A gorgeous yet flawed film
I loved watching the excellent cinematography and crisp 1931 print of this movie. The movie does not insult our intelligence, and I like a movie that does not feel the need for music. The premise is standard: a child-murderer on the loose, and society's reaction. Everyone involved in the acting, the direction (esp. the angles), the lighting, the movements--all very good and convincing.
However, there were some things that diminished the film. First,
the movie spent a bit too much time on the common hysteria, as well as all the police details and boring conversations on what exactly is happening to catch this guy. A lot of this could be cut without damaging the film in the slightest.
Secondly was the comically unlikely criminal gang, their incredible scope, and how their motivation to stop the killer played out. I bought their initial motivation to find the killer, because the cops kept busting up their operations in the effort to find him, so he was just "bad for business". But then, they somehow recruit a virtual army of homeless men to keep an eye out for any suspicious man with children. Successfully coordinating such a huge force of drunks and derelicts does not seem plausible. Besides, if a substantial reward was offered by police, then why work for the peanuts the crooks were giving them? Why not just tell the cops? Secondly, when they have the killer cornered in a building, instead of the head honcho crook tipping off the cops, the movie bizarrely decides to complicate things by making the crooks take matters into their own hands, which include punching and tying up a few building guards, donning guard uniforms and actually doing their rounds to not arouse suspicion with the alarms, and drilling holes and smashing locks, in order to flush out the killer and mete out their own brand of justice. The denouement is a sort of kangaroo-criminal court, with a cast of hundreds, surreally gathered together with religious care, silent and respectful to the nature of the case, and even listening to the killer instead of dispatching him right off. Why waste all that time, or have a trial court at all? This angle really hurt the film, and it wasted a lot of time as well, because we had to watch all the logistical details unfold, interspersed with boring, smoky interludes with what the inspectors were up to, and neither of these things seem central to the desperation of the moment, that of finally trapping the killer like a rat. It almost feels as if Lang was afraid that would be that, and so he decided to unnecessarily decided to add an extraneous layer of subplot, and then finish with a sort of ham-fisted social statement about capital punishment vs treatment of the mentally ill. It would have been better if the killer was killed, perhaps in a brutal way, and then have us think about the justice of that.
In all, a watchable, though flawed film which entertains enough, up until the third act, when the killer is trapped in the building. The only interesting parts after that, to me, seemed to be Lorre's logistical problems trying to pick locks and nails to get out.