Subtitle Saturday: M

I have never seen "The Silence of the Lambs."  That may surprise some of you, while it may come as a relief to others.  I have never seen it mainly because I don't like being frightened out of my mind.  However, having said that, I do love a good thriller.  Where the line is between horror and thriller is hard to say.  Someday, I may have to see "Silence of the Lambs," just due to its notoriety.  I bring that film up in this essay because the content of this film (though not the depiction of it) is similar.  The plot and central character are both very disturbing.  However, the skill of director Fritz Lang is to be found in how well he evokes dread without showing us one second of the crimes that the murderer commits.

Anyone who appreciates the work of Shymalan, Hitchcock or even a director like John Carpenter can find some of the templates of their best work here in this film.  The movie follows the horror in a German city who has begun to see little girls kidnapped and murdered.  The murderer has left not clues (as of yet), so the police are dumbfounded.  As the body count rises, the panic of the people of the city has reached a frenzy.  Then, a plot twist occurs which is genius storytelling.  With all of the danger in the city, the police presence has been increased.  All of this murder has increased police presence and begun to affect the lucrative organized crime circuit in the city.  As a result, the underworld in the city begins its own manhunt.  There are some remarkable moments wherein the cops and the crime lords are both shown making their plans.  The effect of these scenes is almost like a German Psychological Thriller version of dueling banjos. 

This movie has a lot going for it, so I can see why it is regarded as a classic (it was  made in 1931).  First, the whodunit is seen in a different light because the viewer has seen the killer in the opening scenes of the movie.  We know what he looks like, so there is an almost omniscient feeling that the viewer has.  Second, as I mentioned, how the plot unfolds with the criminals and the police is entertaining, and leads to some big laughs.  Third, the way that the character is realized is downright courageous.  The murderer commits unspeakable acts, but it becomes clear as the story unfolds that he is compulsive in his actions.  He seems to be a truly sick man committing evil deeds.  The movie is substantial enough to become philosophical regarding these very deep matters.  Clearly, anyone person who attacks and harms children has no place in normal society.  This movie asks some deep questions about the nature of crime, and how we should respond to it.  At the same time, it does not tell us what to feel, but leaves it up to us to decide.  Finally, Fritz Lang's camera tells the story of this film.  This was the first sound picture that Lang made (there are still many scenes with no audible dialogue), and it is clear that he still sees this film medium as more visual than audible.  Having said that, one of the things that will resonate with any viewer of this film is not visual, but audible.  The murderer has a curious habit of whistling...once you hear him whistle, the tune he whistles may be forever tainted for you.  If it is, than Lang is proving that he embraced the audible element of this film medium, and made this movie a complete experience-both visual and aural. 

Peter Lorre deserves much credit.  The character actor known for so many roles later in his career (Casablanca, 20,000 Leagues Under the Sea, The Maltese Falcon and many parodies in Loony Tunes shorts) got his start right here.  His face tells the story of this character.  But his posture, body language and tone of voice do a lot as well.  His character is truly haunted by his compulsion, and he is a prisoner of his own evil sickness. 

But as I mentioned earlier, the camera and the visuals are really the star of this movie.  There are several reasons this is true.  The camera at times reminds us of a stalker.  And then there is the stark final scene of the movie.  The climactic scene gives us truly unforgettable image that I will not spoil.  Suffice to say, Lang's camera is able to catch so much of the despair of the situation, even after the murderer is discovered.  This is truly a landmark piece of work.