Tag Archives: peter lorre

M (1931)

M announces from the get-go what the film is going to be about. Before we even see a moving image, we hear a child counting out a playmate with a gruesome rhyme about a bogeyman who will soon come grinding down those present. A woman who overhears the kids cusses them out, but that only stops them until she’s out of sight, upon which they resume their game. To them, it’s abstract entertainment with no connection to real life, a naivety that carries through the rest of the film. To her, it’s a reminder of the very real threat of a serial child murderer (played to great effect by Peter Lorre) on the loose in Berlin, then one of the largest cities in the world.

This beginning also signals the importance of sound to the internal structure of the film, one of Germany’s first using the new technology. There is no non-diegetic music, something that would have been weird for a silent movie, much less one that could finally play back the same background music in synch in every cinema showing it. In fact, there are even stretches of the film that are fully devoid of any sound: no music, no speech, no effects. Those are quite eerie, certainly for a modern viewer not used to complete silence in films, especially when briefly broken by individual sound effects. The lack of non-diegetic music also accentuates every moment in which music is being heard, mainly in the form of whistling. Most prominently and famously, Hans Beckert, the killer, whistles a portion from Edvard Grieg’s Peer Gynt (1876) when in pursuit of his compulsion; while not heard in its entirety, only in broken segments, the full piece is played ever faster and more chaotic until its conclusion, a fitting melody for a man forced to kill by his inner demons. Continue reading

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