by Paul Costello
Before I continue, I’m going do this: SPOILER WARNING!! GO WATCH THIS FILM BEFORE CONTINUING!!
If you love film, Fritz Lang is a name you should know. An Austrian-born director, Lang was one of the most well known directors to come from the school of German Expressionism, and a man who was simultaneously creating and subverting the use of populist fare and art cinema, bringing them together in films that remain as incredible as when they were released. His influence spreads far and wide, touching the likes of Ridley Scott, Luis Buñuel, Jean-Luc Godard and William Friedkin.
Before I continue, I’m going do this: SPOILER WARNING!! GO WATCH THIS FILM BEFORE CONTINUING!!
If you love film, Fritz Lang is a name you should know. An Austrian-born director, Lang was one of the most well known directors to come from the school of German Expressionism, and a man who was simultaneously creating and subverting the use of populist fare and art cinema, bringing them together in films that remain as incredible as when they were released. His influence spreads far and wide, touching the likes of Ridley Scott, Luis Buñuel, Jean-Luc Godard and William Friedkin.
Though he would eventually emigrate to the US around the time Hitler came to power, where he would make excellent films noir like Fury and The Big Heat(seriously, check them out), it was in 1920s Germany where he made his mark. The groundbreaking Metropolis, the epic Die Nibelungen and the superb Dr. Mabuse, der Spieler. However, it’s his 1931 crime thriller M that is today’s focus.
M was Lang’s first “talkie” and is still a hell of a subject today. Set in Berlin, M follows a child murderer whose crimes are so abhorrent, and the crack down from police so intense, that the city’s criminal populace take it upon themselves to hunt the culprit down their way, just so they can get back to business. Suddenly, the world becomes a very dangerous place for one Hans Beckert.
M was Lang’s first “talkie” and is still a hell of a subject today. Set in Berlin, M follows a child murderer whose crimes are so abhorrent, and the crack down from police so intense, that the city’s criminal populace take it upon themselves to hunt the culprit down their way, just so they can get back to business. Suddenly, the world becomes a very dangerous place for one Hans Beckert.
Peter Lorre, in his first major role, plays Beckert and he is incredible to watch. It’s cheap to say that this all comes from the fact that Lorre looks kind of strange anyway, especially since the real power comes from his ability to make this character sympathetic. You pity the poor bastard, although he never lets you lose that sickly, predatory air. In this speech, he’s desperate, frantic, filled with as much loathing for himself as those that accuse him. It’s a rollercoaster to watch his pain, his hatred, his madness, his pleading… it’s just a stunning performance all the way through.
And I tell you another thing, you’ll never hear In the Hall of the Mountain King the same way again after watching this movie.
Setting the scene: Finally captured by his pursuers, Beckert is dragged to an abandoned distillery where he is to be tried by a court of criminals. Given a lacklustre defence by his “lawyer”, and knowing that he has nothing but his own words to steady the hand of judgement that hangs over him, he turns to all those assembled to explain himself…
And I tell you another thing, you’ll never hear In the Hall of the Mountain King the same way again after watching this movie.
Setting the scene: Finally captured by his pursuers, Beckert is dragged to an abandoned distillery where he is to be tried by a court of criminals. Given a lacklustre defence by his “lawyer”, and knowing that he has nothing but his own words to steady the hand of judgement that hangs over him, he turns to all those assembled to explain himself…
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