Me quito el sombrero ante Lang.
Maravilloso film a todo nivel, pero sobre todo en su forma de trabajar el (por entonces rudimentario) sonido: leimotiv, el sonido desde un punto de vista subjetivo, el encabalgamiento sonoro mediante los fundidos de ruidos y palabras en escenas correlativas, y un largo etc la hacen inscribirse en una de las películas más importantes del primer siglo de Cine.
Una gran reflexión acerca de la sociedad y las diferentes posturas ante un tema, que profundiza en la condición de lo humano. Genial!
Para mi gusto demasiado larga.
It's an impeccable film -- a model of psychological suspense and a stunning display of Lang's power and skill. But it's Lorre, in a seamless performance that seems to come from some horrifying source, whose image lingers long after the end of "M."
The horror of the faces: That is the overwhelming image that remains from a recent viewing of the restored version of ``M,'' Fritz Lang's famous 1931 film about a child murderer in Germany. In my memory it was a film that centered on the killer, the creepy little Franz Becker, played by Peter Lorre. But Becker has relatively limited screen time, and only one consequential speech--although it's a haunting one. Most of the film is devoted to the search for Becker, by both the police and the underworld, and many of these scenes are played in closeup. In searching for words to describe the faces of the actors, I fall hopelessly upon ``piglike.''
Lang's first sound film was based on the real-life manhunt for the Düsseldorf child-murderer (an extraordinary performance by Peter Lorre). A radical, analytical film that entertains many of Lang's fascinations: innovative use of sound; the detail of police procedure; the parallels drawn between organised police behaviour and the underworld... a construction which carries Lang's own view of the arbitrariness of the Law. A subversive film, or more simply a movie brimming over with the ferment of Lang's imagination at its height? You choose.