There still remains plenty of interest in the manhunt story, told with the imaginative gimmicks of one of Andersen's gorier fairy tales plus some modernized (ca. 1931) touches of abnormal psychology, in which everybody from the enraged police department down to the edgy criminal fraternity pounds the trail of a homicidal child-molester (Peter Lorre, with bulging frog-eyes, in the part that shot him to screen prominence). However, Fritz Lang's visual style, once a model of sturdy logic, now seems as leaden as a textbook, and slow as well, ever so slow. (1931) — Duncan Shepherd
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