| Photos (See all 28 | slideshow) |
| Peter Lorre | ... | Hans Beckert | |
| Ellen Widmann | ... | Frau Beckmann | |
| Inge Landgut | ... | Elsie Beckmann | |
| Otto Wernicke | ... | Inspector Karl Lohmann | |
| Theodor Loos | ... | Inspector Groeber | |
| Gustaf Gründgens | ... | Schränker | |
| Friedrich Gnaß | ... | Franz, the burglar | |
| Fritz Odemar | ... | The cheater | |
| Paul Kemp | ... | Pickpocket with six watches | |
| Theo Lingen | ... | Bauernfänger | |
| Rudolf Blümner | ... | Beckert's defender | |
| Georg John | ... | Blind panhandler | |
| Franz Stein | ... | Minister | |
| Ernst Stahl-Nachbaur | ... | Police chief | |
| Gerhard Bienert | ... | Criminal secretary | |
| Karl Platen | ... | Damowitz, night watchman | |
| Rosa Valetti | ... | Elisabeth Winkler, Beckert's landlady | |
| Hertha von Walther | ... | Prostitute | |
| rest of cast listed alphabetically: | |||
| Behal Carrell | ... | (uncredited) | |
| Josef Dahmen | ... | (uncredited) | |
| J.A. Eckhoff | ... | (uncredited) | |
| Else Ehser | ... | Woman (uncredited) | |
| Karl Elzer | ... | (uncredited) | |
| Ilse Fürstenberg | ... | (uncredited) | |
| Anna Goltz | ... | Woman (uncredited) | |
| Heinrich Gotho | ... | (uncredited) | |
| Heinrich Gretler | ... | Man (uncredited) | |
| Günther Hadank | ... | (uncredited) | |
| Albert Hoermann | ... | (uncredited) | |
| Ellen Isenta | ... | Woman (uncredited) | |
| Karl Junge-Swinburne | ... | Man (uncredited) | |
| Albert Karchow | ... | (uncredited) | |
| Werner Kepich | ... | (uncredited) | |
| Hermann Krehan | ... | (uncredited) | |
| Kurth Leeser | ... | (uncredited) | |
| Rose Lichtenstein | ... | (uncredited) | |
| Lotte Loebinger | ... | Woman (uncredited) | |
| Sigurd Lohde | ... | (uncredited) | |
| Alfred Loretto | ... | Man (uncredited) | |
| Hanna Maron | ... | Girl in circle at the beginning (uncredited) | |
| Paul Mederow | ... | (uncredited) | |
| Margarete Melzer | ... | (uncredited) | |
| Trude Moos | ... | (uncredited) | |
| Hadrian Maria Netto | ... | (uncredited) | |
| Günter Neumann | ... | Man (uncredited) | |
| Neumann-Schüler | ... | Bit Role (uncredited) | |
| Katharina Nied | ... | Women (uncredited) | |
| Maya Norden | ... | (uncredited) | |
| Fred Nurney | ... | Man (uncredited) | |
| Edgar Pauly | ... | Man (uncredited) | |
| Klaus Pohl | ... | Witness / one-eyed man (uncredited) | |
| Franz Poland | ... | (uncredited) | |
| Eduard Rebane | ... | Man (uncredited) | |
| Paul Rehkopf | ... | (uncredited) | |
| Bertold Reissig | ... | Man (uncredited) | |
| Ernst Rhaden | ... | Man (uncredited) | |
| Hans Ritter | ... | (uncredited) | |
| Max Sablotzki | ... | Man (uncredited) | |
| Agnes Schulz-Lichterfeld | ... | (uncredited) | |
| Leonard Steckel | ... | Man (uncredited) | |
| Wolf Trutz | ... | (uncredited) | |
| Otto Waldis | ... | (uncredited) | |
| Borwin Walth | ... | (uncredited) | |
| Rolf Wanka | ... | Man (uncredited) | |
| Bruno Ziener | ... | (uncredited) | |
Directed by | |||
| Fritz Lang | |||
Writing credits | ||
| Egon Jacobson | (article) uncredited | |
| Thea von Harbou | (script) and | |
| Fritz Lang | (script) | |
Produced by | |||
| Seymour Nebenzal | .... | producer (uncredited) | |
Cinematography by | |||
| Fritz Arno Wagner | |||
Film Editing by | |||
| Paul Falkenberg | |||
Art Direction by | |||
| Emil Hasler | |||
| Karl Vollbrecht | |||
Makeup Department | |||
| Wilhelm Weber | .... | makeup artist | |
Production Management | |||
| Ernst Wolff | .... | production manager | |
| Gustav Rathje | .... | unit manager (uncredited) | |
Art Department | |||
| Edgar G. Ulmer | .... | set designer (uncredited) | |
Sound Department | |||
| Paul Falkenberg | .... | sound editor | |
| Adolf Jansen | .... | sound | |
Camera and Electrical Department | |||
| Robert Baberske | .... | second camera operator | |
| Horst von Harbou | .... | still photographer | |
| Erwin Hillier | .... | assistant camera (uncredited) | |
| Károly Vass | .... | assistant camera (uncredited) | |
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| So Sweet, So Dead | I Confess | The Spider Returns | M | Dirty Harry |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb top 250 movies | IMDb Crime section |
| IMDb Germany section |
M / (1931) ****
"M" is a cinematic masterpiece of visual drama. The stunning performances define the careers of exceptional actors such as Peter Lorre and Gustaf Grundgens. Director Fritz Lang gives depth and dimension to his production by distinctly capturing the ecstasy of the film's many characters and focusing accurately on individual situations. This is an intriguing journey into the mind of a psychotic child murderer, blending terror, complexity, and malignity in one amazing motion picture.
Screenwriters Paul Falkenburg and Adlof Jansen construct the characters of "M" with distinctive personalities and three dimensional emotions. Many lesser filmmakers give their characters no creativity outside the confines of the script. In this movie each individual character has a mind of their own; they are free to roam the landscape of a inviting atmosphere.
Fabricating such an impressive atmosphere is some of the best cinematography and lighting effects that I can remember watching. This resplendent component creates the film's terrific moody ambiance. Suspense is one thing "M" contains in full context. The movie's third act is sheer peak-high tension.
Shot in black and white, "M" stars Peter Lorre as Peter-Hans Beckert, an extremely disturbed child murderer in the process of wreaking havoc on a neighborhood. Parents everywhere are living in fear of their children being kidnapped and abruptly annihilated.
This picture contains a brilliantly crafted setup. The visual setting creates a strongly developed opening. Every scene works to either complicate the initial problem or propels the story through a firm narrative through line.
The film captures the chaos of the town in terror perfectly. "M" is more about the results of a serial killer than an actual serial killer. Never do we directly witness a murder; the violent encounters are implied. This method of film making perhaps makes the movie's impact even greater. With an creative perspective through a third person point of view, the filmmakers repeatedly give us examples of a solid structure through characters and occurrences.
"M" offers a unforgettable, challenging performance by Peter Lorre. This extraordinary actor is tormenting and disturbing without embracing in extreme violent conduct. He perspires with momentum and rapture. This productions closing scenes are so deeply penetrating they entirely captivate the viewer. Isn't this what movies are supposed to do?