Regarded as a landmark work in early film , Fritz Lang's M is also the forerunner of the serial killer genre that still enthralls audiences seventy years later. Simply put, M is a template for filmmakers of the genre, and packs a powerful punch upon viewing - even decades after its introduction to audiences.

Written by Lang and his wife, Thea von Harbou, M stars Peter Lorre as a serial killer who preys on young children in 1930's Berlin. In one of the most eery opening sequences of early cinema, M opens with a haunting scene of young girls playing together, singing a rhyme about a child murderer. While the use of foreshadowing may predate M, the sequence is still amazingly chilling and telling.

Though Lang denied it, M is loosely based on a real-life child murderer from the 1920's that terrorized German residents. The association with actual happenings is often credited with the films success. It's said that art imitates reality, but M proves that successful art recreates that reality and places viewers directly in its midst.

While the association helped the popularity of M, this film stands alone as incredibly inventive.

Peter Lorre, playing the killer Hans Beckert, is faceless at the introduction of the film. Only allowed to see his figure, the audience can hear him whistle the tune "In the Hall of the Mountain King." The impact of this introduction is powerful. This leitmotif, musical association of the tune with the killer, warns the audience of the presence of evil, personified excellently by Lorre.

When the killer buys a balloon for a young girl, the tale begins. The next scene is of the girl's mother frantically looking for her child. As she looks, the camera reveals the purchased balloon flying up into the sky.

Typical to the genre, the police are as frantic as the unfortunate mother. They round up the typical criminals for their investigation, with no luck.

At this point, the true beauty of the film takes place. The established criminals take it upon themselves to catch the child-murderer, knowing that his crimes are giving the average criminal bad wrap. So, minus the whole child-murderer thing, it's sort of funny. Sort of.

The ending is as suspenseful as Hollywood's best. When Peter Lorre finally speaks, it's both gut-wrenching and strangely moving. The psychology of murder, especially that of a child, is touched upon. As stated, the true beauty of the script crafted by Lang and his wife is the reaction of the average criminal to crime's against innocent children. The touch of complexity given to Lorre's character is just enough to spark intrigue.

If you're looking to watch a film classic that definitely stands the test of time, M should make the list. This film projected the then comic Peter Lorre into a career as a bad guy, and will surely project your rear to the edge of your seat.