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柏林这些天连续发生了多起小女孩失踪事件，最后发现这些孩子都无一例外惨遭毒手。这个专门以小女孩为目标的凶手令到柏林城内人人惊恐，家长都不敢让自己的孩子外出玩耍；警察们更是在社会压力下全部出动，然而却一无所获；连黑道都感到压力了，因为警察们一天到晚找他们麻烦，大大影响了他们的生意。于是黑白两道同时展开了抓拿凶手行动。 最终人们还是从一位卖气球的盲人小贩处获得线索，他曾经卖过气球给于凶手一同前来的小女孩，他根据凶手的口哨声认出了此人经常来买气球。聪明的小贩在凶手背后写了个字母“M”，于是警查们开始追寻这个凶手“M”（彼得·洛饰）。梦与无线电大湾仔的夜第二季加时版不惜一切回巴黎捍卫机密英语残酷的梦2016重启地球憨嘉武魂天下（武血丹心）关键判决终身大事戛纳机密 第一季残忍的心古战场传奇第六季gdgd男幸福名侦探赛大爷画江湖之换世门生真人版长公主不可以女心理师格杀令超级损友寻女记归巢超蛙战士之威武教官金装律师第六季一条叫招财的鱼钻石王牌第三季东京塔2005双宿单飞第一季流浪歌手蛇蝎不好惹：弃后也妖娆鹿特丹大轰炸战狼传说（国语版）黯淡安吉拉第一季漫研社第二季珊瑚礁2003屋中异蛛
柏林这些天连续发生了多起小女孩失踪事件，最后发现这些孩子都无一例外惨遭毒手。这个专门以小女孩为目标的凶手令到柏林城内人人惊恐，家长都不敢让自己的孩子外出玩耍；警察们更是在社会压力下全部出动，然而却一无所获；连黑道都感到压力了，因为警察们一天到晚找他们麻烦，大大影响了他们的生意。于是黑白两道同时展开了抓拿凶手行动。 最终人们还是从一位卖气球的盲人小贩处获得线索，他曾经卖过气球给于凶手一同前来的小女孩，他根据凶手的口哨声认出了此人经常来买气球。聪明的小贩在凶手背后写了个字母“M”，于是警查们开始追寻这个凶手“M”（彼得·洛饰）。梦与无线电大湾仔的夜第二季加时版不惜一切回巴黎捍卫机密英语残酷的梦2016重启地球憨嘉武魂天下（武血丹心）关键判决终身大事戛纳机密 第一季残忍的心古战场传奇第六季gdgd男幸福名侦探赛大爷画江湖之换世门生真人版长公主不可以女心理师格杀令超级损友寻女记归巢超蛙战士之威武教官金装律师第六季一条叫招财的鱼钻石王牌第三季东京塔2005双宿单飞第一季流浪歌手蛇蝎不好惹：弃后也妖娆鹿特丹大轰炸战狼传说（国语版）黯淡安吉拉第一季漫研社第二季珊瑚礁2003屋中异蛛
长篇影评
1 ) 反思《M就是凶手》：危机中的德国文化
弗里兹·朗在1931年完成的《M就是凶手》讲述了一个专门谋杀孩童的精神病患者的故事。单是其技术成就就值得关注：实用而极具想象力的声音运用、巧妙的交叉剪辑、细致且如图画一样吸引人的构图。因为这些成就，《M就是凶手》将永远吸引不同国家及不同年代的观众。但我认为，朗的电影之所以迷人，是因其反映了20世纪30年代动乱的德国社会。不论是否有意为之，《M就是凶手》就像是法西斯主义在德国崛起的镜像。但是，在此过程中，最重要的是影片企图将这样的事实呈现给那些深陷于法西斯主义及其成长之中的德国观众。 公所周知,20世纪20年代至30年代早期的德国文化危机四伏。1919-1933年，魏玛共和国逐渐衰落，整个社会陷入了一种混乱和无序之中，无论在经济、社会还是在心理上，贫穷、失业、萧条变成了普遍现象。“一战”的惨败摧毁了德国传统的个人身份及秩序社会的稳定意识。这种普遍的失序和不稳定也反映在当时许多主要的文化风尚中。挪威画家爱德华·蒙克那些如梦魇般的作品，就代表了德国表现主义学派的绘画风格，它们集中表现隐藏在日常生活下的黑暗而狂暴的世界。在那个时期,弗洛伊德的作品变得越来越重要，因为他的作品讨论了女人和男人意识生活之下的黑暗潜意识，同时，也描绘了一个充满秘密的不满的文明。 20年代的德国表现主义电影同样关注此危机及对它的刻画。正如齐格弗里德·克拉考尔和洛特·艾斯纳所言，那个时期一些最重要的电影展现的都是“着了魔的银幕”，它们反映了社会不稳定的现实。从《卡里加利博士的小屋》到《诺斯费拉图》、《夜访吸血鬼》,许多这样的电影都是关于疯狂与毁灭的,甚至是现实主义的街道电影(street film),其背景和情节也表现了一个崩溃和走向灭亡的世界。影片中,那些独裁者和狂人控制着混乱，许多观众都能看到这正暗示希特勒就是卡里加利这类人物，会利用危机中的恐慌作为大毁灭的工具。 这些主旨都是《M就是凶手》的中心，此片源自表现主义的传统,朗在20年代也相当投入这一潮流。主角贝克特被一种他自己无法控制的力量攫住了，这个力量驱使他去杀害小孩。在他平静的外表下和日常生活中,这个疯狂的杀人犯开始将世界推向混乱。在风格上,影片吸收了德国电影中的表现主义和“街道现实主义”传统。一方面,大量的表现主义镜头呈现了疯狂不安的气氛，例如,螺旋式楼梯象征着深陷的困境以及眩晕恍惚的视野。相反，也有描述社会贫穷和下层阶级生活状况的街道现实主义，因此有时候该片看起来像纪录片。应当注意的是，与其他表现主义电影不同,在《M就是凶手》里，很难区分梦幻世界中的心理混乱和街道上的社会混乱。或只从故事本身来说，在这部后表现主义的电影里,朗使得有个问题很难回答:贝克特是一个邪恶的疯子,还是遍布这个社会的某种力量的牺牲品?
《M就是凶手》中的镜中影像
有时候，影片明显地呈现出这种困惑和危机。气球在片中象征着贝克特的一名受害者，其矮胖的形象又恰好和贝克特的体型相仿，也许是要暗示杀手和被害者之间的联系。代表法律与秩序的警察展开追捕贝克特的行动，通过朗的平行交叉剪辑，与黑社会中的暴徒也在寻找贝克特一事极为相似,几乎无法区分。最后，有几个精心安排的暴民场景（在最后审判时），那些场景的出现看起来与那个悲情的凶手一样歇斯底里和残忍。这些例子不禁使人想起纳粹以法律及秩序的名义，以及那些拥有完美纪律、成为战争机器的士兵的名义来进行 屠杀的行为。
然后，《M就是凶手》产生了许多双重影像或反思，这似乎混淆了关于一个危机社会的很多问题:危机起源于哪里?秩序在哪里，混乱在哪里?噩梦是什么?现实是什么?他的双重形象以及随之产生的问题在贝克特这个人物身上,更确切地说，是当电影里的他和看电影的观众都留心审视他的形象时,表现得最明显。影片中，贝克特一遍遍地审视镜子中的自己，试图找到那个似乎一直潜伏在他体内某处的“疯子”。又一次，贝克特向商店橱窗里看，橱窗玻璃显示他的影子置于一个景框当中，而这个景框又是由商店里一组排列成方形的刀具的影子形成的。在这里，这个本来普普通通的人居然变成了一个凶神恶煞的影像。后来，同样是在镜子里，贝克特发现自己被看穿了，因为他在另一次照镜子时,看到他背上多了个字母“M”。
商店橱窗上反射出一排排刀具影像，创造出一种半抽象的气氛，映照出杀手的着魔状态
在不同的场景和镜头里出现的反射并不是相同的东西,但都在揭示黑暗面、混乱及自我(和社会)的谋杀冲动,而且,在大多数镜像里,摄影机将观众置于一个角度,似乎他们也参与了这样的反射——从贝克特的过肩镜头或直接反射本身。正如影片似乎对疯子贝克特有一种奇怪的同情一样,这些镜像似乎强迫观众从这个精神失常凶手的反射影像中，发现自己内心的黑暗面。 像其他20世纪20年代后期及30年代早期的德国电影一样,《M就是凶手》间接反映了处于危机中的德国文化,且不仅仅是简单的反映。结合表现主义和街道现实主义两种传统,它使噩梦变成了现实,而现实又以一种令人不安的方式变成了一场噩梦，同时代的德国电影远远不及。也许,德国官方也认识到了这一点,他们强制朗改变了最初的片名《我们之间的凶手》（A Murderer Among Us）,因为他们认为这个片名政治敏感性太强。在逃离纳粹德国数年以后,朗也许会认识到,即使《M就是凶手》那么强大有力,还是没有任何一部电影足以阻挡蔓延于德国街头的专制黑暗。 M.Trillo
2 ) 《凶手M》，永不消失的口哨声
原文地址：http://www.qh505.com/blog/post/1897.html
《凶手M》或者是《可诅咒的人》，又或者是《凶手就在我们中间》，《The Murderers Are Among Us》、《Fritz Lang's M》、《M - Eine Stadt sucht einen Mörder》、《M - Mörder unter uns》……不同的电影翻译指向一个共同的符号：M，大写的M，影子的M，犯罪的M，M是小贩涂在手掌上的记号，M是印在凶手肩上的符号，只擦去了一半却永远无法清除，M是以法律的名义受到制裁，还是以人民的名义受到惩罚？
在这无休止的疑问中，只有那口哨声一直响彻在街上，宛如游戏，被消解了。就像影片一开始那些孩子们围在一起玩的游戏，他们唱着那首歌：“他带着刀，把你切成碎片，然后你出局了。”歌声在小区里飘荡，这是可怕的歌，“该死的旋律”，在这歌声中是长长的楼梯，无声的窒息压抑过来，母亲对着窗外叫“爱思”，小女孩没有回来，只有死一般的楼梯，和没有人玩的皮球，以及断了线的气球。女孩爱思贝克曼失踪了，永不回来了，就像这个城市那些已经失踪的8个孩子一样，被口哨声带走了。
留下的只有那个恐怖的黑影，戴着礼帽，而且礼貌地和爱思贝克曼讲话，背影留在“悬赏一万马克”的通缉海报上，口哨声留在街头谱卖气球的盲老人耳中。恐怖的黑影和欢快的口哨声组合在一起，这里没有游戏，只有死亡。凶手是谁，谁是凶手？从游戏开始，是不是要从游戏结束？“糖果、玩具乃至苹果，将生活引向终点。”这是可怕的日子，似乎街上随时都有凶手出现，“坐在你身边的人可能就是凶手”，和小孩在一起的陌生人被怀疑是凶手；在酒吧里的客人被怀疑是凶手，他们一个个被带走接受调查，他们似乎一个个都有污点和被质疑的可能。
当所有人都被怀疑，杀人事件就仿佛变成了集体性行为，而个体被隐匿了。警察局出动了大量的警力，在每个犯罪现场取证搜索，他们发现了皱了的糖果纸，但一无所获；他们搜查了两公里之内的所有咖啡馆，但一无所获；他们一周只睡十二小时，但一无所获；他们抓走了两车嫌疑人员，但一无所获；他们总共发现了1500条线索，“可以装进60本书”，但一无所获。
众多的警力，众多的线索，众多的怀疑，但似乎越来越走向反面，越来越没有价值，目击证人为凶手是否带红帽子还是绿帽子争论不休，他们甚至用“三文治占卜”来推断凶手，一切似乎陷入游戏的困局，但是口哨声依旧响起，凶手在别处。而且可怕的是，凶手还正大光明、胆大妄为地给报馆写信，信里说：“但是我还没有做够。”这是无休止的恐惧，这是无休止的疯狂，警察从凶手的公开信查找指纹，对照笔迹，分析出凶手不连续的字迹表明是无生气的性格，从而得出凶手是一个疯子。他们从监狱、疯人院寻找线索，被治疗又被释放的病人成了怀疑对象，他们装扮成乞丐，他们跟踪每个孩子，他们甚至蹲点在怀疑对象的家里，查找光滑的桌子、废弃的垃圾桶，以及窗台上的铅笔碎屑，但是这些行动并不能获取最有价值的线索，这一切衬托着警察的无能。
而在警察的另一面，黑道也出手了，因为凶手影响了他们的生意。凶手又一次出现在街上，又引诱着一个小女孩，他还是吹起了可怕的口哨，而这次发现的不是警察密布在街上的那些乞丐，是那个卖气球的盲老人听到了这哨声，然后小贩跟踪，他用M在凶手衣服上做了记号，而行迹暴露的凶手最终摆脱了警察雇来的乞丐的追踪，逃进了商业大楼。而这次得到消息的不是警察，而是黑道。他们闯进了凶手躲着的商业大厦，包围了所有的出口，并且通过打昏保安、破坏大楼，终于找到了藏匿在阁楼里的凶手，等警察赶到，人去楼空，只有撬天花板而没有逃走的法兰兹留在现场。警察抓住了这唯一的线索，对凶手M的追查变成了对法兰兹的审问，当卡尔曼督查听到法兰兹说“找到那小孩的杀手”时，叼在嘴里的烟突然掉落下来，卡尔曼像一尊木偶，站在那里半天没有发出声音，那是一种新的恐惧？在警察大肆搜捕而一无所获的结局面前，凶手却被黑道的人抓走了，这是不是对法律无能的绝好讽刺？他用水冲了头以让自己从这个惊人消息中回过神来。
曾经的自大，傲慢，以及对抓获凶手的绝对把握，这是警察为代表的法律的生动写照，那时，卡尔曼督察坐在办公室里，吸着烟，打着电话汇报搜捕进程，那是一个讽刺的仰拍镜头，和开始时小孩子的玩游戏时的俯拍形成强烈对比，一个是恐惧的现实，一个是法律制度下的理想，“以法律之名”和“以人民之名”的强烈对比。更强烈对比的还有最后的审判。凶手被黑道带到了老肯兹和立维酒厂，来自社会底层的人们齐聚一堂，实行了他们对凶手的审判。这是一个讽喻，那些人或者身上都带着对现实的不满，或者都有犯罪的前科，都有过被法律制裁的经历，但是现在他们站在了法律的另一面，他们高高在上面对一个杀人凶手，他们是审判者，他们在自己的法庭上掌握着对另一个个体的生杀大权，他们甚至为凶手叫来了辩护律师。他们叫着“杀了他！”当凶手的辩护律师说要交给警察，通过法院判决的时候，他们都笑了。
凶手声嘶力竭，他说自己一直有着恐惧，在街上被跟踪，随时可能被杀害，这种无尽的痛苦面前，他不能阻止自己，“除了我做那事”，他才能平息心中的恐惧，没有人知道他内心的哭泣，杀人才能消除这种痛苦。凶手是个疯子，是个病人，在大街上精神萎靡，瞌睡连连，只要他看到小孩出现就会重振精神，眼睛里发出兴奋的光芒，伴随而来的便是那欢快的口哨声。凶手并不是忏悔，而是说出了自己内心的恐惧。那些审判者说，他犯了谋杀罪，连自己都判决了自己的死刑，那结局就只有一条：杀了他。而辩护人发言了，他说，被告在不可抗拒的冲动下犯了罪，所以不该被判处死刑，没有人会因为忍不住的事情而受惩罚，没有人能够把一个不能为自己行为负责的人杀死，“这个国家不行，你们当然也不行”而对于凶手，应该把他送进医院，而不是监狱或者绞刑架。
凶手变成了病人，惩罚变成了医治，这是不是代表着法律？而在这个私设的法庭上，审判者都曾经是法律的受害者，而当面对同为杀人罪犯的时候，他们却代表了另一种正义，黑帮老大说，如果当成病人被医治，然后又被释放，然后又去杀小孩，然后又被抓，如此循环，没完没了，那么凶手就永远不会受到制裁和惩罚。而不管是黑帮的审判，还是所谓的辩护人，他们不休止的争论中，没有警察，就像搜捕凶手的那个过程一样，警察所代表的法律是缺失的，甚至是走向另一条路，而当最后警察赶到老肯兹和立维酒厂里的审判现场时，那些站在法律对面，声称警察是笨蛋的审判者举起了手，“以法律之名”，一双手伸向了那个颤抖着的凶手，法律回归，而凶手似乎也找到了自己的庇护。
谁是凶手，似乎并没有悬念，而悬念似乎只在警察那边，在没完没了的搜查取证中，那些无辜的人倒成了嫌犯，警察让社会陷入了新的恐惧，这种恐惧和凶手并没有直接关系，而对于凶手来说，是完全充满了游戏意义，他是个精神病患者，他是个疯子，他消除自我恐惧的唯一办法便是口哨，以及与欢快的口哨声一起的孩子、糖果、气球，这是他消除自我痛苦的唯一办法。这是对法律的挑衅，还是对自我的拯救？而警察为代表的法律却永远在现场之外，在凶手之外，甚至在恐惧之外，具有讽刺意味的是，发现真正的凶手是一个看不见的盲老人，在凶手肩上印上大写M的是一个小贩，他们和警察无关，和法律无关。而那些黑道里的人，更在法律之外，或者说，他们对凶手的审判完全是抛弃所谓的法律，在自足的老肯兹和立维酒厂里完成了审判。
但是法律还在那里，警察还在那里，面对警察他们还是举起了投降的手，“以法律的名义”又将凶手带向一个未知的世界。而最后真正法庭的审判只有短短40秒，三个哭泣的母亲坐着，她们说：“以人民之名，这不会把受害者带回来，我们要多点关心自己的小孩，你也要。”以人民之名去关心孩子，这是不是对于“以法律之名”的又一次解构？电影结束，她们的声音留在那里，从此人人自危，还是对司法无力的谴责？
大写的M并没有从凶手的衣服上擦去，这是一个符号，从小贩的手掌上印上去，像一面镜子刻在那个时时露出惊恐表情的凶手身上，街上所有人都处在对凶手杀人的恐惧中，那么凶手的恐惧又在哪里？“以法律之名”和“以人民之名”是两种恐惧，似乎每个人的内心都有摆脱不了的痛苦，杀人只不过是他消除社会恐惧的一种手段，但是这种手段的悖论在于，他将制造更多的恐惧。口哨声本来是欢快的，但是那是格里格的《皮尔金特》，《皮尔金特》是格里格为易卜生的同名诗剧写的配乐，就讲了一个病态地沉溺于幻想的角色，最终成为牺牲品。
大写的M刻在每一个人的心灵深处。
《凶手M》或者是《可诅咒的人》，又或者是《凶手就在我们中间》，《The Murderers Are Among Us》、《Fritz Lang's M》、《M - Eine Stadt sucht einen Mörder》、《M - Mörder unter uns》……不同的电影翻译指向一个共同的符号：M，大写的M，影子的M，犯罪的M，M是小贩涂在手掌上的记号，M是印在凶手肩上的符号，只擦去了一半却永远无法清除，M是以法律的名义受到制裁，还是以人民的名义受到惩罚？
在这无休止的疑问中，只有那口哨声一直响彻在街上，宛如游戏，被消解了。就像影片一开始那些孩子们围在一起玩的游戏，他们唱着那首歌：“他带着刀，把你切成碎片，然后你出局了。”歌声在小区里飘荡，这是可怕的歌，“该死的旋律”，在这歌声中是长长的楼梯，无声的窒息压抑过来，母亲对着窗外叫“爱思”，小女孩没有回来，只有死一般的楼梯，和没有人玩的皮球，以及断了线的气球。女孩爱思贝克曼失踪了，永不回来了，就像这个城市那些已经失踪的8个孩子一样，被口哨声带走了。
留下的只有那个恐怖的黑影，戴着礼帽，而且礼貌地和爱思贝克曼讲话，背影留在“悬赏一万马克”的通缉海报上，口哨声留在街头谱卖气球的盲老人耳中。恐怖的黑影和欢快的口哨声组合在一起，这里没有游戏，只有死亡。凶手是谁，谁是凶手？从游戏开始，是不是要从游戏结束？“糖果、玩具乃至苹果，将生活引向终点。”这是可怕的日子，似乎街上随时都有凶手出现，“坐在你身边的人可能就是凶手”，和小孩在一起的陌生人被怀疑是凶手；在酒吧里的客人被怀疑是凶手，他们一个个被带走接受调查，他们似乎一个个都有污点和被质疑的可能。
当所有人都被怀疑，杀人事件就仿佛变成了集体性行为，而个体被隐匿了。警察局出动了大量的警力，在每个犯罪现场取证搜索，他们发现了皱了的糖果纸，但一无所获；他们搜查了两公里之内的所有咖啡馆，但一无所获；他们一周只睡十二小时，但一无所获；他们抓走了两车嫌疑人员，但一无所获；他们总共发现了1500条线索，“可以装进60本书”，但一无所获。
众多的警力，众多的线索，众多的怀疑，但似乎越来越走向反面，越来越没有价值，目击证人为凶手是否带红帽子还是绿帽子争论不休，他们甚至用“三文治占卜”来推断凶手，一切似乎陷入游戏的困局，但是口哨声依旧响起，凶手在别处。而且可怕的是，凶手还正大光明、胆大妄为地给报馆写信，信里说：“但是我还没有做够。”这是无休止的恐惧，这是无休止的疯狂，警察从凶手的公开信查找指纹，对照笔迹，分析出凶手不连续的字迹表明是无生气的性格，从而得出凶手是一个疯子。他们从监狱、疯人院寻找线索，被治疗又被释放的病人成了怀疑对象，他们装扮成乞丐，他们跟踪每个孩子，他们甚至蹲点在怀疑对象的家里，查找光滑的桌子、废弃的垃圾桶，以及窗台上的铅笔碎屑，但是这些行动并不能获取最有价值的线索，这一切衬托着警察的无能。
而在警察的另一面，黑道也出手了，因为凶手影响了他们的生意。凶手又一次出现在街上，又引诱着一个小女孩，他还是吹起了可怕的口哨，而这次发现的不是警察密布在街上的那些乞丐，是那个卖气球的盲老人听到了这哨声，然后小贩跟踪，他用M在凶手衣服上做了记号，而行迹暴露的凶手最终摆脱了警察雇来的乞丐的追踪，逃进了商业大楼。而这次得到消息的不是警察，而是黑道。他们闯进了凶手躲着的商业大厦，包围了所有的出口，并且通过打昏保安、破坏大楼，终于找到了藏匿在阁楼里的凶手，等警察赶到，人去楼空，只有撬天花板而没有逃走的法兰兹留在现场。警察抓住了这唯一的线索，对凶手M的追查变成了对法兰兹的审问，当卡尔曼督查听到法兰兹说“找到那小孩的杀手”时，叼在嘴里的烟突然掉落下来，卡尔曼像一尊木偶，站在那里半天没有发出声音，那是一种新的恐惧？在警察大肆搜捕而一无所获的结局面前，凶手却被黑道的人抓走了，这是不是对法律无能的绝好讽刺？他用水冲了头以让自己从这个惊人消息中回过神来。
曾经的自大，傲慢，以及对抓获凶手的绝对把握，这是警察为代表的法律的生动写照，那时，卡尔曼督察坐在办公室里，吸着烟，打着电话汇报搜捕进程，那是一个讽刺的仰拍镜头，和开始时小孩子的玩游戏时的俯拍形成强烈对比，一个是恐惧的现实，一个是法律制度下的理想，“以法律之名”和“以人民之名”的强烈对比。更强烈对比的还有最后的审判。凶手被黑道带到了老肯兹和立维酒厂，来自社会底层的人们齐聚一堂，实行了他们对凶手的审判。这是一个讽喻，那些人或者身上都带着对现实的不满，或者都有犯罪的前科，都有过被法律制裁的经历，但是现在他们站在了法律的另一面，他们高高在上面对一个杀人凶手，他们是审判者，他们在自己的法庭上掌握着对另一个个体的生杀大权，他们甚至为凶手叫来了辩护律师。他们叫着“杀了他！”当凶手的辩护律师说要交给警察，通过法院判决的时候，他们都笑了。
凶手声嘶力竭，他说自己一直有着恐惧，在街上被跟踪，随时可能被杀害，这种无尽的痛苦面前，他不能阻止自己，“除了我做那事”，他才能平息心中的恐惧，没有人知道他内心的哭泣，杀人才能消除这种痛苦。凶手是个疯子，是个病人，在大街上精神萎靡，瞌睡连连，只要他看到小孩出现就会重振精神，眼睛里发出兴奋的光芒，伴随而来的便是那欢快的口哨声。凶手并不是忏悔，而是说出了自己内心的恐惧。那些审判者说，他犯了谋杀罪，连自己都判决了自己的死刑，那结局就只有一条：杀了他。而辩护人发言了，他说，被告在不可抗拒的冲动下犯了罪，所以不该被判处死刑，没有人会因为忍不住的事情而受惩罚，没有人能够把一个不能为自己行为负责的人杀死，“这个国家不行，你们当然也不行”而对于凶手，应该把他送进医院，而不是监狱或者绞刑架。
凶手变成了病人，惩罚变成了医治，这是不是代表着法律？而在这个私设的法庭上，审判者都曾经是法律的受害者，而当面对同为杀人罪犯的时候，他们却代表了另一种正义，黑帮老大说，如果当成病人被医治，然后又被释放，然后又去杀小孩，然后又被抓，如此循环，没完没了，那么凶手就永远不会受到制裁和惩罚。而不管是黑帮的审判，还是所谓的辩护人，他们不休止的争论中，没有警察，就像搜捕凶手的那个过程一样，警察所代表的法律是缺失的，甚至是走向另一条路，而当最后警察赶到老肯兹和立维酒厂里的审判现场时，那些站在法律对面，声称警察是笨蛋的审判者举起了手，“以法律之名”，一双手伸向了那个颤抖着的凶手，法律回归，而凶手似乎也找到了自己的庇护。
谁是凶手，似乎并没有悬念，而悬念似乎只在警察那边，在没完没了的搜查取证中，那些无辜的人倒成了嫌犯，警察让社会陷入了新的恐惧，这种恐惧和凶手并没有直接关系，而对于凶手来说，是完全充满了游戏意义，他是个精神病患者，他是个疯子，他消除自我恐惧的唯一办法便是口哨，以及与欢快的口哨声一起的孩子、糖果、气球，这是他消除自我痛苦的唯一办法。这是对法律的挑衅，还是对自我的拯救？而警察为代表的法律却永远在现场之外，在凶手之外，甚至在恐惧之外，具有讽刺意味的是，发现真正的凶手是一个看不见的盲老人，在凶手肩上印上大写M的是一个小贩，他们和警察无关，和法律无关。而那些黑道里的人，更在法律之外，或者说，他们对凶手的审判完全是抛弃所谓的法律，在自足的老肯兹和立维酒厂里完成了审判。
但是法律还在那里，警察还在那里，面对警察他们还是举起了投降的手，“以法律的名义”又将凶手带向一个未知的世界。而最后真正法庭的审判只有短短40秒，三个哭泣的母亲坐着，她们说：“以人民之名，这不会把受害者带回来，我们要多点关心自己的小孩，你也要。”以人民之名去关心孩子，这是不是对于“以法律之名”的又一次解构？电影结束，她们的声音留在那里，从此人人自危，还是对司法无力的谴责？
大写的M并没有从凶手的衣服上擦去，这是一个符号，从小贩的手掌上印上去，像一面镜子刻在那个时时露出惊恐表情的凶手身上，街上所有人都处在对凶手杀人的恐惧中，那么凶手的恐惧又在哪里？“以法律之名”和“以人民之名”是两种恐惧，似乎每个人的内心都有摆脱不了的痛苦，杀人只不过是他消除社会恐惧的一种手段，但是这种手段的悖论在于，他将制造更多的恐惧。口哨声本来是欢快的，但是那是格里格的《皮尔金特》，《皮尔金特》是格里格为易卜生的同名诗剧写的配乐，就讲了一个病态地沉溺于幻想的角色，最终成为牺牲品。
大写的M刻在每一个人的心灵深处。
3 ) Tracing Human Abnormality in Modern Berlin
Fritz Lang, one of the most celebrated auteurs of Germany's national cinema, lays out a chilling crime story in M(1931). In this provocative motion picture, a search for the cruel child murderer, Beckert, drives the whole city to turmoil. As all members in the city become involved in the search for the criminal, two different forms of human abnormality lurked in the city are exposed: the criminal mentality as well as the conflict between the institutional authority and the general public of which it is in charge. While the search continues, both forms of human abnormality keep growing unchecked; yet, eventually, the citizens identified with such abnormality have to face the catastrophic consequences of their behavior. Through innovative use of sound and provocative editing techniques, Lang points to the city as the foster home of both forms of human abnormality. Furthermore, he invites the audience to question the unforeseen detriments of a city in modernity that all its members eventually have to confront.
As Lang's first film with sound, Lang ingeniously manipulates this new technology to portray the city as an adoptive home of human abnormality. At the very beginning of the film, before any image appears on screen, the audience first hears a child singing a familiar tune: “Wait, wait just a little while/ then the black man will come after you/ with his little chopper/ he will make mince meat out of you.” According to Todd Herzog, this tune is a homage to the “Haarmann song” that tells the chilling crimes of the notorious serial killer Fritz Haarmann. Herzog believes that this song serves to, “locate M in a specific historical context, the world of the Weimar Republic at the time of the film's release, and to place it in dialogue with that world”(Herzog, “Fritz Lang's M(1931), An Open Case”, P232). Nevertheless, Fritz's use of this song to begin the film allows a different interpretation. As the film begins with the dark screen and the nursery rhyme, an image soon appears in a few seconds. A medium shot locates the source of the sound in the yard of a mietskascerne, where a group of kids are playing and singing. By placing the source of the cruel tune in the mouth of a naïve child, Lang further implies that the modern city has become a sink of iniquity, even for the innocent who have yet to understand the city in which they are situated. The victim of today is just as likely to become the perpetrator in the future.
Beckert's whistle is a repetition in the film which symbolizes his criminal mentality. Each time when he begins to whistle, the audience witnesses the awakening of the monstrous murderer within him. Thus far, Lang constantly shifts the source of the whistle from on-screen to off-screen; such manipulation of the sound source sheds light on the unlikelihood to locate the specific origin of human abnormality in a modern milieu. In a scene when Beckert stands on the street and looks into a shop-window, the sequence is accompanied with no diegetic sound. All what the audience can see is that Beckert dramatically changes his facial expression when he sees a little girl in the reflection of the shop-window. As the girl walks away, the camera moves out of the shop to the street and captures Beckert staring in the direction that the girl is walking. The audience then hears the diegetic sound of the street traffic, and Beckert's whistle simultaneously joins in as he starts following the girl and walks out of the frame. In the next medium-long shot, the camera tracks the little girl as she walks on the street. The whistle continues in the background; however, Beckert no longer appears on-screen in this tracking shot. While the audience has been led to believe that the whistle comes from Beckert by the previous shot; Lang purposefully leaves the established sound source off-screen in the following shot, which leads the audience to question whether Beckert himself is the source of his abnormality, or if the city is that with which has fostered his brutal crimes.
Lang further manipulates sound to create off-screen space that contrasts the on-screen image in order to depict another form of human abnormality: the revolt against the political authority. The conflict between the underworld business and the police points to a divergence between the authority and the public, which is previously kept in disguise by a seemingly stable social order. However, as Beckert's crimes disturb the social order and alarm the police, they immediately assume that the criminal must be someone from the underworld, and decide to break the ostensible peace and raid their gathering spots. One night, the police secretly surround one of the underworld's gathering place; in which the entire process is accompanied with no sound. The camera soon moves downstairs into the basement where people in the underworld business gather. As a woman shouts out that the police is here, everyone begins rushing towards the exit to leave the basement. In a medium shot, the camera awaits at the top of the stairs and looks slightly down as everyone starts running towards the camera. Among the frenzied noises, the audience first clearly hears a woman's scream as the policemen yell back at her; yet the entire action takes place upstairs in off-screen space while the shot remains still, featuring the panicking crowds. Soon, the police enter from the lower frame and gradually push the crowds back into the basement for investigation. The image on-screen contrasts the actions taken place in off-screen space; such contrast allows the audience to look beyond the images shown on-screen and picture the entire city, where its underlying instability and human abnormality are close to outbreak due to the police's disruption of a public order that does not solve social problems, but merely hides them unseen.
Throughout the film, Long constructs several montage sequences which implicitly build cause-and-effect relationships between the modern city and human abnormality. In the beginning of the film, when Elsie's mother becomes worried about Elsie for having not returned home, a medium shot shows Elsie's mother walking towards the window and looking out. When she begins calling out “Elsie”, the image cuts to an aisle shot of the stairwell in the Mietskaserne. As the mother's cry echoes down the stairs, the audience then follows the camera to an empty space where people in the neighbourhood hang their laundry; Elsie is still absent on-screen. The sequence continues as it cuts to a close-up on the lunch table, where Elsie's seat remains empty. The grieving howl of the mother has now ended, yet the sequence did not until the audience are shown with two more shots: Elsie's ball rolling on the grass, and the ballon that the criminal Beckerd bought for Elsie entangled in the electric wires on the city street. In this sequence, Lang juxtaposes the mother's continuous calling for Elsie with discontinuity editing of on-screen images. The audience follows the mother as she searches for Elsie in all public spaces in the city where Elsie can possibly be; yet Elsie's ball and ballon at the end of the sequence tell audience that Elsie must have already been slaughtered by the murderer Beckerd. In this sequence, Lang associates the befalling of Elsie's tragic death with the city itself: the development of the modern metropolis not only enlarges the public space, but also catalyses crime and threat among the citizens.
In another scene when the minister condemns the police chief on the phone for the police department's incompetence in finding the killer, Lang edits a flashback as the chief explains their difficulty. The editing of this flashback again connotes the unforeseen detriments of a city in modernity. When the chief tells the minister about a white paper bag that they found behind the hedge, a close-up on the paper bag gives the audience a clue that it is a candy wrapper, and the store's name was on the wrapper. Then, the image cuts to a close-up of a map of the city, in which circles and circles are drawn with a pair of compasses in increasing radius. While the search widens, the police interrogates owners of candy stores all over the city. However, all owners shake their heads and cannot remember who had bought the candy for little Elsie. As population increases, the city provides perpetrators the opportunity to disguise their abnormality and let it grow unchecked. The editing of this sequence connects the failure to identify the abnormal with the city itself.
Lang further implies a cause-and-effect relationship between the city and another form of human abnormality, namely, the public and the institutional authority's revolt against each other. As both the leads of the underworld and the chiefs of the political institutions gather for two separate meetings to discuss their objectives on the case of Beckert, Lang uses cross-cutting to juxtapose both meetings. The heads of the underworld complain about the consistent police raids' harm to their business and decide to find the killer by themselves in order to resurrect their business. As the underworld head waves his hand, the shot cuts to the head of police's same action. The police simultaneously decides to continue their search for Beckert without the help of the public, by organizing more police raids and search among public spaces. While the underworld condemns the police for interfering the underworld's business, the police chief Lohmann also refuses to ask the public for help as he states, “Don't talk to me about the public helping, it disgusts me.” The cross-cutting technique invites the audience to contrast the underworld and the police's conflicting attitudes against each other. Such social conflict is another form of human abnormality that is against the democratic ideal of the Weimar republic.
As the underworld collaborates with the beggars and has seized Beckerd from the building, together they leave the scene in a hurry. Lang then presents the audience with a montage sequence in which he rewinds the crimes that the underworld has just committed. The audience follows the camera into the room where both watchmen have been knocked out and tied up. Then, the sequence continues with still shots of the forcefully broken office door, the compartment's broken fences, and ends with the hole they have dug on the floor in order to make the crime scene look like a result of burglary. This montage sequence is shown with no sound, leaving the audience in contemplation of the underworld's motive and the destructions their abnormal behaviors have caused. The heads of the underworld are provoked to capture Beckerd not because that they find Beckerd's behavior immoral, but because the underworld's business is interrupted by the police's consistent raids. In turn, they decide to look for Beckerd without collaboration with the police, and purposefully commit a series of crimes in order to achieve their goal. The lack of stability in the city's social order has fostered the formation of the underworld, and the underworld's distrust with the political authority. Yet, their abnormal behaviors will lead them to their final conviction.
The film ends with the final conviction of both the underworld and the child murderer. The audience should not forget that it is the underworld, despite their unrighteous motives, who has asked for help from the beggars and successfully seized Beckert. Nevertheless, both parties have to eventually face the catastrophic consequences of their abnormal behaviors. The first being the underworld's imprudent disruption of the public order for their own economic benefits, and the second being the brutal crimes that Beckert has committed. Throughout the film, Lang manipulates the sound effects and the editing of the sequences to point to the modern city itself as the very cause of all forms of human abnormality preeminent in it. The diegetic world in the film, which is the Weimar Republic in the 1920s, still echoes the modern milieu in which we live. However we try to trace any form of abnormality that hinders the public order, we are always led back to the society as the cause, without identifying the specific origin. Perhaps, the only way of prevention lies in the hands of the people who make up the society, with self-awareness of their behaviors, and positive objectives to make changes.
Works Cited
Herzog, Todd. "Fritz Lang's M(1931): An Open Case." An Essential Guide to Classic Films of the Era Weimar Cinema. Ed. Noah Isenberg. New York: Columbia University Press, 2009. 291-309. Print.
M. Dir. Fritz Lang. Perf. Peter Lorre, Ellen Widmann, Inge Landgut. Criterion Collection, 2004, DVD.
As Lang's first film with sound, Lang ingeniously manipulates this new technology to portray the city as an adoptive home of human abnormality. At the very beginning of the film, before any image appears on screen, the audience first hears a child singing a familiar tune: “Wait, wait just a little while/ then the black man will come after you/ with his little chopper/ he will make mince meat out of you.” According to Todd Herzog, this tune is a homage to the “Haarmann song” that tells the chilling crimes of the notorious serial killer Fritz Haarmann. Herzog believes that this song serves to, “locate M in a specific historical context, the world of the Weimar Republic at the time of the film's release, and to place it in dialogue with that world”(Herzog, “Fritz Lang's M(1931), An Open Case”, P232). Nevertheless, Fritz's use of this song to begin the film allows a different interpretation. As the film begins with the dark screen and the nursery rhyme, an image soon appears in a few seconds. A medium shot locates the source of the sound in the yard of a mietskascerne, where a group of kids are playing and singing. By placing the source of the cruel tune in the mouth of a naïve child, Lang further implies that the modern city has become a sink of iniquity, even for the innocent who have yet to understand the city in which they are situated. The victim of today is just as likely to become the perpetrator in the future.
Beckert's whistle is a repetition in the film which symbolizes his criminal mentality. Each time when he begins to whistle, the audience witnesses the awakening of the monstrous murderer within him. Thus far, Lang constantly shifts the source of the whistle from on-screen to off-screen; such manipulation of the sound source sheds light on the unlikelihood to locate the specific origin of human abnormality in a modern milieu. In a scene when Beckert stands on the street and looks into a shop-window, the sequence is accompanied with no diegetic sound. All what the audience can see is that Beckert dramatically changes his facial expression when he sees a little girl in the reflection of the shop-window. As the girl walks away, the camera moves out of the shop to the street and captures Beckert staring in the direction that the girl is walking. The audience then hears the diegetic sound of the street traffic, and Beckert's whistle simultaneously joins in as he starts following the girl and walks out of the frame. In the next medium-long shot, the camera tracks the little girl as she walks on the street. The whistle continues in the background; however, Beckert no longer appears on-screen in this tracking shot. While the audience has been led to believe that the whistle comes from Beckert by the previous shot; Lang purposefully leaves the established sound source off-screen in the following shot, which leads the audience to question whether Beckert himself is the source of his abnormality, or if the city is that with which has fostered his brutal crimes.
Lang further manipulates sound to create off-screen space that contrasts the on-screen image in order to depict another form of human abnormality: the revolt against the political authority. The conflict between the underworld business and the police points to a divergence between the authority and the public, which is previously kept in disguise by a seemingly stable social order. However, as Beckert's crimes disturb the social order and alarm the police, they immediately assume that the criminal must be someone from the underworld, and decide to break the ostensible peace and raid their gathering spots. One night, the police secretly surround one of the underworld's gathering place; in which the entire process is accompanied with no sound. The camera soon moves downstairs into the basement where people in the underworld business gather. As a woman shouts out that the police is here, everyone begins rushing towards the exit to leave the basement. In a medium shot, the camera awaits at the top of the stairs and looks slightly down as everyone starts running towards the camera. Among the frenzied noises, the audience first clearly hears a woman's scream as the policemen yell back at her; yet the entire action takes place upstairs in off-screen space while the shot remains still, featuring the panicking crowds. Soon, the police enter from the lower frame and gradually push the crowds back into the basement for investigation. The image on-screen contrasts the actions taken place in off-screen space; such contrast allows the audience to look beyond the images shown on-screen and picture the entire city, where its underlying instability and human abnormality are close to outbreak due to the police's disruption of a public order that does not solve social problems, but merely hides them unseen.
Throughout the film, Long constructs several montage sequences which implicitly build cause-and-effect relationships between the modern city and human abnormality. In the beginning of the film, when Elsie's mother becomes worried about Elsie for having not returned home, a medium shot shows Elsie's mother walking towards the window and looking out. When she begins calling out “Elsie”, the image cuts to an aisle shot of the stairwell in the Mietskaserne. As the mother's cry echoes down the stairs, the audience then follows the camera to an empty space where people in the neighbourhood hang their laundry; Elsie is still absent on-screen. The sequence continues as it cuts to a close-up on the lunch table, where Elsie's seat remains empty. The grieving howl of the mother has now ended, yet the sequence did not until the audience are shown with two more shots: Elsie's ball rolling on the grass, and the ballon that the criminal Beckerd bought for Elsie entangled in the electric wires on the city street. In this sequence, Lang juxtaposes the mother's continuous calling for Elsie with discontinuity editing of on-screen images. The audience follows the mother as she searches for Elsie in all public spaces in the city where Elsie can possibly be; yet Elsie's ball and ballon at the end of the sequence tell audience that Elsie must have already been slaughtered by the murderer Beckerd. In this sequence, Lang associates the befalling of Elsie's tragic death with the city itself: the development of the modern metropolis not only enlarges the public space, but also catalyses crime and threat among the citizens.
In another scene when the minister condemns the police chief on the phone for the police department's incompetence in finding the killer, Lang edits a flashback as the chief explains their difficulty. The editing of this flashback again connotes the unforeseen detriments of a city in modernity. When the chief tells the minister about a white paper bag that they found behind the hedge, a close-up on the paper bag gives the audience a clue that it is a candy wrapper, and the store's name was on the wrapper. Then, the image cuts to a close-up of a map of the city, in which circles and circles are drawn with a pair of compasses in increasing radius. While the search widens, the police interrogates owners of candy stores all over the city. However, all owners shake their heads and cannot remember who had bought the candy for little Elsie. As population increases, the city provides perpetrators the opportunity to disguise their abnormality and let it grow unchecked. The editing of this sequence connects the failure to identify the abnormal with the city itself.
Lang further implies a cause-and-effect relationship between the city and another form of human abnormality, namely, the public and the institutional authority's revolt against each other. As both the leads of the underworld and the chiefs of the political institutions gather for two separate meetings to discuss their objectives on the case of Beckert, Lang uses cross-cutting to juxtapose both meetings. The heads of the underworld complain about the consistent police raids' harm to their business and decide to find the killer by themselves in order to resurrect their business. As the underworld head waves his hand, the shot cuts to the head of police's same action. The police simultaneously decides to continue their search for Beckert without the help of the public, by organizing more police raids and search among public spaces. While the underworld condemns the police for interfering the underworld's business, the police chief Lohmann also refuses to ask the public for help as he states, “Don't talk to me about the public helping, it disgusts me.” The cross-cutting technique invites the audience to contrast the underworld and the police's conflicting attitudes against each other. Such social conflict is another form of human abnormality that is against the democratic ideal of the Weimar republic.
As the underworld collaborates with the beggars and has seized Beckerd from the building, together they leave the scene in a hurry. Lang then presents the audience with a montage sequence in which he rewinds the crimes that the underworld has just committed. The audience follows the camera into the room where both watchmen have been knocked out and tied up. Then, the sequence continues with still shots of the forcefully broken office door, the compartment's broken fences, and ends with the hole they have dug on the floor in order to make the crime scene look like a result of burglary. This montage sequence is shown with no sound, leaving the audience in contemplation of the underworld's motive and the destructions their abnormal behaviors have caused. The heads of the underworld are provoked to capture Beckerd not because that they find Beckerd's behavior immoral, but because the underworld's business is interrupted by the police's consistent raids. In turn, they decide to look for Beckerd without collaboration with the police, and purposefully commit a series of crimes in order to achieve their goal. The lack of stability in the city's social order has fostered the formation of the underworld, and the underworld's distrust with the political authority. Yet, their abnormal behaviors will lead them to their final conviction.
The film ends with the final conviction of both the underworld and the child murderer. The audience should not forget that it is the underworld, despite their unrighteous motives, who has asked for help from the beggars and successfully seized Beckert. Nevertheless, both parties have to eventually face the catastrophic consequences of their abnormal behaviors. The first being the underworld's imprudent disruption of the public order for their own economic benefits, and the second being the brutal crimes that Beckert has committed. Throughout the film, Lang manipulates the sound effects and the editing of the sequences to point to the modern city itself as the very cause of all forms of human abnormality preeminent in it. The diegetic world in the film, which is the Weimar Republic in the 1920s, still echoes the modern milieu in which we live. However we try to trace any form of abnormality that hinders the public order, we are always led back to the society as the cause, without identifying the specific origin. Perhaps, the only way of prevention lies in the hands of the people who make up the society, with self-awareness of their behaviors, and positive objectives to make changes.
Works Cited
Herzog, Todd. "Fritz Lang's M(1931): An Open Case." An Essential Guide to Classic Films of the Era Weimar Cinema. Ed. Noah Isenberg. New York: Columbia University Press, 2009. 291-309. Print.
M. Dir. Fritz Lang. Perf. Peter Lorre, Ellen Widmann, Inge Landgut. Criterion Collection, 2004, DVD.
4 ) Murder?Moral?
尽管观众的视角一开始就被导演悬在了高高位置上，仿佛我们如上帝一般全知全能，但其实我们的内心在受到不断的质问：当社会道德分崩离析，人人自危，谁应该为此负责？谁又应该肩负起重建的责任？
所有人都有可能同时处在指责别人和被指责的位置上，警察和黑帮都只为自己的人利益考虑，弗里茨朗夸张的德国表现主义风格，放大并外化了人心中的原始欲望，包括对恶的报复惩罚也是一种原始冲动。
凶手贝克特是一个饱受精神病折磨的杀人犯，但这也不会让观众产生对其的怜悯心理，因为在这座幽暗冷漠、烟雾缭绕的病态城市，所有人随时都可能作恶。
5 ) 《M》视听语言分析
开场：东邪西毒里梁朝伟去见当地很有名刀客，刚一到，便知道自己本不该来，因为高手之间，片刻便能分辩对方实力。本片的开头，便是电影高手费里茨 朗的亮剑。镜头一开始，是一个大俯拍镜头，孩子们正在用儿童杀手编成的歌词在做游戏，紧接着镜头摇到了楼上的生气的妈妈，正在责令他们停止。在电影中常遇到交代背景的时候，如果换成其他电影，此时可能是一个画外音在叙说，或者用字幕方式来交代这些必要的信息。而弗里茨朗显然用了一种更高明的手法，将背景交代融入故事当中，让观众知道儿童杀手频繁作案，父母们笼罩在一片恐惧的氛围里。
小女孩遇害这一段有一个关键的视觉元素：时钟。在这一段，墙上的时钟共在这里出现了三次；第一次的时钟指向12点，家中的妈妈露出欣喜的笑，从紧接着的镜头里，我们知道是女儿放学的时间。然而随着凶手的出现，紧张感陡然上升。第二次出现时钟指向十二点二十，按照正常情况，女儿应该到家，然而并没有出现，妈妈更加紧张起来。而作为观众的我们知道小女孩正在跟凶手在大街上玩耍；当第三次出现时钟，上面显示的是一点十五，一个多小时过去了，焦急等待的妈妈近乎绝望，对着窗户外声嘶力竭地喊着小女孩的名字。最后那一组空镜也异常精彩，空空的回廊，空空的晾衣室，空空的餐具，声音在这些地方不断回响，当滚出的气球和挂在电线杆上的气球，我们知道，小女孩不可能再回来了。这一段故事的戏剧张力，从欣喜地期盼，焦急地等待，绝望的呼唤，再到最后结尾的揭晓，完成了整个戏剧的起承转合。
这种用时间来表达戏剧张力的方式，在希区柯克那里发挥到了极致，在几年后拍摄的《阴谋破坏》里将这种时间-悬念运用得相当出色。
M的出场方式：M第一次出现在画面里是以剪影的形式，当小女孩正在看告示时，他的阴影正好落在告示上的“凶手”单词上，接着在下一个镜头带小女孩买气球的大全景是背对着观众，而第三次则是背对镜头伏在窗台上写信的中景。自然这样吊胃口的出现方式让M显得神秘而不可捉摸。
黑老大的出场方式：黑帮召开应对警察搜查的紧急会议，黑老大史林卡迟迟不到。为了突显其神秘和威严，通过他人的议论来表现这个人物，有人说他曾经被重重包围却又怎样潇洒脱身，有人说他是第一高手，通过他人之口，却见其人，便突显其高大。当然，最后在人物出现时，视觉语言就显得弱很多了。
M杀人引发的社会混乱：这一段的各个场景之前用声音紧密地连接在了一起。大街上人潮拥挤在看凶手的通告，后排人员因为字太小看不清，叫前排的人大声念出来，这时候响起了有人念通告的内容。紧接着场景的转换，我们才知道声音原来来自于室内的一个人在大家念报纸上的内容。类似这样用声音来连接场景的方式在《公民凯恩》中得到了更精彩的运用。
《M》中的运用
《公民凯恩》中的继承
两场会议：黑帮和警察同时（也可能不是物理上时间的同时）召开了一场会议，通过交叉剪辑，无论是场景布置的相似，人物动作之间的连续性，都让观众感觉到，他们似乎是一个整体，他们的命运是紧紧连接在了一起的。
黑帮老大的挥手紧接着警察头子的挥手
一个警察坐下接着是一个黑帮分子站了起来发言
6 ) 真是一部太经典的片子
说实话,前1/4段的时候很闷,我都想关了睡觉,但是后来越来越好看,到最后简直兴奋到不行,才发现这确实是一部经典的影片
一个外貌胆怯又平常的男人,以各种方式骗走并杀害了九个小女孩
这样的罪行伴随着他那独一无二的口哨声印刻在了观者的心里(他估计最后死也没想到是这个口哨声暴露了他)
全城的市民如惊弓之鸟,城市秩序几乎都要到了崩溃的边缘,警察局日夜忙碌不堪依然一无所获("现在连享受十分钟的宁静都成了奢侈")
大段对上司诉苦的描述可以让我们感受到拖网式查案的艰难和绝望,警察们似乎已经完全束手无策了
而这时比较囧的事情发生了,由于警察们疯狂地检查和搜索,黑帮们"正常"的生意和行动全部被打乱,简直没法过日子
眼看着抓不到凶手自己的生活就要完蛋了,黑帮们终于忍无可忍决定自己也去把这凶手找出来泄愤
于是,奇妙的事情发生了:白道和黑道无意中达成一致,一起来拼命寻找这个注定该死的人
下面的故事就开始让我觉得好笑了
黑道买通了丐帮,让他们负责搜寻凶手的下落
这效率真快啊,他们不仅神速地找到了凶手,还在他身上留下了记号,甚至还满大街追着他跑并把他逼进了死胡同
黑帮在夜晚用计闯进了凶手躲藏的大楼,蚂蚁一样地搜遍了全楼把凶手找了出来(最后警察来之前他们坚持到最后一刻抓到凶手才走,实在是太敬业了XDDD)
警察来了,查看了现场,开始大惑不解:
来了一堆黑帮,把全楼都找遍了,撬了锁挖了坑,最后一点值钱的东西也没有拿走,甚至整栋楼没有丢一样东西,这到底是为什么呢?
后来听说是抓走了一个人,那么是什么人值得黑帮大动干戈呢?
警察来的时候只发现了一个没离开大楼的黑帮分子
这人顽固不堪,硬是不肯交代黑帮到底在楼内找谁
结果警察头子用计对他一恐吓,居然发现黑帮找到的人是那个让他们焦头烂额的凶手,于是震惊了
而在黑帮这里,审讯开始了
凶手瞪着大眼发现在地窖里居然有几百号人悄无声息虎视眈眈恶狠狠地盯着他
逃是没用的,黑帮开始对他进行控诉
其实真的很囧,这时我怎么看都觉得黑帮那就是一正义的法庭啊口胡
凶手大呼黑帮不懂法律,黑帮冷笑着说"我们很多人坐过十几年的牢了,还不明白怎么审判嘛?!"
凶手这时尖叫着要他们把他交给警察,说要从法院判刑他才心甘情愿
黑帮头子冷笑着说"你想得美,我们现在不把你干掉,你早晚会找个理由从牢里出来,到时候再去追袭无辜的小女孩是吧?"
黑帮的人很聪明:把他送进牢子,他不仅死不了还要花纳税人的钱养着他,而且万一以精神有问题逃脱了法律的制裁那后果就更不堪设想了
"你以为我们傻啊?你今天哪里也别想去,就死在这里吧!"
一群罪犯对一个罪犯进行的庄严审判,真是快意得淋漓尽致
黑帮陪审团对凶手激昂的控诉和指责让观者亦被正义的力量所洗礼.....
正义,果然是可以以任何形式从任何人手中表现出来的
而且,这黑帮果然敬重法律........居然还依照程序法在黑帮里给他指派了一位辩护律师.......我囧大了我.......这叫黑帮吗............根本就是法律神圣的执行者...........
最后,警察在黑帮群情激奋的人们快要把凶手打死的时候出现了-v-
我相信凶手见到警察的时候一定在想"终于得救了!".....-v-+
值得一提的是,这个凶手演得太好了,他的惊恐的面孔和声嘶力竭的辩解真是让人印象深刻............一个让人难以忘怀的精神病杀人犯
一个外貌胆怯又平常的男人,以各种方式骗走并杀害了九个小女孩
这样的罪行伴随着他那独一无二的口哨声印刻在了观者的心里(他估计最后死也没想到是这个口哨声暴露了他)
全城的市民如惊弓之鸟,城市秩序几乎都要到了崩溃的边缘,警察局日夜忙碌不堪依然一无所获("现在连享受十分钟的宁静都成了奢侈")
大段对上司诉苦的描述可以让我们感受到拖网式查案的艰难和绝望,警察们似乎已经完全束手无策了
而这时比较囧的事情发生了,由于警察们疯狂地检查和搜索,黑帮们"正常"的生意和行动全部被打乱,简直没法过日子
眼看着抓不到凶手自己的生活就要完蛋了,黑帮们终于忍无可忍决定自己也去把这凶手找出来泄愤
于是,奇妙的事情发生了:白道和黑道无意中达成一致,一起来拼命寻找这个注定该死的人
下面的故事就开始让我觉得好笑了
黑道买通了丐帮,让他们负责搜寻凶手的下落
这效率真快啊,他们不仅神速地找到了凶手,还在他身上留下了记号,甚至还满大街追着他跑并把他逼进了死胡同
黑帮在夜晚用计闯进了凶手躲藏的大楼,蚂蚁一样地搜遍了全楼把凶手找了出来(最后警察来之前他们坚持到最后一刻抓到凶手才走,实在是太敬业了XDDD)
警察来了,查看了现场,开始大惑不解:
来了一堆黑帮,把全楼都找遍了,撬了锁挖了坑,最后一点值钱的东西也没有拿走,甚至整栋楼没有丢一样东西,这到底是为什么呢?
后来听说是抓走了一个人,那么是什么人值得黑帮大动干戈呢?
警察来的时候只发现了一个没离开大楼的黑帮分子
这人顽固不堪,硬是不肯交代黑帮到底在楼内找谁
结果警察头子用计对他一恐吓,居然发现黑帮找到的人是那个让他们焦头烂额的凶手,于是震惊了
而在黑帮这里,审讯开始了
凶手瞪着大眼发现在地窖里居然有几百号人悄无声息虎视眈眈恶狠狠地盯着他
逃是没用的,黑帮开始对他进行控诉
其实真的很囧,这时我怎么看都觉得黑帮那就是一正义的法庭啊口胡
凶手大呼黑帮不懂法律,黑帮冷笑着说"我们很多人坐过十几年的牢了,还不明白怎么审判嘛?!"
凶手这时尖叫着要他们把他交给警察,说要从法院判刑他才心甘情愿
黑帮头子冷笑着说"你想得美,我们现在不把你干掉,你早晚会找个理由从牢里出来,到时候再去追袭无辜的小女孩是吧?"
黑帮的人很聪明:把他送进牢子,他不仅死不了还要花纳税人的钱养着他,而且万一以精神有问题逃脱了法律的制裁那后果就更不堪设想了
"你以为我们傻啊?你今天哪里也别想去,就死在这里吧!"
一群罪犯对一个罪犯进行的庄严审判,真是快意得淋漓尽致
黑帮陪审团对凶手激昂的控诉和指责让观者亦被正义的力量所洗礼.....
正义,果然是可以以任何形式从任何人手中表现出来的
而且,这黑帮果然敬重法律........居然还依照程序法在黑帮里给他指派了一位辩护律师.......我囧大了我.......这叫黑帮吗............根本就是法律神圣的执行者...........
最后,警察在黑帮群情激奋的人们快要把凶手打死的时候出现了-v-
我相信凶手见到警察的时候一定在想"终于得救了!".....-v-+
值得一提的是,这个凶手演得太好了,他的惊恐的面孔和声嘶力竭的辩解真是让人印象深刻............一个让人难以忘怀的精神病杀人犯
看到底下那么多装逼的评论，心情就像M突然发现身后被标记了白字时那样，好惊悚好害怕！！！！！瞪！！！！！
每次看德国电影都忍不住往政治隐喻上想，德国真是一个牛逼的国家啊。影史上第一部讲连环杀人的电影，却比后来的那些要高明得多。黑社会审犯人那一段是我觉得电影最好看的一段，“难道把你交给警察送进监狱，让国家养你一辈子?”，警察搜寻许久无果最后由盲人找到了线索，这真是个无比讽刺的故事。
除对白和口哨声外其他声音基本无，更别提扣人心魄的配乐了，但作为一部1931的有声片，如此足矣。有趣的地方在民众对警察（政府威权）的不信任（妓女朝警察啐口水），以及黑道擒获凶手的设定，加上最后私设法庭和真正的法庭审判对比，如此种种真是大胆的讽刺。口哨声很瘆人。
德国表现主义电影向美国黑色电影转变时期的牛逼片子，而且就我目前的阅历来说，它好过所有的德国表现主义电影以及八成的（另两成我没看而已）美国黑色电影，这当中的差距，是巨大的
解读一部经典电影就要联系当时的环境，读过福柯的《规训与惩罚》《癫狂与文明》可能对电影中欧洲的法律体系有所了解。其实就剧情来说这部电影很是粗糙，不过最后的审判意味伸长。人权，自由，权利，精神病一系列中世纪的产物柔和起来，这才是这部戏的精髓。
淘到DVD了哈哈
M逃进阁楼那一段特别精彩！彼得·洛长得果然猥琐！演个绑架小姑娘的变态杀手太合适了！1931年的这部电影现在看来还是有些琐碎冗长！翻拍的话应该不错！
近乎完美，扣一星最后的伪庭审，当民粹已然发展到人人相疑，社会不安时，是无法产生如此模式化的场景的。东方快车式也许更加契合
观感很奇怪的一部电影，就像无声和有声的结合，无配乐仅有图像来烘托情节，前段闷的要死，中段的剪辑很棒，结尾升华主题的对峙是点睛之笔，全片的悬疑点布置出众（说的就是那个口哨！）， 对杀手的人物刻画很深刻（选角！）。（问题：那封信是谁写的？）
印象最深的是 他说“你们要是杀了我 你们就是冷血谋杀！” 群众听到后笑了起来；他说“我要求把自己交给警察！” 群众也笑了起来；他说“我要求把自己交给民主陪审团！” 群众还是笑了起来。群众没有兴趣也觉得没有必要听他说些什么 这不重要 “让他死”就是大家坐在这里的目的。M是凶手 而乱审判的群众也是凶手——从个人观点来看 某些罪犯——就如M 单单交给法律来处理是难解自己的心头恨 就应该让他受折磨——但民主审判又不能当主流 如何让法律和民主完美结合这才是国家最最重要的治国之道 最后在法律和人情里留了一个做选择的悬念 大概就是这个意思吧。
原来，他只是个卖萌大师。中间有一段很惊艳的平行硬切剪辑，瞬间明朗了两个势力、一个目标的局势；想不到在全民哄笑那一刻燃了；最后的辩论虽然升华了高度，但也同时削弱了快感；那支口哨的旋律，忘不得。配乐贫乏、完全依靠影像推进的原味悬疑片，这是黑色艺术品。
8论底层人民群众社会活动的重要性人民法庭所代表的民声与法庭所代表的正义 情感与理智的对决 谁才是真正的正义30年代就拍出如此前卫的社会题材作品 完爆如今各种院线商业流水线粗制滥造品结尾人民法庭的大法官与激起的群众又或是集体主义兴起的预言与写照
传说中的德国表现主义力作。这种片子放在现在的天朝完胜那些大片。最后的辩论进入了人权、制度和法律的思辨，而他们的概念完全是基于人性的角度，这是人权的思考。前半部的悬疑解惑，后面的基层社会的私设法庭，凶手的经典口哨还有夸张的表情和肢体。经典！8.6
群众大会真牛啊
弗里茨·朗十分大胆地让一位罪恶滔天的凶犯在大银幕前为自己辩解，凶犯与群众的关系变得十分微妙；朗用一个社会新闻进行了一次政治反思，这是1931年的魏玛德国；按照克拉考尔的观点，M同样预示了纳粹德国的崛起。马克·费罗更认为结局中女人的警告表明朗和他当时的女友Thea von Harbou（后加入纳粹）对魏玛共和国民主的不信任，流露出两人的意识形态（cf.Cinéma et Histoire, 1977）。从以微观的社会事件对社会制度进行宏观的分析角度来看，朗无疑是影史的先驱。
黑白构图的张力，无声与画面的急速运作的对比，轻快口哨和极端反人性行径的并行不悖，空镜头与人物戏剧性夸张表演的穿插。电影在那个有声片刚诞生不久的年代，可以承载太多的艺术手法和社会诘问。如同富士康员工跳楼事件，个体背负社会病是流行于每一个年代的瘟疫。
【B+】第一次看德国表现主义电影，不负盛名。在许多方面的想法都远远领先于同时代其他影片（尤其是对声音和光的运用），只是毕竟是先行者，已如今眼光再看有些地方还是显得生涩，比如那个平行剪辑，很生硬。
开场利用影子铺设惊悚氛围、人人自危的紧张空气，与明暗双线并行的抓捕过程构成高反差对比，制造出不少萌点；空无一人的街道，M惊恐的表情，口哨的运用，堪称经典；对连环杀手的心理描摹，以及对法律制度的揶揄，都具有前瞻性。
B＋/ 大半部散点透视无主角剧本，结尾审判似黑化生之欲;超低仰角俯角，移魂般长镜空镜，阴影与光的博弈; 心理音效恐惧感仿佛真空。无论文本还是影像都有新的尝试，昭示着尼伯龙根大都会的默片时代之后似乎稚嫩却更有生命力的弗里茨 · 朗。万万没想到喜剧效果这么出众。可作最近网络话题镜鉴。
黑社会对杀人犯的人道和法律审判是很有意思的。真正的执法机构是无能的，但是一个罪犯又有什么权利来说另外一个罪犯是不可饶恕的？尤其是，这个杀人犯在倾述自己的心理病态时，听众席上的若干观众还默默的点着头。终究，这个社会的罪恶似乎是没有出路的，因此才有最后一幕的，父母们应该看好自己的孩子。虽然这最后一句台词真的出现得很突兀和莫名其妙，像是匆忙之间添上去用来过关的。如果没有执法机构的审判和最后母亲的画面，我想这部片子要好得多。