Child murder would most likely rank as one of the more horrifying and disturbing things imaginable, so this is automatically a very serious film with a very serious problem. Fritz Lang is a master filmmaker, so is the man for the job. He creates plenty of very intense cinematics - dialogue, cinematography, and sequences that impose the seriousness of the subject material on the audience, and this is where Fritz comes through as a filmmaker - using cinematic techniques, quality dialogue, well-rehearsed sequences and intense photography to represent the seriousness of the film's content. All with relativity calm shots, too, as most film sequences from that era are without much tracking, steadicams, crane-shots; all to the benefit of Fritz here to enhance the tension in the film's plot. The lack of music/soundtrack other than the killer's whistling also adds an eerie calm to the whole film.
There is a child murder wrecking havoc in Berlin. The police, and everyone else, are desperate to stop them, and conduct a series of raids that end up disrupting a local criminal circuit. The criminals are outraged at the disturbance, and take it upon themselves to capture the child murderer themselves as semi-vigilantes. The child murder is eventually caught by some clever traps and teamwork from the police, local beggers, and the other criminals.
The killer is taken to an improvised "Kangaroo Court" in the basement. He argues, rather pathetically, that he cannot help what he does. He cannot control his homicidal urges and kills children because he has no other choice. Free will is obviously the major theme of this film, and the supposed lack of that causes Hans Beckett, the killer, to do what he does. Whether or not this is a satisfactory excuse is not quite covered in the film. The other criminals freely admit they commit their crimes because they want to, while Beckett does not. That is the conflict of free will that concludes the film. The film ends with a warning to keep careful watch over children, as you do not know who might be after them! Ahh!!
The production of the film is impressive. The cinematography is stark, representing the bleakness of the subject material. The scenes are quiet, very tense, and foreboding too, hinting at awful things. The acting is very good, especially Peter Lorre who gives a disturbingly intense speech at the end. All these key cinematic elements, the tense direction and stark photography, are utilized expertly by Lang to enhance the disturbing subject material of the film. An incredibly well-made film by a very talented filmmaker about a very disturbing subject. Top notch!
There is a child murder wrecking havoc in Berlin. The police, and everyone else, are desperate to stop them, and conduct a series of raids that end up disrupting a local criminal circuit. The criminals are outraged at the disturbance, and take it upon themselves to capture the child murderer themselves as semi-vigilantes. The child murder is eventually caught by some clever traps and teamwork from the police, local beggers, and the other criminals.
The killer is taken to an improvised "Kangaroo Court" in the basement. He argues, rather pathetically, that he cannot help what he does. He cannot control his homicidal urges and kills children because he has no other choice. Free will is obviously the major theme of this film, and the supposed lack of that causes Hans Beckett, the killer, to do what he does. Whether or not this is a satisfactory excuse is not quite covered in the film. The other criminals freely admit they commit their crimes because they want to, while Beckett does not. That is the conflict of free will that concludes the film. The film ends with a warning to keep careful watch over children, as you do not know who might be after them! Ahh!!
The production of the film is impressive. The cinematography is stark, representing the bleakness of the subject material. The scenes are quiet, very tense, and foreboding too, hinting at awful things. The acting is very good, especially Peter Lorre who gives a disturbingly intense speech at the end. All these key cinematic elements, the tense direction and stark photography, are utilized expertly by Lang to enhance the disturbing subject material of the film. An incredibly well-made film by a very talented filmmaker about a very disturbing subject. Top notch!