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'M' was made in about 1931 by Fritz Lang (his most famous movie was Metropolis) and was probably a film about 70 years ahead of its time. I saw this only last year, bought a copy the other day. Based on a true story about a string of child murders in Dusseldorf, and the collaboration of the city's criminal underworld to try to track down the killer (he was bad for business). Absoulutely brilliant - the story handling and scripting feels completely contemporary, riveting characters and manages to be both frightening and extremely funny (no mean feat given it's subject matter). A genuine thriller. The story of Lang's making of the movie is almost as interesting - the real criminals given acting roles, thefts, mayhem etc. Love it - I can recommend it if only (at the very least) to see a Black & White silent movie from 1931 that can blow the socks off almost any current 'psychological thriller'.Also saw a really striking French film recently called 'A Pure Formality' - any fans? Mostly dialog in one or two rooms - Gerard Depardieu the suspect and Roman Polanski the cop who interrogates him. I loved it, but I'd probably say that you'd have to be in the mood for a couple of hours of mostly just dialog - but if you are, its a stunner. The final five minutes are the pivot and the film changes direction into something truly great.
I guess thats my rave -
Cheers
Sattler
Follow Ups:
If you watch it carefully you could actually understand why the Europe exploded only few years later. Germany was so full of hatred at the time.
the analogie bettween the rats and the nazis-Fritz Lang immigrate.
the micro cosmos in the film related to the -Then- actual society.
Allegorie,if you want.
nt
C'mon, guys! There are at least hundreds of great films that have done as much or more for the movie history. How come you will never hear here about La Strada? Persona? Scores of others? How come M surfaces at least once every two months?Is this purely the American phenomena? Seems to be. Is the reason that it is is a mandatory item on most liberal arts programs? Reader's Digest "World Films to Remember" list?
WHAT IS IT that makes it this persistant? If I recall corectly, every time it is mentioned it is by an American - is that true?
I dunno... I think I could think of at least 200 films I would like to revisit before going again to that pesky M.
Just go away... at last!
"Is this purely the American phenomena? Seems to be."Lets see - I'm in Australia, hence the 'Melbourne' in my handle. So that would be a No.
"If I recall corectly, every time it is mentioned it is by an American - is that true?"
Apparently not.
"How come M surfaces at least once every two months?"
I don't know - does it? I just saw the film recently and liked it. Pardon me.
S.
... he can't help coming across as a cinema snob occasionally where foreign films are concerned. I have the impression, rightly or wrongly, that he mostly likes foreign films few people have ever heard of while loathing most Hollywood films; I'm a bit surprised by his attitude regarding this German classic though. Oh well, in spite of what may appear to be crankiness, he means well. :o)BTW, I'm with you: "M" is one heck of a flick and Fritz Lang is an excellent director; I'd wager that your praise of the film was well received by most folks around here.
G'day,
Audiophilander of Texas
***I have the impression, rightly or wrongly, that he mostly likes foreign films few people have ever heard ofHe-he..., that is an interesting point! Why do you think most people have never heard of most good films that are basically sitting in the plain view, on the shelf?
This is to large degree related to the M subject - as I said, there are hundreds or thousands of good films, all available, and yet we keep talking about the same, the same, the same, the same few over and over and over and over again?
***while loathing most Hollywood films;
That one is true.... sigh... but I loath all bad films, damn, I even dumped on one French film lately - did you miss it?
***I'm a bit surprised by his attitude regarding this German classic though.I think probably because you jumped on your keyboard too fast. Every time it came up I gave it the highest praise, I just finally got tired. So just what is my attitude towards the M? I mean besides its pesky nature on this forum?
***Oh well, in spite of what may appear to be crankiness, he means well. :o)
I think you got that one right, thank you.
Hi Audiophilander (cool handle, BTW)Glancing over the Film Asylum, 'ol Victor does seem to appear a lot. And loudly, and at length. I just get grumpy about people who make those kind of generalisations.
Where are you in Texas? I may be hitting Dallas/Fort Worth soon - know any good bars?
Cheers,
Sattler.
PS: Liked your set-up/music choice in 'Inmate System'. Excellent stuff.
... between Big D and Ft. Worth.Yep, I know a few great bars in D/FW, but my wife is probably better at giving directions to get there (hee, hee, she usually ends up "designated driver" on those rare occasions when we travel any distance to a tavern). Locally (Arlington proper), we have the "Flying Saucer." It's an area sport's bar chain which has about the best selection of brews from around the world I've found in the Metroplex. It can be a bit noisy at times, but I do like the selection. We have one in Arlington right off of Interstate 30 at Collins just past Lincoln Square Shopping Center.
> > > Liked your set-up/music choice in 'Inmate System'. Excellent stuff." < < <
Thanks! You should talk stereo with Victor sometime too; he's very modest about his involvement in high-end stereo, but he's more than just a consumer (i.e., since you're new to the forum and appreciate great gear you may want to pick his brain a bit about tubes). Victor's animated icon is a clue. ;^)
BTW, let me know when you're going to be in the area; perhaps the wife and I can meet you for a few pints.
Cheers,
Audiophilander
Hey, Sattler, I guess you missed most of the jest. My problem here is perhaps that I see most of the gang as old buddies, and we all know each other, so many discussions are the continuations of the previous ones. I agree that might not be the most fair to someone new. So when I address AuPh, for instance, I don't his for his name, I simply smack him on the back real hard. He does the same to me. So don't hold it back.So I am not sure what generalization you mean, as we were only discussing the M, and if you are curious - remember, you can always do a search on "M" and get many reactions that were posted here before... including my basically almost overboard ones. I think I must have praised it like ten times before.
But seriously, if we had discusisons of Bergman, Fellini, Bunuel, Fassbinder, Tarkovsky, Herzog, Kubrick, Visconti, Wenders, Goddard, and many others who AuPh consider "obscure" (here we go!) with anything approaching the frequency of M I would feel somewhat better - wouldn't you?
Fair enough - I am new to the board, didn't know M had been the subject of ad nauseum discussion. As you say, we all probably have different ideas about what constitutes 'obscure' movies - I'll bet you could probably site some REAL unknowns if required. Some 70's Russian cinema? Some good films from Iran latley.The Enigma of Kaspar Hauser is probably my favorite Herzog, Fitzcaraldo a close second. Saw a good program on the life of Rainer Werner Fassbinder last Sunday night - he didn't make particularly good films (IMHO) but man, the guy sure could binge.
Cheers,
Sattler
The truth is - most of good classical or just good films are only "obscure" because someone has no inclination to find them. They are out there in force, even the mainstream places like the Amazon are swarming with them. One doesn't even have to pay much - the Used items on Amazon can be had for $7 to $12 or so. There are other places for used tapes too.Don't recall seeing ANY Iranian films, sorry.
Have not seen the Enigma either, not a great fan of Herzog in general. Perhaps should revisit him.
Fassbinder is more to my taste, and also the ones he has written: for instance "Water Drops on Burning Rocks" is one of my all-time favorites.
OK, OK, plus shipping...
If you are a father..the most touching one..the most moving one...the ONE that go into you and torture you..what a movie...
An unquestionable classis, one of the best films ever made. It is stronger overal than M, if such comparissons are not too silly. M loses a lot if considered outside its time period, the Bicycle Thief doesn't lose one bit, I think.When I wrote my paragraph I thought about it, but decided that I already mentioned it here too many times. So thank you for bringing it up.
has is strong moments too...But the comparison is too silly...
To insist on M ,as I do not know if it had be discuss to that extend,but this film is very important to understand the mounting nazism.
But The B. thieve,oh,boy, what a picture...The very very good film you have to take a lots of look..but the expectionnal you have to see only one time maybe two..they are so strong...this dose is enough for a life time...oh, boy what a picture !
We have faith again in the human nature,after this.
Thank you,creator.
There are undeniable parallels between the ending of the Thief and Masina's smile in Cabiria... The subtle smiles in the middle of things falling apart - where do those Italians get their inner strength?
le trait d´ union is -humanity -
The deep understanding of our condition-the smile of Mona with her hands-Zorba The Greek alias A. Quinn who did not have looking down the alley to La Strada.
Woman - kid or kid - woman-Who cares.
Thank you Fellini.
I remember it from a film class I took waaaay back in college; it impressed me greatly. Like danz pointed out, it isn't silent (as was the original Metropolis); it is also currently available as a Criterion DVD, although I understand that it isn't one of their best transfers due to the mediocre quality of the 35mm elements which were available.Audiophilander
It is an early talkie and there are some scenes with little-or-no sound but it is most definitely a talking picture, as they were called in the early thirties."M" is an absolutely brilliant film in all respects, not the least of which is the stunning performance of Peter Lorre.
This film made Lorre an international star and prompted his invitation to Hollywood, where he enjoyed a busy and lucrative career. He starred in a movie series in the late 30's and early 40's as Mr. Moto, a sort of cross between Charlie Chan and Sherlock Holmes. It was a very entertaining series. He spent the last twenty years of his too short career as a character actor, often in horror movies. He did have many memorable roles through his career - notably in "Casablanca", "20,000 Leagues Under the Sea", and "The Raven", where he more than held his own with his co-stars Boris Karloff and Vincent Price.
"M" has been remade several times. Most remakes have suffered badly in comparison to the original.
The first time I saw "M" was in the original German, of which I understand only a little. It mattered not as the film is so well done that understanding the language isn't needed. Tone of voice, faces, and body language tell the characters' stories. Set, pacing, lighting, and editing tell the rest. It's pretty much a textbook example of good film storytelling.
IMHO, any "Best Films of All-Time" list that doesn't have Fritz Lang's two masterworks, "Metropolios" and "M" included, is hackwork.
The M is indeed a classic, we have discussed it here MANY times before, I love it.A Pure Formality is pretty good, but I thought it was a bit overdone. Because of that it loses the momentum occassionally, it is eneven.
"Stanno tutti bene" withMarcello Mastroianni and Michèle Morgan
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