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It could be anyone's child, anyone's, no one is safe. M is directed by Joseph Losey and written by Norman Reilly Raine and Leo Katcher. It stars David Wayne, Howard Da Silva, Martin Gabel, Luther Adler, Steve Brodie and Raymond Burr. Music is by Michel Michelet and cinematography by Ernest Laszlo. Fritz Lang's original film from 1931 is a seriously classy classic, no doubt about it and although making a remake seems to many like birthing the devil's spawn, the 1951 version exists. How great to find that it's a very fine offering, one that was made at the right time (the film noir zeitgeist) and puts its own slant into the mix. Story here has been relocated to Los Angeles, where there's a child murderer on the loose and not only are the cops under pressure to capture the fiend, but also the criminal underworld since there's too much heat being brought into the vicinity of their operations. Narrative is structured in three ways, the operations of the police investigation, the criminal mobsters forming their own plan of seek and eradicate, and of course we follow the despicable actions of the killer, Martin W. Harrow (Wayne). Following closely from the original's template, Losey instils key haunting images and the killer's traits, whilst giving them their own identity within the grimy downtown L.A. locales. That we are in Bunker Hill and taking in such landmarks like the Angels Flight railway and the Bradbury Building, makes for some superb period flavours. Couple these with Laszlo's spell bindingly noir compliant cinematography, and Losey has got atmosphere to burn. Cast are giving good turns, with many noir favourites doing their thing, best of all, mind, is Wayne as the tormented kiddie killer. Getting more screen time than Peter Lorre does in the original, Wayne gives us a different interpretation that works for a high end portrayal of a man at the mercy of his desperate urges. None more so at pic's denoument, where he is cast to the floor and proceeds to outpour his very being. Wayne would never be this good again. It's not close to being as good as Lang's original, and the thread of the crime underworld worrying about their image is just daft. It's also safe to say that there's no deepness on show, there's some reasoning for why Harrow is as sick as he is - and a little snippet of vigilante paranoia, but this does fail to expand upon some serious themes. That said though, this is certainly a worthy entry in the file that contains remakes that hold their own. 7/10
A retired San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her.
Mrs. Elizabeth Bright Murdock hires Marlowe to find an old rare coin, the Brasher Doubloon, that belonged in her deceased husband's collection. Marlowe begins investigating, but quickly finds himself entangled in a series of unexplained murders.
Private eye Phillip Marlowe wants to get out of the detective racket and into crime writing. But when he's called to the office of editor Adrienne Fromsett, it's not to talk about his story ideas — she wants him to locate the missing wife of her boss, Mr. Kingsby. The assignment quickly becomes complicated when bodies start turning up.
Kathy leaves the newspaper business to marry homicide detective Bill, but is frustrated by his lack of ambition and the banality of life in the suburbs. Her drive to advance Bill's career soon takes her down a dangerous path.
Private eye Philip Marlowe investigates a case of blackmail involving the two wild daughters of a rich general, a pornographer and a gangster.
After being hired to find an ex-con's former girlfriend, Philip Marlowe is drawn into a deeply complex web of mystery and deceit.
Los Angeles, 1953. The author David L. "Dave" Brady wants to bring a missed ex-newspaperman back to Los Angeles. Therefore Dave has to travel to Mexico City. Dave gets involved with a murder case that occurred fifteen years ago. It's an obsession for Dave to solve that murder.
Sophie plans to kill her husband who fell in love with Irma. Sophie envisages everything, but does not know that her plan is already known to her rival.