O Maldito

Wow. This is a really under-sung, but still great remake of M.

Like anyone else, I assumed this would be an inferior version of the Lang classic, but this movie stands alone and takes the already disturbing plot to a very '50's place.

If you're interested in noir, and you're seen the original M, you definitely, so much, HAVE to see this. The performance from David Wayne rivals Peter Lorre's and if nothing else, for you Americans, he is surprisingly sympathetic and relate-able.

The original M is one of the first great thrillers and bridges the gap between expressionism and what would become noir in film. This movie serves an exact opposite purpose - it takes the plot of "M" and does an amazing job of turning it in to a local film that both serves as a great thriller and a great commentary on our society.

Saw this movie last night for the 1st time. I was impressed with whole remake of the original except the VHS video picture quality was quite poor!! I hope they hurry up and get this in a DVD format with clearer, sharper images!! The acting of David Wayne as the "baby killer" was great as was Howard DeSilva's "chainsmoking" police investigator and Martin Gabel's crime boss, and look closely for Raymond Burr's tough talking "goon" who is following orders from the crime boss. Really great overall performances from all involved also including Steve Brody, John Miljan (as blind man....where are all the women in this picture except the children!! No leading actress was featured. Photography on location with excellent use of the moving camera was really eye-filling!!! The fat, laughing lady and those floating balloons were part of the tension and irony. Great movie!!

The poster for director Joseph Losey's M promises to deliver "the greatest motion picture you've ever seen!". This, of course, isn't true; in fact, it isn't even the great motion picture entitled M you'll ever see. The original movie of the same title, directed by Fritz Lang, is possibly one of the finest pieces of cinema ever made, and one that reflected the political turmoil of Germany at the time as the Weimar Republic start to collapse under the increasing power of the Nazis. Douglas Sirk, a German working in Hollywood, was first approached to helm the remake, but wanted to scrap the original premise but keep the focus on a notorious child-killer. This could not happen, as such a grisly topic was banned in Hollywood, but would be allowed if it was a remake of a classic. Sirk held his ground, and so M was handed to Losey instead.

Martin W. Harrow (David Wayne) is a reclusive serial killer who has already gained notoriety throughout the city after a few dead bodies were found, minus their shoes. Inspector Carney (Howard Da Silva) feels the pressure of expectation, resorting to desperate measures by fleecing the regulars at a known criminal hangout in the hope of stumbling upon a clue or lead, as the city's residents are in high- paranoia mode, reporting anyone acting remotely suspicious or seen walking with a child. One old man is hauled in after helping a young girl take her skates off after a fall. Syndicate boss Charlie Marshall (Martin Gabel), seeking an opportunity to divert the attention away from his own criminal activities, rounds up his gang of crooks and brings in drunken lawyer Dan Langley (Luther Adler) in the hope of tracking down the murderer himself.

Any American remakes of foreign masterpieces will always be looked upon with some degree of disdain, and I must admit that I went into M expecting a pointless re-hash of what came before. However, under the disguise of a film noir, Losey's M is a damn good movie, with the panic-stricken city eager to turn over their neighbour in the hope of sleeping easy at night easily comparable with Joseph McCarthy's Communist witch-hunts terrorising Hollywood at the time, which saw industry giants pressured into naming names and exiling their co-workers onto the Blacklist. As Harrow, Wayne is subtly effective, sweet-talking his victims and luring them with his whistle. More focus is given to his character than in Lang's film, and Wayne manages to invite more sympathy than Peter Lorre's incarnation as he is eventually hauled in front of a public jury. It certainly doesn't have the dramatic weight or technical wizardry of the 1931 version, but Losey's effort stands out as one of the most gripping noirs of its era.

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.

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!