http://www.youtube.com/watch?v=l5jWgKEabbY&hl=en
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Ehhhhh...i'll go ahead and throw this one five stars. I think a lot of the naysayers on this movie worked too hard at watching it. One thing it has going for it is that it is honest in what it is trying to present. No hidden agendas, messages, misdirection, bait-and-switch jobs on the audience, or whatever. What you see in the first five minutes is what you get-or better-for the rest of the movie.
One thing that is a major factor in my decision to buy movies for my collection is its capacity for repeated viewing. DUH. Why buy a movie to watch it only once? Yet, I think many people don't consider something this simple. If you know where a movie is going, what is going to happen, even why, then there is some other reason for watching it over and over: casting, production, script, scenery, dialogue, humor, etc., things you enjoy seeing again because you know they will be there.
This movie has plenty of that. I personally love all the art deco imagery, the classic film-noir atmosphere at the beginning, the allusions to other period box-office legends, easter eggs like the Wizard of Oz cameo, that beautiful P-40 Warhawk tearing up the skies, and the stormy, sarcastic, he said-she said relationship of the principal characters. It is just a fun movie, presented in a unique, whimsical wrap of throwback cinematography paying homage to the old serial adventures and WWII-era movie making. So there is a Brit flying a P-40 in a continental American context. so what. adds character. Gwyneth Paltrow looks like she finally stepped back into an era where she truly belongs. She simply looks like a 30's-40's movie star.
Another appeal of this movie is something that is too rarely seen these days: production by a group of novice, unexperienced visionaries. this becomes most evident from watching the special features - AFTER you see the film itself. These people pursued this vision untainted and without preconditions of having worked in the movie industry before. The honesty of this spectacle is all the more vivid and astonishing, and truly adds to the enjoyment of this truly one-of-a-kind film epic. Go ahead and add this true original to your collection. If Conran doesn't make anything else, he deserves to be remembered fondly for this effort.
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It was a tough decision to shell out .00 for M on BLU-RAY when I already owned the excellent Criterion edition on DVD. The deciding factor was that I just had to see the english language version, anticipating, above all else, a different version of Lorre's remarkable performance in the kangaroo court. Well, I don't regret the splurge, but the english version isn't anything to write home about. It is almost entirely the same material that is in the german language version but large parts have been cut up and then reassembled badly. Almost every scene is dubbed, as opposed to re-filmed in english, and some of the dubbing is very poorly done. Very few of the dry, brittish voice actors manage to match the energy of the german actors they are voicing for. The only scenes I spotted as being re-filmed were a very few in the kangaroo court in which Lorre was the only person on the screen. Any scenes in which he interacts with other actors are dubbed. (Although I wasn't sure about some of the scenes with he and his lawyer.) And sadly, the new, english scenes of Lorre's amazing monologues seemed shorter and more poorly written than their german equivilents and his performances not nearly so affecting or believable. (There is also a new scene tacked on to the end of the film. The german version ends with the mothers of some of Lorre's victims admonishing us all to keep close watch over our children. This is cut from the english and replaced with a new scene of children in a circle around a little girl, which mirrors the opening scene of the film. In the opening scene the girl is sing-chanting a song about serial killers. In the new, english ending the girl is now chanting "Eenie meenie minie moe, catch a n***** by the toe.", which is rather baffling and kind of funny.)
Other than these problems, many of which are typical of any but the most skillfully dubbed films, it is rather self defeating to cut up the soundtrack of a film in which the sound plays such an important role. It was the first german talkie, and Lang's use of the new medium was innovative and unique even by today's standards. In many places, environmental sounds which are vital aspects of the narrative, are completely cut out so that english words can be added. Lang's use of sound in this film is, in fact, so very calculated, (sometimes minimalist) that even small changes can greatly diminish the effect. I am however, glad to have this version as I always gain something from seeing alternate versions of great films. But if Criterion wanted to give us a real treat, they would include the rarely seen, 1951 remake with David Wayne and Raymond Burr which is surprisingly good, as remakes go. Maybe they could get me to shell out again for a comprehensive M box set.
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