M - Master of Cinema
What?
Fritz Lang’s fatalist portrayal of life is consistently heart wrenching and gratifying. The innovator of German expressionism changed the way in which an entire country progressed cinematically. From his work on the expressive The Cabinet of Dr. Caligari, to his original, genre spawning science fiction hit Metropolis; director Fritz Lang made a habit of raising the bar. His first sound film came in 1931 where he directed star Peter Lorre in a societal commentary simply entitled, M (for murderer). The story of a homicidal child killer who can’t stop or control himself from committing horrible acts of violence is told in suspenseful and thrilling detail by Germany’s master filmmaker. Knowing that the inept police cannot apprehend this lunatic, Berlin’s criminal masterminds must come together to stop Lorre’s blood lusting character. Repelled by his barbarism and fearful that the police will stifle and hinder their own illicit activities, this uncharacteristic band of gangsters must put an end to the maniac’s ways. M is a very early endeavor down the murder mystery path that is still taking place in cinema all these years later. Lorre’s performance of a pathological serial killer is not only ornately creepy but also downright scary. He’s ideal in this grotesquely villainous role of a character you unreservedly despise and oppose.
There were a multitude of breakthroughs that M achieved upon its release apart from somewhat initiating a new genus. A dramatic demonstration of sound during an introductory usage of the leitmotif, Fritz Lang readily harnessed many of the opportunities associated with “talkies.” In M, Peter Lorre’s character whistles a particular tune that allows the audience to know when he’s about to kill. This example of off-screen sound made waves throughout the vastness of cinema and it remains an effective way to subtly register ideas. Lang’s aptitude to utilize sound at such an early stage of its inception helps to solidify the director’s place amongst other visionaries during this time period.
Following M, the career of Fritz Lang would have to overcome the dangers of the Nazi regime. He released a film condemning the tyrannical government called The Testament of Dr. Mabuse in 1933. After publicly banning the picture, the ministry of propaganda attempted to recruit Lang to assist them in creating motion pictures that furthered the demonic Nazi agenda. Lang wanted no part in this and left the country almost instantaneously leaving behind many films, their negatives, a wife, as well as his earnings. After a stint in France, he made his way to Hollywood where he finished a long, triumphant career in filmmaking. Eureka’s release of M is a great sign for collectors who are also looking forward to one of Lang’s other masterpieces, Metropolis. What a dream!
Optics:
Correctly framed in its original aspect ratio of 1.19:1, M gives a clinic in way of shadow and lighting. Showing his expressionistic expertise, Fritz Lang’s classic black-and-white thriller is light years ahead in cinematography and plays right into the hands of Eureka’s Masters of Cinema Series. Another cinematic pièce de résistanceis given a tremendous treatment by one of the best names in the business, M is totally flawless. Streak marks, healthy grain, and speckles of print debris all remain in tact to preserve a charming filmic application that leaves M looking genuine. Contrast is likely the grandest hurdle to overcome, and MoC have done right! Everything down to the subtitles is five-star. A meticulously cared for transfer is readily self-evident as the detail is sharp as a tack. Eureka loves these pictures they’re restoring and it shows in the way they cared for them. As far as this reviewer can tell, there’s absolutely nothing visually skipped over. Keep these treasures coming Eureka—cinephiles are in your debt!
Sonics:
As fore mentioned, sound plays a pivotal role in Lang’s first talkie. M’s sonic attributes account for a large portion of its storytelling ability. The stretches of tension building silence coupled with the murderer’s leitmotif create a frightening mood when the innocent children are on screen. Propelling dialogue comes through intelligibly with practically zero instances of crackles, drop-offs, static, or hisses. The 2.0 DTS-HD Master Audio track is the perfect complement to a stunning 1080p image. Sound range is most impressive for a film of this age and has a consistent level that exceeded my high hopes. With an exhibition in off-screen sound, M is a landmark in audio exploitation. Is there anything Eureka can’t do? It doesn’t sound that way.
Extras:
Loaded with supplements, Eureka has almost maxed out M with extras. There are two well-done audio commentaries that add a lot of useful information about Lang. The first being with the German film scholars Anton Kaes and Eric Rentschler; the other features the film restoration expert Martin Koerber, filmmaker Peter Bogdanovich, historian Torsten Kaiser and a selections from 1965 interviews with Fritz Lang himself. Also, the original 1932 British release of M is included and presented in its entirety. It features different actors; alternate takes of scenes, and Peter Lorre’s first performance in the English language. A 1968 documentary by Erwin Leiser, which has Fritz Lang discussing his career in German cinema, makes it onto the disc as well. Last but certainly not least is the patented MoC 48-page booklet including writings by Fritz Lang, historian Robert Fischer, details of a missing scene with dialogue, behind-the-scenes stills, and finally, production drawings. Eureka’s comprehensive list of bonus material is the sugar on top of this palatable extravagance.
Well?
The words "must-have" and "classic" are truly insufficient in describing the utter magnitude of Fritz Lang’s remarkable M. Those of you living in Europe or with a region free Blu-ray player should, without deliberation, obtain Eureka’s #9 in their Masters of Cinema Series. Even though Criterion will be releasing their version of M in a few months, I see no reason (outside of region capability) to holdout on buying this precious work of art. Fully and completely endorsed!
Grant Iwan
Fritz Lang’s fatalist portrayal of life is consistently heart wrenching and gratifying. The innovator of German expressionism changed the way in which an entire country progressed cinematically. From his work on the expressive The Cabinet of Dr. Caligari, to his original, genre spawning science fiction hit Metropolis; director Fritz Lang made a habit of raising the bar. His first sound film came in 1931 where he directed star Peter Lorre in a societal commentary simply entitled, M (for murderer). The story of a homicidal child killer who can’t stop or control himself from committing horrible acts of violence is told in suspenseful and thrilling detail by Germany’s master filmmaker. Knowing that the inept police cannot apprehend this lunatic, Berlin’s criminal masterminds must come together to stop Lorre’s blood lusting character. Repelled by his barbarism and fearful that the police will stifle and hinder their own illicit activities, this uncharacteristic band of gangsters must put an end to the maniac’s ways. M is a very early endeavor down the murder mystery path that is still taking place in cinema all these years later. Lorre’s performance of a pathological serial killer is not only ornately creepy but also downright scary. He’s ideal in this grotesquely villainous role of a character you unreservedly despise and oppose.
There were a multitude of breakthroughs that M achieved upon its release apart from somewhat initiating a new genus. A dramatic demonstration of sound during an introductory usage of the leitmotif, Fritz Lang readily harnessed many of the opportunities associated with “talkies.” In M, Peter Lorre’s character whistles a particular tune that allows the audience to know when he’s about to kill. This example of off-screen sound made waves throughout the vastness of cinema and it remains an effective way to subtly register ideas. Lang’s aptitude to utilize sound at such an early stage of its inception helps to solidify the director’s place amongst other visionaries during this time period.
Following M, the career of Fritz Lang would have to overcome the dangers of the Nazi regime. He released a film condemning the tyrannical government called The Testament of Dr. Mabuse in 1933. After publicly banning the picture, the ministry of propaganda attempted to recruit Lang to assist them in creating motion pictures that furthered the demonic Nazi agenda. Lang wanted no part in this and left the country almost instantaneously leaving behind many films, their negatives, a wife, as well as his earnings. After a stint in France, he made his way to Hollywood where he finished a long, triumphant career in filmmaking. Eureka’s release of M is a great sign for collectors who are also looking forward to one of Lang’s other masterpieces, Metropolis. What a dream!
Optics:
Correctly framed in its original aspect ratio of 1.19:1, M gives a clinic in way of shadow and lighting. Showing his expressionistic expertise, Fritz Lang’s classic black-and-white thriller is light years ahead in cinematography and plays right into the hands of Eureka’s Masters of Cinema Series. Another cinematic pièce de résistanceis given a tremendous treatment by one of the best names in the business, M is totally flawless. Streak marks, healthy grain, and speckles of print debris all remain in tact to preserve a charming filmic application that leaves M looking genuine. Contrast is likely the grandest hurdle to overcome, and MoC have done right! Everything down to the subtitles is five-star. A meticulously cared for transfer is readily self-evident as the detail is sharp as a tack. Eureka loves these pictures they’re restoring and it shows in the way they cared for them. As far as this reviewer can tell, there’s absolutely nothing visually skipped over. Keep these treasures coming Eureka—cinephiles are in your debt!
Sonics:
As fore mentioned, sound plays a pivotal role in Lang’s first talkie. M’s sonic attributes account for a large portion of its storytelling ability. The stretches of tension building silence coupled with the murderer’s leitmotif create a frightening mood when the innocent children are on screen. Propelling dialogue comes through intelligibly with practically zero instances of crackles, drop-offs, static, or hisses. The 2.0 DTS-HD Master Audio track is the perfect complement to a stunning 1080p image. Sound range is most impressive for a film of this age and has a consistent level that exceeded my high hopes. With an exhibition in off-screen sound, M is a landmark in audio exploitation. Is there anything Eureka can’t do? It doesn’t sound that way.
Extras:
Loaded with supplements, Eureka has almost maxed out M with extras. There are two well-done audio commentaries that add a lot of useful information about Lang. The first being with the German film scholars Anton Kaes and Eric Rentschler; the other features the film restoration expert Martin Koerber, filmmaker Peter Bogdanovich, historian Torsten Kaiser and a selections from 1965 interviews with Fritz Lang himself. Also, the original 1932 British release of M is included and presented in its entirety. It features different actors; alternate takes of scenes, and Peter Lorre’s first performance in the English language. A 1968 documentary by Erwin Leiser, which has Fritz Lang discussing his career in German cinema, makes it onto the disc as well. Last but certainly not least is the patented MoC 48-page booklet including writings by Fritz Lang, historian Robert Fischer, details of a missing scene with dialogue, behind-the-scenes stills, and finally, production drawings. Eureka’s comprehensive list of bonus material is the sugar on top of this palatable extravagance.
Well?
The words "must-have" and "classic" are truly insufficient in describing the utter magnitude of Fritz Lang’s remarkable M. Those of you living in Europe or with a region free Blu-ray player should, without deliberation, obtain Eureka’s #9 in their Masters of Cinema Series. Even though Criterion will be releasing their version of M in a few months, I see no reason (outside of region capability) to holdout on buying this precious work of art. Fully and completely endorsed!
Grant Iwan
Director:
Fritz Lang
Starring:
Peter Lorre
Ellen Widmann
Inge Landgut
Otto Wernicke
Theodor Loos
Fritz Odemar
Paul Kemp
Best line:
"That is a nice ball you have."
Tagline:
"M is for Murderer!"
Description:
Masters of Cinema
UK
Region B
Rated PG
1Hr 50 Min
1.19:1 (OAR)
B&W/1080p
MPEG-4/AVC/BD50
DTS-HD MA 2.0
(German)
Subtitles: Eng
Audio commentary by Anton Kaes and Eric Rentschler
Audio commentary by Martin Koerber, Peter Bogdanovich, Torsten Kaiser
The 1932 British Version of M
Documentary
48-page booklet
Ratings: (Out of 10)
Film 10.0
Optics 10.0
Sonics 9.0
Extras 9.0
Overall 10.0
