Author: Zander (Page 5 of 9)

I always find it interesting how different moviemakers adapt the same book for the screen. But it feels a bit uncomfortable when the source material is not a book but another movie. It’s like the director of the remake is saying to the original director, “I can make your movie better than you can”. And, more often than not, it’s not better. With very few exceptions (like Scarface, The Fly, or The Departed), remakes have very little to offer.

This week, I watched one original movie and two remakes, just trying to understand why someone would think it was a good idea to reinvent one of the most influential films in cinema history, often regarded as the bridge between silent expressionist cinema and modern sound filmmaking. I’m talking about Fritz Lang’s M (1931), a tense psychological thriller and social critique telling the story of a serial child murderer terrorizing a German city and the desperate hunt to capture him, both by the police and the criminal underworld. The film’s groundbreaking use of sound, visual storytelling, and deep thematic exploration make it a cornerstone of world cinema.

M was one of Germany’s first sound films and demonstrated how sound could be used creatively rather than just as a technical novelty. Unlike many early talkies that relied heavily on dialogue, M employs silence and selective soundscapes to heighten tension. The most famous example is the killer’s whistling of In the Hall of the Mountain King (an orchestral piece composed by Edvard Grieg), which serves as an aural motif signaling his presence and eventual downfall. Lang also uses off-screen sound innovatively, allowing unseen actions to be heard, creating suspense and a sense of lurking danger.

While M precedes the classic film noir era, its dark cityscapes, moral ambiguity, and focus on crime and psychology profoundly influenced the genre. It also established many conventions of the psychological thriller, particularly depicting a disturbed protagonist and the society that hunts him.

M is not a full-fledged expressionist film like Lang’s earlier Metropolis (1927), but it retains the movement’s influence in its high-contrast lighting, distorted cityscapes, and striking use of shadow. Fritz Arno Wagner’s cinematography uses deep shadows and stark compositions to evoke paranoia and entrapment, reinforcing the film’s themes of surveillance and pursuit.

Released during the final years of the Weimar Republic, M reflects the anxieties of a German society in turmoil. Economic instability, rising crime, and the growing power of authoritarianism are all subtly present in the film. The public hysteria and mob mentality depicted eerily foreshadow the rise of Nazi Germany, where scapegoating and vigilantism became state policy.

Peter Lorre’s portrayal of Hans Beckert, the child murderer, is one of the most chilling yet sympathetic performances in film history. Unlike traditional movie villains, Beckert is not a faceless monster but a tormented man driven by impulses he cannot control. His climactic monologue, in which he pleads for understanding, complicates the audience’s feelings toward him, making M one of the first films to explore the psychology of a killer in depth.

The film also avoids simplistic portrayals of good and evil. The criminals, led by Schränker, organize themselves as vigilantes, highlighting the blurred line between law and crime. The police and underworld both pursue Beckert with equal fervor, but for different reasons: justice versus self-preservation.

Lang structures the film like a procedural, showing the parallel investigations of the police and the criminal syndicate with a methodical precision that heightens the suspense. The intercutting between these two factions, particularly in the film’s latter half, is an early example of dynamic montage editing, keeping the tension tight and the narrative fluid.

Beyond its surface as a crime thriller, M is a meditation on justice and society’s response to evil. The film’s final moments, where Beckert faces an unofficial “trial” by the criminal underworld, raise difficult questions: does justice require legal institutions, or can mob rule be just as effective? The film offers no clear answers, leaving the viewer in a state of moral unease.

Lang himself would flee Germany soon after M, as the Nazis sought to co-opt his talents for propaganda. His later Hollywood films, including The Big Heat (1953) and Scarlet Street (1945), continued exploring crime and moral ambiguity themes, but M remains his most haunting and prescient work.

Twenty years later, someone in Hollywood decided it was a good idea to offer a new version of this classic movie. Joseph Losey’s M (1951) is a relatively faithful adaptation, relocating the story from Weimar Germany to postwar Los Angeles. The basic premise remains: a city is terrorized by a child murderer, prompting both the police and the criminal underworld to hunt him down. However, some key differences stand out.

The 1951 film reinterprets the themes of surveillance, paranoia, and societal breakdown within the context of postwar America, a country grappling with the Red Scare and growing anxieties about urban crime. The movie hints at the increasing role of police surveillance in public life, an element that wasn’t as pronounced in Lang’s version. Losey’s M also places a heavier emphasis on police work, making it feel more like a crime procedural than a psychological thriller. While competently executed, the investigation scenes lack the tension and visual inventiveness of Lang’s film.

Peter Lorre’s portrayal of Hans Beckert in the original is iconic, a mix of childlike vulnerability and monstrous compulsion. David Wayne does a respectable job in the 1951 remake, but his performance lacks the same intensity. His climactic monologue, one of the most important scenes in Lang’s film, feels weaker and less impactful.

Joseph Losey’s M doesn’t really justify its existence. While Losey was a skilled filmmaker, and some of his later works (The Servant and The Prowler, in particular) showcase his talent, his M fails to escape the shadow of the original. The remake suffers from being too close to Lang’s film while offering little that is genuinely innovative. If anything, it demonstrates how crucial style and directorial vision are, since M (1951) retains much of the plot but loses the eerie, unsettling atmosphere that made Lang’s version unforgettable.

Only two years later, we got another adaptation, this time coming from Argentina. Unlike Losey’s remake, El Vampiro Negro (The Black Vampire), directed by Román Viñoly Barreto, is more of a reimagining than a direct remake. The film keeps the basic premise (a child murderer being pursued by both the police and criminals) but shifts the focus in a way that gives it a unique identity.

The most significant and interesting change is the introduction of a nightclub singer (played by Olga Zubarry) as the protagonist. She becomes a key witness in the case, and the film uses her perspective to explore themes of powerlessness, moral complicity, and social injustice. This provides a fresh angle, as the original movie was primarily focused on male characters. By introducing the singer as a major character, the film incorporates themes of gendered violence and societal hypocrisy. She is marginalized by men in power, making her struggle parallel to the larger moral questions the film poses about justice and corruption.

Instead of a grotesque figure like Peter Lorre’s Beckert, the killer in El Vampiro Negro (played by Nathán Pinzón) is depicted as a more subdued and tormented figure. The film leans more into psychological drama than horror, making the murderer’s presence feel less terrifying but more pitiable. Unlike Lang’s stark and clinical approach, El Vampiro Negro has a more melodramatic style, emphasizing emotional turmoil. The noir-style cinematography is striking, though still not as innovative as Lang’s expressionist techniques.

Surprisingly, El Vampiro Negro takes a more creative approach, providing a different perspective and thematic depth. The focus on a female character and the inclusion of gendered violence and systemic injustice make it stand out. It shifts the narrative from a strictly procedural crime thriller to something more emotionally resonant and socially aware. While it doesn’t surpass Lang’s original, at least it offers a new lens through which to view the story. The change in emphasis, from a study of justice and mob mentality to an exploration of gender and power, gives it artistic merit as a reinterpretation rather than just a copy.

If one were to watch any of the remakes, El Vampiro Negro is the more interesting and justifiable reinterpretation, while Losey’s M is an example of how difficult it is to remake a masterpiece without adding something genuinely new. Fritz Lang’s M is not just a masterful thriller. It is a profound statement on justice, paranoia, and humanity’s darker instincts. Its technical innovations, narrative complexity, and psychological depth make it one of the greatest films ever. Nearly a century after its release, M remains as chilling and thought-provoking as ever.