M

M scared the hell out of me in two different ways.

The first is in its portrayal of Franz Becker and his crimes. Becker, brilliantly played by Peter Lorre, is cinema's first serial killer. Where some films might drench such a character in Kensington Gore, M does something much, much worse: it forces us to use our imaginations, replacing screams and shrieking music with forlorn shots of an empty placesetting, an empty staircase, and a gradually panicking mother calling, "Elsie! Elsie!" Additionally, M makes effective (and probably groundbreaking) use of Grieg's "Peer Gint Suite", which Becker compulsively whistles when he's on the hunt. I'll never hear that tune the same way again.

The second is SPOILERIFIC, so skip this paragraph if you want to remain SPOILER free. When Becker's dragged before the underworld's kangaroo court, the top criminal and commander of the proceedings makes a compelling speech in which he argues that, rather than be turned over to the police and (almost certainly) confined to an asylum, Becker should be killed on the spot. As he really gets into his speech, his voice rises and takes on the strident rythms of the polished public speaker. We realize that this character (who is wearing a leather overcoat) is arguing for the execution of the insane, and the crowd is with him. We remember that the movie was made in 1931, when the Nazi party was really gathering steam, and we wonder what impact this film had on their policies.

Ok, THE SPOILERS ARE OVER. It's safe now. Technically, the movie is just plain brilliant. It doesn't feel like a film that's being made by people who are still figuring out sound technology. Rather, it feels like a masterpiece. There's just the right mix of music, dialogue, and silence; there's a tracking shot that hadn't been equalled until 'Goodfellas'; there's mirror and window-reflection photography that's just plain stunning; and there's a narrative that will have you on the edge of your seat from beginning to end.

What a great movie.