M

US, 1950, 82 minutes, Black and white.
David Wayne, Howard da Silva, Luther Adler, Martin Gabel, Glenn Anders, Karen Morley, Norman Lloyd. Directed by Joseph Losey.

M is a remake of Fritz Lang's classic set in Berlin and starring Peter Lorre in 1931. The story of the child-murderer was used as so many German films of the time were for a symbol of Germany and its sickness. However, the murderer turns into a victim of the lynch mentality crowd - even of the blend of ordinary citizens and gangsters who, to protect themselves, search out the murderer.

This film is relocated in Los Angeles with basically the same themes. They seemed highly melodramatic in the times and the film was not entirely well received. In retrospect it is much more persuasive. Audiences can adapt to the black and white photography, the stylisation and the stark impact of performances and themes. The film also has reference to the McCarthyist? attitudes of the times and the possibility of mass hysteria. The dialogue is particularly pointed when heard in retrospect.

This was one of the earliest films by Joseph Losey who made his debut with The Boy With Green Hair. Soon after, he had to leave America and did not return. He made films in the '50s under pseudonyms and emerged in Britain in the '60s with such striking films as The Servant, King and Country, Accident. Moving to France, he has had a mixed career with interesting films ranging from his Mr. Cline with Alain Delon to his cinema version of Mozart's Don Giovanni.

This was an early film by David Wayne who gives a striking performance in the. central role. It could be noted that Robert Aldridge assisted Losey in direction and production.

1. The reputation of the original film? the work of Fritz Lang in Germany and his later work in the United States. Peter Lorre in Germany and in America? The symbolism of the film for Germany? Madness, murder, society? The original's classic status?

2. The value of a remake in 1950? The transition from Germany to the United States and its appropriateness? The basic themes and their universal in sight? The application to the atmosphere of America in 1950? unAmerican investigations, the emergence of McCarthyism? The role of government, justice? The film as a critique?

3. The film as an early work of Joseph Losey, seen in the retrospect of his own life, career, film making over three decades?

4. The contributions of the cast? David Wayne at the beginning of his career? Actors involved in unAmerican activities e.g. Howard da Silva?


5. The Los Angeles locations, streets and buildings? The visual impact of the environment and its authenticity? A setting for this multiple murder story? Black and white photography, the use of light and shadow? Real surreal? Characters and compositions? The sounds? Contrasts? The score and the plaintive melody of the flute?

6. The impact of the murders: as fact, victims, the horror of the deaths, sorrow? The call for justice? Vengeance? Madness and the police investigating the doings of a madman? Institutions? Victim?

7. The feelings of society against the murderer, projecting fears and angers, the need for a scapegoat, the atmosphere of the lynching party? Society as a murderer? A bestial murderer?

8. The portrait of the children, the little girls, their emotions? Innocence? Birds, toys, delight?

9. The focus on Harrow: the opening, the information about him, moods, the collage? Attractive, attracting the children, playing with them, the killing? The symbolic suggestions? The children and the mother? Time?

10. Marshall and the gangsters, his character, the gang and his relationships, leadership, henchmen? His operations and the police investigation and roundup influencing them? The contact with the blind man? The information? The chase and the taking of Harrow? The decision for the police, Langley to defend him? The trial and its atmosphere? Harrow and his plea? To die? The upheaval, arrest?

11. Langley and the law, alcoholic, his relationship with Marshall, his defence? The commotion and his death?

12. The portrait of the police, their investigations, techniques, the roundup? Contacts? Carney? Becker?

13. The portrait of the gang, the various types, their regime upset, the trial and justice? Vengeance?

14. The background of the killer, inmate of the asylum, the toy flute and the plaintive note, the pathos of his illness, the violence, his being taken, the victim of the court, his plea for death? His being taken by the police?

15. How well did the film work as thriller? Its atmosphere of realism? Symbol of evil and madness in society?