When sound was first introduced into film, the natural response from filmmakers was to use it as much as they possibly could. For Fritz Lang, however, it was to be used sparingly. The story of 'M' should be familiar to those who have seen Spike Lee's 'Summer Of Sam'. There's a killer on the streets, kidnapping and slaying young children, and the police and the underworld of criminals have both set their sights on him. The film doesn't really concern itself with the killer, although he does have a few strong scenes. Specifically at the end of the film where he tries to plead his case before the criminal court. Both the criminals and

the police want the killer caught for different reasons. The police want him to end the murders, the criminals want him caught so the cops

Lang had studied methods of police work, had met with psychologists about serial killers, and learned geography of eastern Berlin. Everything was realistic even to the point of hiring criminals for the underground trail. He uses sound very well to bring together the visual affects. He uses a whistling theme for the murderer to draw you into the madness. These are things that may be quite common for today's good movies but it is amazing for a director's very first experience with a new technology.

Fritz Lang uses sound as if it were another part of the visual. In the film, M, Lang uses both silent parts of the film and dialog parts. He edits them both like they were the same.

Lang’s use of sound is distinctive than others from his time. He edits sound freely throughout the film as if it were video.

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