The Attached Still Film Analysis

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The attached still is a scene from Fritz Lang’s 1931 drama/thriller film, M. In this still, we see Hans Beckert (played by Peter Lorre, which was his first major starring role) cowering at the touch of an off-screen lawyer. The key elements that develop meaning in this still are the camera movement (proxemics, angle, shot type) and the compositional elements (symmetry, framing, and subject placement).

This scene is a high angle; this shot is typically used as a way to make a character seem small to suggest weakness or withering authority - even to imply a childlike feeling or an intense emotional impact on the viewers. Here, it isn’t an attempt to draw attention to the surrounding environment and instead, portrays the lack of authority and …show more content…
It further allows us to identify with both Hans and the criminals. If there is ever a question about the control the horde has over Hans’ already lacking emotional state, it is answered blatantly by the use of the proxemics and high angle in this shot, as well as with the narrative which both precedes and follows this still. Although Hans is unstable emotionally, he remains the dominant figure in this still, even casting a shadow on his own face by the sharp contrast placed to the right of him. In scenes where Hans is alone, there is typically a low-angle shot preceding and following his figure, which further juxtaposes this high angle shot. This specific shot is a medium shot, and we get a look at how fragile and acquiescent Hans appears, even his clothing appears to be disheveled - perhaps an outward characterisation of his mental state. His hands clutch the logs of wood beneath him, and he appears to be leaning against the wooden bar to his left, which could propose his dependence on the materialistic items surrounding him, which is part of the mise-en-scene. The facial expression on Hans’ face, mixed with his white-knuckle grasp on the wooden logs, emphasize his shock and upheaval of events. Hans is seen to be at the end of his
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