As the rise of Nazism gnawed at the patience of the artists and intellectuals of the world, M was banned. Initially, Lang was applauded for his utopian rhetoric found in his previous masterpieces. This, on the Nazis' part was a total misinterpretation of Lang's intentions. Upon release, Lorre's Jewish origins forcibly uprooted him to safety in Paris. Lang, having been offered the prestigious position of Minister of Movies, joined Lorre, where they were later met with open arms by Hollywood. M remains a haunting relic of societal change. Berlin's implied decadence is all but replaced by a palpable air of dirt and discomfort. And, what remains distinct even by today's standard of serial killer movies, is Lorre's performance. He stares confused and weak directly at his audience. He asks for forgiveness and defends his actions that he deems to be "evils of torment". It's the type of allegorical splendour we've very rarely been able to implicate in cinema since. For Lorre and Lang, however, the evils were all too present and all too powerful.