O Maldito

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!

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!!

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.

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.

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!