M: More Than Murder

When watching Franz Lang’s M the causal viewer may miss the idea presented by the director that his villain is not entirely evil; Though Beckert is a child killing mad man, it is fair to assume that this is not the only side to the film’s antagonist. In fact, the villain wears a wedding ring throughout the entire movie eluding the idea that the man, who is portrayed to be bad to his core, may have a past like anyone else. Additionally, Lang forces his audience to feel a pang of sympathy at the end of the film when Beckert is dragged to a deserted distillery and prosecuted by his blood thirsty peers, of which the ring leader is wanted for three counts of man-slaughter himself. Down on his knees clutching his head, the camera takes a high angle position making Beckert look weak, even pitiful. On the opposing side are the criminals, foreboding in wall of sheer hate emphasized by a slow panning of the camera. When Beckert explains he must kill, the audience cannot help but cheer for his defense attorney when he steps in and protects the murderer claiming he should not be held responsible for a crime he may have committed in the throes of insanity.

Lang also alludes to the idea that society makes murderers accredited superstars. Beckert writes a letter to a newspaper early in the film which is then circulated throughout the city. The city inhabitants can’t help but discuss the crimes, elevating the mystery of the killer’s identity to sheer stardom. Murder is whispered on every street corner and every man holding a child’s hand is suspicious. More so, M constantly alludes to the idea that the police are not able or willing to do anything to protect the city dwellers. In one particular telling scene the Police Commissioner explain to the Secretary that his men are hard at work. While he is singing his praises the shot changes and the audience is shown sleeping police officers scattered throughout a well lived in station giving the impression that officers are lazy not dedicate men of the law. Amongst this scene, via a voice over the Commissioner applauds his officer’s efforts in a moment of perfect irony.  In this disturbing thriller, Lang complicates the typical hatred felt by audiences concerning their antagonist. Simultaneously, he turns the typical “good-guys,” into questionable characters; a loquacious and sneaky political statement.