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El maldito

Título original: M
  • 1951
  • Not Rated
  • 1h 28min
CALIFICACIÓN DE IMDb
6.8/10
2.5 k
TU CALIFICACIÓN
David Wayne in El maldito (1951)
Film NoirCrimeDramaThriller

En esta americanización del thriller alemán de 1931, tanto la policía como el inframundo criminal acechan a un misterioso asesino que se alimenta de niños pequeños.En esta americanización del thriller alemán de 1931, tanto la policía como el inframundo criminal acechan a un misterioso asesino que se alimenta de niños pequeños.En esta americanización del thriller alemán de 1931, tanto la policía como el inframundo criminal acechan a un misterioso asesino que se alimenta de niños pequeños.

  • Dirección
    • Joseph Losey
  • Guionistas
    • Norman Reilly Raine
    • Leo Katcher
    • Waldo Salt
  • Elenco
    • David Wayne
    • Howard Da Silva
    • Martin Gabel
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.8/10
    2.5 k
    TU CALIFICACIÓN
    • Dirección
      • Joseph Losey
    • Guionistas
      • Norman Reilly Raine
      • Leo Katcher
      • Waldo Salt
    • Elenco
      • David Wayne
      • Howard Da Silva
      • Martin Gabel
    • 46Opiniones de los usuarios
    • 27Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
  • Fotos88

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    + 81
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    Elenco principal98

    Editar
    David Wayne
    David Wayne
    • Martin W. Harrow
    Howard Da Silva
    Howard Da Silva
    • Inspector Carney
    Martin Gabel
    Martin Gabel
    • Charlie Marshall
    Luther Adler
    Luther Adler
    • Dan Langley
    Steve Brodie
    Steve Brodie
    • Police Lt. Becker
    Raymond Burr
    Raymond Burr
    • Pottsy
    Glenn Anders
    Glenn Anders
    • Riggert
    Norman Lloyd
    Norman Lloyd
    • Sutro
    Walter Burke
    Walter Burke
    • MacMahan
    John Miljan
    John Miljan
    • Blind Baloon Vendor
    Roy Engel
    Roy Engel
    • Police Chief Regan
    Janine Perreau
    Janine Perreau
    • The Last Little Girl
    Leonard Bremen
    Leonard Bremen
    • Lemke
    • (as Lennie Bremen)
    Benny Burt
    Benny Burt
    • Jansen
    Bernard Szold
    • Bradbury Bldg. Watchman
    Robin Fletcher
    • Elsie Coster
    Karen Morley
    Karen Morley
    • Mrs. Coster
    Jim Backus
    Jim Backus
    • The Mayor
    • Dirección
      • Joseph Losey
    • Guionistas
      • Norman Reilly Raine
      • Leo Katcher
      • Waldo Salt
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios46

    6.82.4K
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    Opiniones destacadas

    dbdumonteil

    The pied piper

    A perilous remake ,"M" ,while it's not exactly as startling as Fritz Lang's classic ,is proof positive that all the remakes are not doomed .David Wayne's performance compares favorably with Peter Lorre's,which was not an easy task.The screenplay is faithful like a dog to Von Harbou/Lang's story,itself inspired by a true news item ,the vampire from Düsseldorf.David Wayne ,with his next-door-man look,manages to stay disturbing and threatening ,particularly when he plays with laces and Plasticine figures.The over possessive mother's aberrant upbringing is not passed over in silence ("I'm a man;I'm evil;I have got to be punished!")Losey makes an awesome use of the settings in the last sequences .

    Thanks to Losey 's talent ,the Americanization of "M" was a success. Please do not redo now!
    7didi-5

    not quite as bad as its reputation

    Fritz Lang's classic 'M' back in the 1930s is a well-regarded classic, which brought Peter Lorre to prominence and a career in Hollywood.

    This film, made twenty years later by Joseph Losey, starred light comedian David Wayne as the child-killer, and has much of the same storyline and set-pieces as its predecessor. But is it any good? It has its chilling moments - notably the ones involving the plasticine figure and the bird at the cafe - and Wayne, in a largely silent part, is surprisingly good. But much of the film is a copy of the original, and this lessens its impact. Also, the character of the lawyer who has gone to drink is too prominent, and the underworld search for the murderer who threatens their operation doesn't quite fit on the mean streets of LA, where it did in Germany.

    Not as bad as I'd heard, in fact this film is really quite good, but some bad editing decisions (acknowledged at the time of its release by Losey) have done damage. It deserves a nod for unusual casting though.
    7Erewhon

    Surprisingly good

    Seymour Nebenzal didn't have an especially illustrious career as a producer, either in Europe or the United States. Two of his American movies, in fact, SIREN OF ATLANTIS and this one, were remakes of movies he had produced in Europe. But in this case, he hired the right director.

    Was it the growing Blacklist that resulted in this movie having no writing credits on screen? Perhaps, but also perhaps not, as the soon-to-be-blacklisted Howard da Silva and Joseph Losey both use their own names.

    Losey and his team make excellent use of numerous Los Angeles locations, including Angel's Flight, Bunker Hill, the Bradbury Building (which is identified by name and location) and what seems to be that old amusement park in Long Beach, although what's seen here could be Venice.

    David Wayne is fine as the disturbed child killer, and delivers the required final act speech very well. But he doesn't have the power and poetry of Lorre's performance--but then who in Hollywood in 1951 would have? The movie still has some of the comedy of Lang's original, but it's not as dry and sardonic, and there isn't as much of it. The score isn't good, and shoves the movie even more firmly in the direction of the melodrama it keeps threatening to become.

    The very last shot is oddly theatrical in a literal sense: it looks like it is being performed on a stage. And I'm not sure what the point of the drunken lawyer trying to grasp a bit of his former glory really was. However, this element merely weakens the film, it doesn't destroy it.

    No, this isn't as good as Lang's original, but Lang's original is perhaps the best film of a great director. It's a classic in almost every regard. This version of "M" is an interesting and largely successful attempt at adapting the themes and ideas of the original to Los Angeles, and to 1950s Hollywood. Naturally there are some weaknesses, but the movie is brisk and engrossing, and certainly doesn't deserve the obscurity into which it has fallen.

    Some condemn the film merely for being a remake, but remakes have always been a large part of movie history. There's little reason to object to them, especially now that the original films tend to be available on video. (In the 1930s-50s, originals were generally withdrawn.) If the remake is good, then hooray, there are now two good movies on the subject. If it's bad, then the remake will soon be forgotten.
    7bkoganbing

    Blind Panic

    If the mastodons over at the House Un-American Activities Committee hadn't enough reason to blacklist Joseph Losey than his remake of Fritz Lang's classic M gave it to them. This is Losey's best broadside against the witch hunts and the blind panic the gripped vast sections of the American public ferreting out Communists and their fellow travelers.

    There's a serial killer of little girls operating in a small American city and it's got the police baffled. With conditions as they are the police turning up the heat, organized crime types can't operate so the local Don played by Martin Gabel starts his own manhunt. He can move into places local police chief Howard DaSilva can't.

    The killer is mild mannered David Wayne a truly pitiable sort when unmasked. His devolution of defenses is something to see.

    Good ensemble cast worked with the leads. A good remake of a classic.
    7Bunuel1976

    M (Joseph Losey, 1951) ***

    I commemorated the 25th anniversary from the death of director Joseph Losey (which occurred on 22nd June 1984) by watching his two best (and, ironically, rarest) Hollywood movies, both noirs made in 1951 – THE PROWLER and M. Fritz Lang's original 1931 version of the latter is not only generally considered to be its director's masterpiece but, on a personal note, is also included in my all-time Top 20 movies. Therefore, I had always been particularly interested in seeing how Losey (another director I admire a great deal) had tackled the daunting task of remaking – and relocating to L.A. – such an iconic German movie. Boasting the original's own producer, Seymour Nebenzal, the 1951 remake has been almost impossible to see and, actually, I only managed to track down a mediocre-looking print a few months ago; even so, I am certainly grateful to have been given the opportunity to catch up with it…especially in view of the fact that Sony's long-rumored Joseph Losey box set on R1 did not materialize after all! Perhaps inevitably, the film's initial stages (the murder of little Elsie) closely resemble those of Lang's film – even down to the choice of camera set-ups: the high angle shot down an eerily desolate flight of stairs, the close-up of the vacant breakfast table, the tell-tale shots of a solitary flying balloon and a rolling ball – but Losey nevertheless manages to gradually make the film his own, culminating in a trademark hysterical finale that highlights a new character not featured in the original: Luther Adler's alcoholic attorney who is, ill-advisedly, moved to turn against his boss Martin Gabel after the baby-killer's confession. David Wayne – best-known until then for playing lightly comic roles – is quite good in his own right (especially during the aforementioned trial sequence) if, understandably, falling short of Peter Lorre's unforgettable original characterization; similarly (and effectively) cast against type, Howard Da Silva makes for a fine Chief of Police, while the sterling supporting cast includes Raymond Burr (also atypically amusing as a raspy-voiced, leading underworld thug), Steve Brodie (as a sadistic cop), Glenn Anders and Jim Backus (as the mayor)! Interestingly enough, two directors-to-be were employed in minor capacities on this film: assistant director Robert Aldrich and script supervisor Don Weis. Allegedly, Fritz Lang balked at Nebenzal's offer to direct the remake himself and never forgave Losey for daring to touch his magnum opus…he must have conveniently forgotten the fact that he had himself remade in Hollywood two Jean Renoir classics – LA CHIENNE (1931) and LA BETE HUMAINE (1938) – as SCARLET STREET (1945) and HUMAN DESIRE (1954) respectively!

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    Argumento

    Editar

    ¿Sabías que…?

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    • Trivia
      Before signing Joseph Losey as director, producer Seymour Nebenzal approached fellow German expatriate Douglas Sirk and offered him the job. Sirk said he would do the film only if he could scrap the original story and write a new one about a psychopathic murderer of children. When Nebenzal approached Losey, he also wanted to scrap the original story and do a new one about a child murderer, and Nebenzal told him that the Production Code Administration (PCA) had agreed to allow him to make the film only if the original story and script were kept. The PCA had approved "M" as a remake of an acknowledged classic, but if the story were changed, its approval would be withdrawn.
    • Errores
      When the killer and the little girl are locked in the room, the large shadow of the microphone boom is clearly visible on the wall on the left side of the screen after she sits down on the floor.
    • Citas

      Police Chief Regan: To prevent other crimes, your police department has prepared five don'ts. DON'T let your children accept rides from strangers, sometimes these are one-way rides leading to death. The amiable stranger may be a killer. DON'T let your children accept presents from strangers. A bag of popcorn or a candy bar is not worth your child's life. DON'T send children on after-dark errands, the night works in behalf of the killer who preys on our young. If you must have something from the store after sundown, get it yourself. DON'T let your child play unattended in wooded places or empty lots. Though your eyes aren't on them, somebody else's may be watching. DON'T let your children become friendly with Pop, that nice old character in your neighborhood. Most of these men are harmless, but there are exceptions. It's up to you to make sure your child isn't the victim of one of these exceptions. And now for one all important do: If you notice any suspicious characters lurking around schools and playgrounds, DO call at once, your police department: Central 5000, the life you save may be your child's life.

    • Conexiones
      Featured in The 3 Faces of M (2022)

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    Preguntas Frecuentes18

    • How long is M?Con tecnología de Alexa
    • What is 'M' about?
    • Is 'M' based on a book?
    • Why would organized crime care about catching a child murderer?

    Detalles

    Editar
    • Fecha de lanzamiento
      • 5 de diciembre de 1951 (México)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • También se conoce como
      • M
    • Locaciones de filmación
      • Bradbury Building - 304 S. Broadway, Downtown, Los Ángeles, California, Estados Unidos(building where Harrow is trapped)
    • Productora
      • Superior Pictures
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 28 minutos
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

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    David Wayne in El maldito (1951)
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