In Berlin,[8] a group of children are playing an elimination game in the courtyard of an apartment building, using a macabre chant about a murderer of children. A woman sets the table for lunch, waiting for her daughter to come home from school. A wanted poster warns of a serial killer preying on children, as anxious parents wait outside a school.
Little Elsie Beckmann leaves school, bouncing a ball on her way home. She is approached by Hans Beckert,[9] who is whistling "In the Hall of the Mountain King" by Edvard Grieg. He offers to buy her a balloon from a blind street-vendor and walks and talks with her. Elsie's place at the dinner table remains empty, her ball rolls away across a patch of grass, and her balloon is lost in the telephone lines overhead.[10]
In the wake of Elsie's disappearance, anxiety runs high among the public. Beckert sends an anonymous letter to the newspapers, taking credit for the child murders and promising that he will commit others; the police extract clues from the letter, using the new techniques of fingerprinting and handwriting analysis. Under mounting pressure from the Prussian government, the police work around the clock. Inspector Karl Lohmann, head of the homicide squad, instructs his men to intensify their search and to check the records of recently released psychiatric patients, focusing on any with a history of violence against children. They stage frequent raids to question known criminals, disrupting organized crime so badly that Der Schränker (The Safecracker) summons the crime bosses of Berlin's Ringvereine to a conference. They decide to organize their own manhunt, using beggars to watch the children.[11] Meanwhile, the police search Beckert's rented rooms, find evidence that he wrote the letter there, and lie in wait to arrest him.[12]
Beckert sees a young girl in the reflection of a shop window and begins to follow her, but stops when the girl meets her mother. He encounters another girl and befriends her, but the blind vendor recognizes his whistling. The vendor tells one of his friends, who follows Beckert and sees him inside a shop with the girl. As the two exit onto the street, the man chalks a large "M" (for Mörder, "murderer" in German) on his palm, pretends to trip, and bumps into Beckert, marking the back of his overcoat so that other beggars can easily track him.[12] The girl notices the chalk and offers to clean it for him, but before she finishes, Beckert realizes he is being watched and flees the scene, abandoning the girl.
Attempting to evade the beggars' surveillance, Beckert hides inside a large office building just before the workers leave for the evening. The beggars call Der Schränker, who arrives at the building with a team of other criminals. They capture and torture one of the watchmen for information and, after capturing the other two, search the building and catch Beckert in the attic. When one of the watchmen trips the silent alarm, the criminals narrowly escape with their prisoner before the police arrive. Franz, one of the criminals, is left behind in the confusion and captured by the police. By falsely claiming that one of the watchmen was killed during the break-in, Lohmann tricks Franz into admitting that the gang's only motive was to find Beckert and revealing where he will be taken.
The criminals drag Beckert to an abandoned distillery to face a kangaroo court. He finds a large, silent crowd awaiting him. Beckert is given a "lawyer", who gamely argues in his defense but fails to win any sympathy from the improvised "jury". Beckert delivers an impassioned monologue, saying that he cannot control his homicidal urges, while the other criminals present break the law by choice, and further questioning why they as criminals believe they have any right to judge him:
What right have you to speak? Criminals! Perhaps you are even proud of yourselves! Proud of being able to crack into safes,[13] or climb into buildings or cheat at cards. All of which, it seems to me, you could just as easily give up, if you had learned something useful, or if you had jobs, or if you were not such lazy pigs. I can not help myself! I have no control over this evil thing that is inside me—the fire, the voices, the torment![14]
Beckert pleads to be handed over to the police, asking: "Who knows what it is like to be me?" His "lawyer" points out that Der Schränker, presiding over the proceedings, is wanted on three counts of manslaughter, and that it is unjust to execute an insane man. Just as the enraged mob is about to kill Beckert, the police arrive to arrest both him and the criminals.
As a panel of judges prepares to deliver a verdict at Beckert's real trial, the mothers of three of his victims weep in the gallery. Elsie's mother says that "No sentence will bring the dead children back" and that "One has to keep closer watch over the children". The screen fades to black as she adds, "All of you".[15]
Cast
Peter Lorre as Hans Beckert. M was Lorre's first major starring role, and it boosted his career, even though he was typecast as a villain for years afterward in films such as Mad Love and Crime and Punishment. Before M, Lorre had been mostly a comedic actor. After fleeing from the Nazis, he landed a major role in Alfred Hitchcock's first version of The Man Who Knew Too Much (1934), picking up English along the way.
Otto Wernicke as Inspector Karl Lohmann. Wernicke made his breakthrough with M after playing many small roles in silent films for over a decade. After his part in M he was in great demand due to the success of the film, including returning to the role of Karl Lohmann in The Testament of Doctor Mabuse, and he played supporting roles for the rest of his career.[16]
Gustaf Gründgens as Der Schränker (The Safecracker). Gründgens received acclaim for his role in the film and established a successful career for himself under Nazi rule, ultimately becoming director of the Staatliches Schauspielhaus (National Dramatic Theatre).[17]
Lang placed an advertisement in a newspaper in 1930 stating that his next film would be Mörder unter uns (Murderer Among Us) and that it was about a child murderer. He immediately began receiving threatening letters in the mail and was also denied a studio space to shoot the film at the Staaken Studios. When Lang confronted the head of Staaken Studio to find out why he was being denied access, the studio head informed Lang that he was a member of the Nazi party and that the party suspected that the film was meant to depict the Nazis.[19] This assumption was based entirely on the film's original title and the Nazi party relented when told the plot.[20]
M was eventually shot in six weeks at a Staaken Zeppelinhalle studio, just outside Berlin. Lang made the film for Nero-Film, rather than with UFA or his own production company. It was produced by Nero studio head Seymour Nebenzal who later produced Lang's The Testament of Dr. Mabuse. Other titles were given to the film before "M" was chosen; Eine Stadt sucht einen Mörder (A City Searches for a Murderer) and Dein Mörder sieht Dich an (Your Murderer Looks at You).[21] While researching for the film, Lang spent eight days inside a mental institution in Germany and met several child murderers, including Peter Kürten. He used several real criminals as extras in the film and eventually 25 cast members were arrested during the film's shooting.[22] Peter Lorre was cast in the lead role of Hans Beckert, acting for the film during the day and appearing on stage in Valentine Katayev's Squaring the Circle at night.[23]
Lang did not show any acts of violence or deaths of children on screen and later said that by only suggesting violence, he forced "each individual member of the audience to create the gruesome details of the murder according to their personal imagination".[24]
Peter Lorre as Hans Beckert, gazing into a shop window. Fritz Lang uses glass and reflections throughout the film for expressive purposes.
M has been said, by various critics and reviewers, to be based on serial killer Peter Kürten—the "Vampire of Düsseldorf"—whose crimes took place in the 1920s.[25][26] Lang denied that he drew from this case, in an interview in 1963 with film historian Gero Gandert; "At the time I decided to use the subject matter of M, there were many serial killers terrorizing Germany—Haarmann, Grossmann, Kürten, Denke, [...]".[27][28] Inspector Karl Lohmann is based on then famous Ernst Gennat, director of the Berlin criminal police.[29]
Lang's depiction of the Berlin underworld in the film was inspired by the real Ringvereine, which played a role in the German underworld analogous to the Mafia in the Italian underworld.[30] The film's portrayal of the Ringvereine as organized like companies with a board of directors that were dominated by a charismatic master criminal was based on reality.[30] Likewise, the practice of the Ringvereine shown in the film of providing financial support for the families of imprisoned members was also based on reality.[30] The break-in of an office building depicted in the film was inspired by the real life 1929 break-in of the Disconto Bank in Berlin by the Saas brothers gang, though unlike in the film the objective was larceny, not to capture a serial killer.[30] The Ringvereine, which were officially wrestling associations that existed for the physical betterment of German men, always sought to promote a very 'respectable', almost middle-class image of themselves.[31] Like the Mafia, the Ringvereine paradoxically portrayed themselves as the guardians of society's values, who upheld a certain social order. The image the Ringvereine sought to project was as "professionals" whose crimes did not harm ordinary people.[32] Though the Ringvereine were known to be gangsters, their hierarchal structure and strict discipline led to a certain popular admiration for them as a force for social order unlike the psychopathic serial killers who murdered random strangers for reasons that often seemed unfathomable, sparking widespread fear and dread.[32] In an article originally published in Die Filmwoche, Lang wrote that the crime scene in Germany was "such compelling cinematic material that I lived in constant fear that someone else would exploit this idea before me".[33]
The Weimar era was marked by intense debates about the morality and efficiency of capital punishment, with the left arguing that the death penalty was barbaric, while the right argued that the death penalty was needed to maintain law and order.[32] Adding to the debate was the popular interest in the new science of psychiatry, with many psychiatrists arguing that crime was caused by damaged minds and emotions, which could be cured.[32] In the background was a popular obsessive fear of crime and social breakdown, which was fed by sensationalist newspaper coverage of crime, which certainly gave the impression that crime was out of control in Weimar Germany.[32] In addition, for many conservative Germans, the Weimar republic was itself born of crime, namely the November Revolution of 1918 which began with the High Seas Fleet mutiny of October 1918. According to this viewpoint its origins in mutiny and revolution made the Weimar Republic into an illegitimate state that could not maintain social order because the Republic itself was born of disorder.[32] Lang followed these debates closely and incorporated them into several of his Weimar films such as M. The debate at Beckert's "trial" about whether he deserved to be killed or not paralleled the contemporary debates about capital punishment in Germany.[34] The fact that Der Schränker, a career criminal, serves as both the prosecutor and judge at the kangaroo court, egging on the mob of criminals to kill Beckert, seems to suggest that Lang's sympathy was with the abolitionists.[34] The arguments that Der Schränker makes at the kangaroo court, namely that certain people are so evil that they deserved to be killed for the good of society was precisely the same argument made by supporters of the death penalty.
The incorporation of social issues in the film can be seen through the lens of Jeffrey Jerome Cohen’s Monster Culture (Seven Theses). The first of these theses states that “The monster is born only at this metaphoric crossroads, as an embodiment of a certain cultural moment—of a time, a feeling, and a place.”[35] Beckert, as the monster in this film, embodies the cultural moment; he reflects Weimar society and its interest in morality and criminality. In other words, the classification of Beckert as a monster itself reveals the film’s incorporation of social issues.
Leitmotif
M was Lang's first sound film and he experimented with the new technology.[36] It has a dense and complex soundtrack, as opposed to the more theatrical "talkies" being released at the time. The soundtrack includes a narrator, sounds occurring off-camera, sounds motivating action and suspenseful moments of silence before sudden noise. Lang was also able to make fewer cuts in the film's editing, since sound effects could now be used to inform the narrative.[37] The film was one of the first to use a leitmotif, a technique borrowed from opera, associating a tune with Lorre's character, who whistles the tune "In the Hall of the Mountain King" from Edvard Grieg's Peer Gynt Suite No. 1. Later in the film, the mere sound of the song lets the audience know that he is nearby, off-screen. This association of a musical theme with a particular character or situation is now a film staple.[38] Peter Lorre could not whistle and Lang himself is heard in the film.[39]
Release
M premiered in Berlin on 11 May 1931 at the UFA-Palast am Zoo in a version lasting 117 minutes.[23] The original negative is preserved at the Federal Film Archive in a 96-minute version. In 1960, an edited 98-minute version was released. The film was restored in 2000 by the Netherlands Film Museum in collaboration with the Federal Film Archive, the Cinemateque Suisse, Kirsch Media and ZDF/ARTE., with Janus Films releasing the 109-minute version as part of its Criterion Collection using prints from the same period from the Cinemateque Suisse and the Netherlands Film Museum.[40] A complete print of the English version and selected scenes from the French version were included in the 2010 Criterion Collection releases of the film.[41]
The film was later released in the U.S. in April 1933 by Foremco Pictures.[42] After playing in German with English subtitles for two weeks, it was pulled from theaters and replaced by an English-language version. The re-dubbing was directed by Eric Hakim, and Lorre was one of the few cast members to reprise his role in the film.[23] As with many other early talkies from the years 1930–1931, M was partially reshot with actors (including Lorre) performing dialogue in other languages for foreign markets after the German original was completed, apparently without Lang's involvement. An English-language version was filmed and released in 1932 from an edited script with Lorre speaking his own words, his first English part. An edited French version was also released but despite the fact that Lorre spoke French his speaking parts were dubbed.[43] In 2013, a DCP version was released by Kino Lorber and played theatrically in North America[44] in the original aspect ratio of 1.19:1.[45] Critic Kenneth Turan of the Los Angeles Times called this the "most-complete-ever version" at 111 minutes.[46] The film was restored by TLEFilms Film Restoration & Preservation Services (Berlin) in association with Archives françaises du film – CNC (Paris) and PostFactory GmbH (Berlin).[47]
Critical reception
Initial response
A Variety review said that the film was "a little too long. Without spoiling the effect—even bettering it—cutting could be done. There are a few repetitions and a few slow scenes."[23]Graham Greene compared the film to "looking through the eye-piece of a microscope, through which the tangled mind is exposed, laid flat on the slide: love and lust; nobility and perversity, hatred of itself and despair jumping at you from the jelly".[24]
Reassessment
In later years, the film received widespread critical praise and holds an approval rating of 100% on Rotten Tomatoes based on 61 reviews, with an average rating of 9.20/10. The site's critics consensus reads: "A landmark psychological thriller with arresting images, deep thoughts on modern society, and Peter Lorre in his finest performance."[48]
Marc Savlov of Austin Chronicle awarded the film five out of five stars, calling it, "One of the greatest of all German Expressionistic films". Savlov praised the film's cinematography, the use of sound and Lorre's performance.[49] In 1997, critic Roger Ebert added M to his "Great Movies" list. He proposed Lang's limited use of dialogue was a critical factor in the film's success, in contrast with many early sound films which "felt they had to talk all the time". Ebert also argued the film's characters, nearly all grotesques, embodied Lang's distaste for his adopted homeland: "What I sense is that Lang hated the people around him, hated Nazism, and hated Germany for permitting it."[50]
Legacy
Lang considered M to be his favorite of his own films because of the social criticism in the film. In 1937, he told a reporter that he made the film "to warn mothers about neglecting children".[36] The film has appeared on multiple lists as one of the greatest films ever made. It was voted the best German film of all time with 306 votes in a 1994 poll of 324 film journalists, film critics, filmmakers, and cineastes organized by the Association of German Cinémathèques[de].[51] It is included in Empire's 100 Best Films of World Cinema in 2010.[52] It is listed in the film reference book 1001 Movies You Must See Before You Die, which says: "Establishing conventions still being used by serial killer movies, Lang and scenarist Thea von Harbou intercut the pathetic life of the murderer with the frenzy of the police investigation into the outrageous crimes, and pay attention to issues of press coverage of the killings, vigilante action, and the political pressure that comes down from the politicians and hinders as much as encourages the police."[53] In 2018, it was voted the thirteenth greatest foreign-language film of all time in BBC's poll of 209 critics in 43 countries.[54] The film is also referenced in the song "In Germany Before the War" by American songwriter Randy Newman in his 1977 album Little Criminals.[55]
A scene from the movie was used in the 1940 Nazi propaganda movie The Eternal Jew.[56]
Remakes and adaptations
A Hollywood remake of the same title was released in 1951, shifting the action from Berlin to Los Angeles. Nero Films head Seymour Nebenzal and his son Harold produced the film for Columbia Pictures. Lang had once told a reporter: "People ask me why I do not remake M in English. I have no reason to do that. I said all I had to say about that subject in the picture. Now, I have other things to say."[22] The remake was directed by Joseph Losey and starred David Wayne in Lorre's role. Losey stated that he had seen M in the early 1930s and watched it again shortly before shooting the remake, but that he "never referred to it. I only consciously repeated one shot. There may have been unconscious repetitions in terms of the atmosphere, of certain sequences."[22] Lang later said that when the remake was released, he "had the best reviews of [his] life".[24]
In 2003, M was adapted for radio by Peter Straughan and broadcast on BBC Radio 3 on 2 February, later re-broadcast on BBC Radio 4 Extra on 8 October 2016.[57] Directed by Toby Swift, this drama won the Prix Italia for Adapted Drama in 2004.[58]
Writer Jon J. Muth adapted the screenplay into a four-part comic book series in 1990, which was reissued as a graphic novel in 2008.[59]
In 2015, Joseph D. Kucan adapted the screenplay into a theatrical stageplay entitled A Summons from the Tinker to Assemble the Membership in Secret at the Usual Place for production by the Las Vegas-based theatre company A Public Fit. The play is environmental in nature, transforming its audience into the members of the criminal underground who have captured - and will judge - the elusive serial child murderer. The play is primarily a courtroom drama, presented with no fourth wall, and utilizes flashback sequences to tell the story of the man's detection, capture and confession. A brief segment of the play is dedicated to improvised audience debate and deliberation.[60]
In 2019, a six-episode Austrian-German TV-series was released titled "M — A City Hunts a Murderer".[61]
Friedrich Christian Anton Lang, better known as Fritz Lang, was an Austrian-US-German film director, screenwriter, and producer who worked in Germany and later the United States. One of the best-known émigrés from Germany's school of Expressionism, he was dubbed the "Master of Darkness" by the British Film Institute. He has been cited as one of the most influential filmmakers of all time.
Metropolis is a 1927 German expressionist science-fiction silent film directed by Fritz Lang and written by Thea von Harbou in collaboration with Lang from von Harbou's 1925 novel of the same name. It stars Gustav Fröhlich, Alfred Abel, Rudolf Klein-Rogge, and Brigitte Helm. Erich Pommer produced it in the Babelsberg Studios for Universum Film A.G. (UFA). Metropolis is regarded as a pioneering science-fiction film, being among the first feature-length ones of that genre. Filming took place over 17 months in 1925–26 at a cost of more than five million Reichsmarks, or the equivalent of about €21 million.
Peter Lorre was a Hungarian and American actor, active first in Europe and later in the United States. He began his stage career in Vienna, in the Austro-Hungarian Empire, before moving to Germany where he worked first on the stage, then in film in Berlin in the late 1920s and early 1930s. Lorre caused an international sensation in the Weimar Republic–era film M (1931), directed by Fritz Lang, in which he portrayed a serial killer who preys on little girls. Known for his timidly devious characters, his appearance, and his accented voice, Lorre was frequently caricaturized during and after his lifetime and the cultural legacy of his persona remains in media today.
Friedrich Heinrich Karl "Fritz" Haarmann was a German serial rapist and serial killer, known as the Butcher of Hanover, the Vampire of Hanover and the Wolf Man, who committed the sexual assault, murder, mutilation and dismemberment of at least twenty-four young men and boys in the city of Hanover between 1918 and 1924.
The Hillside Strangler, later the Hillside Stranglers, is the media epithet for one, later discovered to be two, American serial killers who terrorized Los Angeles, California, between October 1977 and February 1978, with the nicknames originating from the fact that many of the victims' bodies were discovered in the hills surrounding the city.
Peter Kürten was a German serial killer, known as "The Vampire of Düsseldorf" and the "Düsseldorf Monster", who committed a series of murders and sexual assaults between February and November 1929 in the city of Düsseldorf. In the years before these assaults and murders, Kürten had amassed a lengthy criminal record for offences including arson and attempted murder. He also confessed to the 1913 murder of a nine-year-old girl in Mülheim am Rhein and the attempted murder of a 17-year-old girl in Düsseldorf.
Thea Gabriele von Harbou was a German screenwriter, novelist, film director, and actress. She is remembered as the screenwriter of the science fiction film classic Metropolis (1927) and for the 1925 novel on which it was based. von Harbou collaborated as a screenwriter with film director Fritz Lang, her husband, during the period of transition from silent to sound films.
"In the Hall of the Mountain King" is a piece of orchestral music composed by Edvard Grieg in 1875 as incidental music for the sixth scene of act 2 in Henrik Ibsen's 1867 play Peer Gynt. It was originally part of Opus 23 but was later extracted as the final piece of Peer Gynt, Suite No. 1, Op. 46. Its easily recognizable theme has helped it attain iconic status in popular culture, where it has been arranged by many artists.
Karl Denke was a German serial killer and cannibal who killed and cannibalized dozens of homeless vagrants and travellers from 1903 to 1924. He has been nicknamed the Cannibal of Münsterberg and the Forgotten Cannibal.
Robert Kenneth Ressler was an American FBI agent and author. He played a significant role in the psychological profiling of violent offenders in the 1970s and is often credited with coining the term "serial killer", though the term is a direct translation of the German term Serienmörder coined in 1930 by Berlin investigator Ernst Gennat. After retiring from the FBI, he authored a number of books on serial murders, and often gave lectures on criminology.
M is a 1951 American film noir directed by Joseph Losey. It is a remake of Fritz Lang's 1931 German film of the same title about a child murderer. This version shifts the location of action from Berlin to Los Angeles and changes the killer's name from Hans Beckert to Martin W. Harrow. Both versions of M were produced by Seymour Nebenzal, whose son, Harold, was associate producer of the 1951 version.
The Testament of Dr. Mabuse, also called The Last Will of Dr. Mabuse, is a 1933 German crime-thriller film directed by Fritz Lang. The movie is a sequel to Lang's silent film Dr. Mabuse the Gambler (1922) and features many cast and crew members from Lang's previous films. Dr. Mabuse is in an insane asylum where he is found frantically writing his crime plans. When Mabuse's criminal plans begin to be implemented, Inspector Lohmann tries to find the solution with clues from gangster Thomas Kent, the institutionalized Hofmeister and Professor Baum who becomes obsessed with Dr. Mabuse.
Spione is a 1928 German silent espionage thriller directed by Fritz Lang and co-written with his wife, Thea von Harbou, who also wrote a novel of the same name, published a year later. The film was Lang's penultimate silent film and the first for his own production company; Fritz Lang-Film GmbH. As in Lang's Mabuse films, Dr. Mabuse: The Gambler (1922) and The Testament of Dr. Mabuse (1933), Rudolf Klein-Rogge plays a master criminal aiming for world domination.
Friedrich Rudolf Klein, better known as Rudolf Klein-Rogge, was a German film actor, best known for playing sinister figures in films in the 1920s and 1930s as well as being a mainstay in director Fritz Lang's Weimar-era films. He is probably best known in popular culture, particularly to English-speaking audiences, for playing the archetypal mad scientist role of C. A. Rotwang in Lang's Metropolis and as the criminal genius Doctor Mabuse. Klein-Rogge also appeared in several important French films in the late 1920s and early 1930s.
The Hands of Orlac is a 1924 Austrian silent film directed by Robert Wiene and starring Conrad Veidt, Alexandra Sorina and Fritz Kortner. It is based on the novel Les Mains d'Orlac by Maurice Renard.
Ernst August Ferdinand Gennat was director of the Berlin criminal police. He worked under three political systems in his 30-year career as one of the most gifted and successful criminologists in the German Reich. His caseload included those of Fritz Haarmann and Peter Kürten.
Fictional portrayals of psychopaths, or sociopaths, are some of the most notorious in film and literature but may only vaguely or partly relate to the concept of psychopathy, which is itself used with varying definitions by mental health professionals, criminologists and others. The character may be identified as a diagnosed/assessed psychopath or sociopath within the fictional work itself, or by its creator when discussing their intentions with the work, which might be distinguished from opinions of audiences or critics based only on a character appearing to show traits or behaviors associated with an undefined popular stereotype of psychopathy.
The Return of Doctor Mabuse is a 1961 black-and-white crime film/thriller made in West Berlin. It was a West German/French/Italian international co-production directed by Harald Reinl that was the second of the 1960s CCC Films Dr. Mabuse film series, being the sequel to Fritz Lang's The Thousand Eyes of Dr. Mabuse (1960). It starred Gert Fröbe, Daliah Lavi and in his first German film, Lex Barker. The film was co-written by Ladislas Fodor and in his first screenplay, Marc Behm who gives the film a science fictional plot that would be followed in the other films in the series.
The Ringvereine were criminal gangs operating in late 19th and early 20th century Germany, notably the Weimar period. Ostensibly convicts associations formed in the 1890s to aid their reintegration to society, the Ringvereine became convenient fronts for illegal activities as well as providing a ready network of underworld contacts. Like the Mafia, these associations also followed certain rules and a code of conduct. Since these groups practiced witness intimidation and members provided alibis for one another, it was difficult to prove their involvement in a crime.
↑ While the location is never mentioned in the film, the dialect used by the characters is characteristic of Berliners, and a police inspector's map labeled "Berlin" and a policeman's order to take suspects to the "Alex", Berlin's central police headquarters on the Alexanderplatz, make the venue clear.
↑ "Fritz Lang on M: An Interview", in Fritz Lang: M – Protokoll, Marion von Schröder Verlag, Hamburg 1963, reprinted in the Criterion Collection booklet.
Kaes, Anton; Dimendberg, Edward; Jay, Martin (1994). The Weimar Republic Sourcebook. Los Angeles: University of California Press. ISBN9780520067752.
Lee, Daryl (2014). The Heist Film Stealing with Style. New York: Wallflower. ISBN9780231169691.
Lessing, Theodor (1993) [1925]. Monsters of Weimar: Haarmann, the Story of a Werewolf. London: Nemesis Books. pp.293–306. ISBN1897743106.
Schneider, Steven Jay, ed. (2015). 1001 Movies You Must See before You Die. Cassel. ISBN9781844038794.
Schulte-Bockholt, Schulte-Bockholt (2006). The Politics of Organized Crime and the Organized Crime of Politics A Study in Criminal Power. Latham: Lexington Books. ISBN9780739113585.
Thomas, Sarah (2012). Peter Lorre, Face Maker: Stardom and Performance Between Hollywood and Europe. United States: Berghahn Books. ISBN978-0857454423.
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