎦 M full movie english download, M full movie download mp4 in english, M full movie free download in english. 🎬
Crime, Drama, Thriller, Film-Noir
IMDB rating:
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
M – Masterpiece!
'M' is brilliant! This film was so way ahead of its time that it still holds up today and doesn't feel dated one bit but rather modern. The only thing that seems a bit odd by today's standards is the complete lack of incidental music and the fact that many scenes don't include sound effects and are virtually silent. You have to remember, though, that this film was made right at the transition from silent film to sound film, so the concept of sound in films was still rather new and director Fritz Lang used the technology to its full potential in 'M.'

Lang's direction is magnificent, especially if you take into consideration that this film was made in 1930. The camera angles, tracking shots and zoom shots Lang used here were groundbreaking back then and they are still marvelous today. The three main characters of the film are played by Peter Lorre, Otto Wernicke and Gustaf Gründgens and all three of them are fantastic in their respective roles. Lorre's acting is intense, especially in the finale. That performance is something else!
This film is a masterpiece... and I don't use that term lightly
My father has often told me about this movie. It's been available for next to nothing at the local DVD/CD shop here for longer than I can remember, and not long ago, I finally pulled myself together and bought it. Today, we sat down to watch it. I must say, this movie astounded and impressed me. From the first frame, it had me. It gripped me and didn't let go until the ending... if even then. If I'm not still in its clutches. The plot is excellent, and the way it's told is very interesting. It develops constantly, though never too quickly; the film never stands still, yet never moves too fast, either. The pacing is among the best in any of the films I've watched... and that list count nears one thousand titles(as I'm writing this, I'm nearing my way to 700 written reviews... but I've got a good 17 years of watching movies prior to my starting to comment on them). The acting is incredible. I can't think of a single performance I found anything less than flawless. The characters are well-written, credible and interesting. The cinematography is nothing short of amazing. The way they created all those great shots, be it stationary or those with movement, at that time, with that equipment... magnificent work. Fritz (either Lang or the cinematographer, they share a first name) knows his way around cameras, and knows when to use movement... and, perhaps more importantly, when not to. This film has its share of both kinds of shots, and both work perfectly. The film uses the art of hinting to the fullest; something Hitchcock, the very master of suspense, would later employ, in huge thrillers such as Psycho. Shadows, suggestive camera movements, a tiny movement in body or face... things that, in a film of today, would be simply not be found. The silent and unclear would replaced by loud and obvious. One of the most important things to note about this film is how little it says outright... and how much it merely... hints. A careful, subtle remark, presented casually... in place of an absolute. Having recently watched Scarface, a film from the same period(it was released about a year later) which leaves little to be pondered over by the viewer(and much to be desired in that very area), the contrast between an open movie and a closed one is blatantly obvious. There is much to debate over and consider in this film. It reminded me of Alejandro Amenábar - a man whom I very much admire - the Spanish director who also employs few definite truths in his films. It's not up to the director to decide what is right... but rather us, the viewers, the movie-going audience. Alejandro knows that. So did Fritz. I will have to watch more films of his. Another thing is the level of detail in this film... reminiscent of Kubrick, another master of the art of film-making, this film is packed with detail. So many seemingly meaningless, but endlessly insightful little things. A scene that shows shady types idle... a subtle touch that would be edited out as early as during the script-writing phase of most newer movies... characters that are seen once and then never again... the examples are endless. Fortunately, this review isn't that, and on that note, I'll refrain from further listing of them. The dialog is well-written and well-delivered. If you can, get a original version of this film... not a dubbed one. No matter how awful you are at the language, it just fits better in German. Just make sure you've got good subtitles... I myself am rather hopelessly poor at the language, and I noticed that many times, the lazy Danish translator skipped entire sentences(though I noticed it to be prominently used words and sentences, that, when uttered and translated once, were from then on left to only be heard, and not seen, which I guess is at least more acceptable than the worse alternatives). This film is full of suspense, and some of the best I've ever seen. Again, I would guess that Mr. Hitchcock took a lesson or two from Lang and this film. I was on the edge of my seat for just about all of this, and I couldn't have taken my eyes off it had the house been on fire. Well, I might've gotten up, once my chair was caught in the flames. Last but not least... the film-noir qualities. The interplay of light and dark, the dreary atmosphere and the tone... all spot-on. The film deals with several very difficult subjects... not to be mentioned here. I suggest you watch it for yourself and make up your own mind about each of them. Lang won't force his opinion on you. For such an old film, this is really not terribly dated... apart from some things that have obviously changed over the 75 years, three generations, yes, three quarters of a century that has passed, but they're really not that obvious. Had this film been made today, little would have to be changed. Sadly, it would not get made today... for many reasons. Unless it was on the indie scene, this simply would not be made. I can't see any studio accepting it as profitable. By today's standards, it's event-less, tame and, well, black and white. Of course, that says quite a lot more about today's standards(which, in my humble opinion, are far, far lower, and, indeed, too low) than the quality of this film, which is impeccable. I recommend this to any fan of Lorre, Lang and noir. Heck, crime, thriller and suspense fans will enjoy it as well. As would most anyone, really, who aren't too used to the films of today to enjoy an old great work. 10/10
A must see!
His first sound film and own favorite, enjoy Lang's masterpiece. Peter Lorre best role! Written by Lang and wife Thea von Harbou, M boosted Lorre's career.Lang was stroke by Lorre when he first saw him on Berlin's stage in "Engineers in Ingolstadt" a play where he portrayed a confused adolescent. Fritz Lang naturally thought of him while writing M, his childish look would perfectly matches Hans Beckert the main character.Lang said that one of the reasons he chose twenty six years old Lorre was because he fit this story, set in the everyday life of Weimar- era Berlin, depicting ordinary citizens, criminals, and police and forensics experts at work. He just looked like a real, everyday person. Despite his bug-eyed and purring voice, Lorre's baby- faced child-killer role catapulted him to international fame.
Fritz Lang's Masterpiece
Fritz Lang was one of those remarkable directors who not only gracefully transitioned from work on silent films into the world of talkies, but also continued to develop styles and techniques that would become mainstays in the years to come. The difference between M and one of his earlier silent films, such as Metropolis, is striking. While the latter compensated for technical limitations with heavy acting and visually appealing sets, the former was driven by comparatively rich dialogue and developed its plot in a way that might seem familiar and appealing even to modern audiences. Lang used the recent addition of a soundtrack to great effect leading up to the climax as the killer, played by Peter Lorre, came to be identified with a particular whistled tune. Lorre's desperate plea for clemency would have been difficult or impossible to capture using intertitles and hand gestures, but Lang made it one of the most powerful and memorable scenes in his first talkie. This new technology allowed Lang to develop an entire cast of characters whose machinations and quirks made this movie unforgettable.
Metaphor for a society or "Precurser"
In addition to everything wonderful about the film already mentioned was the reflection of society it portrayed. A strong minded, family oriented society who had a "sub society" who felt they had the right to convict the criminally insane but who cowed totally to the authority of the police. Interesting when you see how life unfolded in the subsequent 30 years! Next most interesting to me was Lorre's absolutely perfect depiction of a compulsively motivated human. I agree this film should be ranked as one of the top 10 of all times though I only recently discovered it by accident. Using the pictures of the victims is more like a modern TV reenactment than the first "talkie" for a nation. Wonderful movie...
M for "modern"
Extremely well-crafted and powerful drama that could spring from the pages of today's newspapers.

Fritz Lang poignantly captures the vulnerability of the sweets-loving child victim and the mother pathetically waiting for her daughter to return home from school.

We see cops feeling the heat from a horrified public and the bumbling incompetence within their ranks. We also see the well-organized thugs who beat the police at their own game -- not because they like kids but because the murders are costing them profits.

Speaking of poignancy, we don't feel any when the predator is finally cornered like a trapped rat. He can't help himself...he must suffer from his inexorable compulsion. Awwww...

The Peter Lorre character's judges aren't moved, either. And while the stony, moralistic justice of the cons' court comes as a refreshing surprise, one recoils with the realization that this was filmed within years of the rise of the ultimate rogue tribunal -- the Nazis, who also appointed themselves executioner.

Lorre excels here but has surprisingly little screen time. I haven't seen much of his work elsewhere but it's hard to imagine his surpassing this performance.

Truly memorable.
A Lesson in Film History
Watching Fritz Lang's M is watching the history of cinema unfold before one's eyes. Made in the transition period between the silent and sound film, this 1931 masterpiece remains fascinating for several reasons.

First of all, the use of sound is impeccable. Suffice to say the killer in the movie is caught is through identifying his trademark whistling. But the use of voice-over narration was also new at the time and is used here very well: first when a mother calls, in panic, for her missing child, and her name echoes across several empty walls. Next in a scene in which two detectives elaborate on what they've done to apprehend the killer and everything they say is matched by an image.

Secondly, few times has a serial killer been treated with such complexity, compassion and straightforwardness in cinema. Peter Lorre plays a child murder, a man who acts by impulse, possibly a schizophrenic. He simultaneously evokes horror and pity, and he's too distant from the super-cool and erudite serial killers of today. Lorre plays one Hans Beckert, a lonely man with a history of mental illness, an ordinary man without any qualities or amazing traits.

Thirdly, it's a powerful meditation on vigilantism and crime. The police is unable to capture the killer, so Berlin's underground decides to capture the criminal. The police raids are putting them out of business and they resent the fact that a child killer is being sought amidst their ranks. The absurdity of bank robbers and card cheaters with a sense of morals is not lost on the filmmakers. In a mock-trial at the end, these same criminals think they have the authority to sentence the child murder to death. But as he tells them, if they wanted, if they got jobs and worked honestly, they could leave their lives of crime; a man who's ordered by voices to kill can't just turn off him impulses.

But above all, M is a fascinating, exciting thriller. It's an intelligent crime story, that shows police and criminals working on different sides and with different means to achieve the same purpose. If one can laugh at the idea of a criminal union (realism should never be a criterion for judging art), one can't laugh at the policemen in this movie. Inspector Lohmann, played by Otto Wernicke, is one of most intelligent detectives ever to grace cinema. He's fat, he's cranky, he's an unlikely hero, but he's shrewd, he can read a person's personality at a glance, he's patient. Lang must have liked him too because he used the character (and actor) in his following crime epic, The Testament of Dr. Mabuse, in which Lohmann shows even greater skills.

I knew (or at least highly expected) that M would be an amazing movie. But I didn't imagine a 80-year-old movie would hold up so well in terms of cinematography, sound, pacing, acting, structure. Few movies achieve such a synthesis of qualities. There is no doubt on my mind that M deserves the recognition it continues to receive from film historians.
M is such a great movie!
it captures the way cinema and theater were once very close, especially in Deutchland. this movie is wonderful, it really is, you should watch it! it is a drama picture, it deals with the way the film maker saw his surrounding, which wasn't good at all. to me it felt like the filmmakers were quite aware to the awful state in which the German nation was, in the late 20s, early 30s. it directly referred to the way in which crippled people were referred to at the time, and i think it is equivalent to many films we have now days, talking about society. "M" was a great movie, that came to sum up a part of cultural life in Germany, fearing the land might not have anybody to do that later on.
M = Milestone...Mesmerizing...Masterpiece!
Fritz Lang's second absolute landmark (after the equally brilliant but completely different 'Metropolis') and also his first opportunity to work with the wonders of sound. And boy, did he ever deliver a great piece of work! Like the M (for murderer) is marked on Peter Lorre's coat, the film M (for masterpiece) is branded on cinema history annals for all eternity. Lang's film is a triumph in every possible viewpoint and it covers a lot more genres and elements than just simply the manhunt for a child-molester.

*** SPOILERS ****

The horrors 'M' handles about is timeless and of all cultures, but yet it'll always remain a taboo subject and for that reason alone Fritz Lang deserves extra praising. In an utterly astonishing way, Peter Lorre portrays Hans Beckert, a child murderer who single-handedly terrorizes four and half million people simply by his uncontrollable urge to kidnap and molest young schoolgirls. The grim and haunting atmosphere is terrifically built up by images of previous Beckert-victims and the disappearance a new unfortunate girl. Her toy rolling of a remote hills...a balloon drifting away on the wind. Really simple but extremely efficient methods to reflect the ominous actions that just took place. Other than to focus on the further actions of the killer, Lang turns to the effect this terror has on the city and how the manhunt for Beckert develops. Our director is obviously fascinated by how a police procedure is organized and he serves the viewer a detailed overview of all the steps taken by the investigators. Meanwhile, he grabs the opportunity to forcefully criticize the media's influence and the German law system with both hands. I'd really like to stress that Lang's subtle mockery was a really risky thing to do with the upcoming Nazi-reign, so you can't admire him enough. Due to the constant (and fruitless) raids the police are holding in the hope to capture the killer, the criminal underworld begins to lose its profits as well and they start their own manhunt for the killer, assisted by whores, beggars and petty thieves. With the carefully observing eyes all over town, it becomes practically impossible for Becker to satisfy his monstrous needs. The almighty Peter Lorre arrives late in the film every moment he's on screen is a moment worth treasuring. His sad appearance and cruel testimony are sequences that leave no human being unmoved. Lorre is a brilliant actor and this is inarguably one of the most impressive performances of all time.

'M' features constant tension, outstanding dialogue and stunning camera-work. As said before, Fritz Lang had the opportunity to work with sound for this film and he immediately makes the most out of this. This was the first 'big' German production that featured sound and it STILL ranks as the title that made best use of it...and that sure means something after more than 70 years. There's the chilling and legendary tune Lorre constantly whistles but also the absence of sound Lang uses to portray the besieged city. As you can tell from the above review, 'M' is absolute must-see and easily one of the most essential productions ever shot. It's light-years ahead of its time and still disturbing after all these years. This film is a mesmerizing portrait about the darkest, most alarming aspects of humanity and yet still it doesn't live up to real-life facts. As you probably know, the plot of 'M' is based on the whereabouts of the serial killer Peter Kürten who brutally murdered many victims in the city of Düsseldorf. I read a biography on Kürten recently and the true details of his crimes and animal-lusts go beyond every filmmaker's wildest imagination.
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.

📹 M full movie english download, M full movie with english subtitles free download, M full movie download with english subtitles. 📀