In ready for the arrival of families from work

In this film, we see a pure hatred for Germany in 1930s. Aside from a couple of spur of the moment shots of regular bourgeoisie life, (for example, the scene of the mother waiting for her daughter to come back from school), the whole film is filled with scenes of men found in shadows, in smoke-filled rooms, in nauseating jumps, in conspiratorial gatherings. The characteristics of these men are the same: Fleshy, bent, thin browed, dim jowled, out of proportion. “M” is a representation of an unhealthy society, one that appears to be considerably more debauched than alternate pictures of Berlin in the 1930s. In different stories of the time, we see dance club, champagne, sex, and corruption. Whenever “M” visits a bar, it is to indicate closeups of gross things such as greasy sausages, spilled beer, rotten cheese and stale cigar butts.The main scenes bring out a tone that is alarmingly quiet. When the gathering of young men and young ladies serenade the words to one of those adolescence tunes about murder and violence, while the moms of an apartment approach their nighttimes getting ready for the arrival of families from work and school. One mother’s child, Elsie, walks down an open road while bobbing a ball. In her way is a column, and the camera zooms in so we can see the text of a wanted poster – it cautions us of a child killer stalking the city. At that point the shadowy profile of a man in a cap ignores the notice, gazing down at the young lady who has crossed his path. “That’s a nice ball you have,” he says. No face is seen. The scene cuts between shots of Elsie’s mom cooking and waiting for her little girl to return home, and others in which the predator strolls with Elsie, gets her a balloon and does that same creepy whistle. She looks at him somewhat confused as if she knows she should be home by now. Time passes on, and the young lady does not arrive home. The mother calls frantically for her daughter and realizes she has been a victim of the similar recent tragedies. Elsie’s ball is seen blowing in the breeze, and the balloon got in the electrical cables. A murder has occurred, and Elsie has vanished. Even though this was filmed indoor on soundstages, the visual style is still able to give the film a naturalistic vibe. A magazine kiosk holds a plenty of daily papers accessible to an open made distraught by the waiting impacts of World War I and the nearby murderer who is capturing innocent children. A blind hobo just pretends he cannot see. Lang creates the film with differently unappealing characters which makes it seem even more disturbing. He does this on purpose and the exaggerated camera angles enhance the horror.This is an eerie film and it doesn’t request any sensitivity for the murderer Franz Becker, yet it requests understanding: As he says to plead his case, he can’t escape or control the evil impulses that overwhelm him. Everyone has strange compulsions that they cannot control, whether they know it or not. But this does not mean his actions are acceptable. The ending did not really happen as I expected it would, but I am happy at least that the murderer was found. In my mind, I am just going to assume that he was locked away in a mental institution and will not hurt another child again.