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Fritz Lang's M (1931), contains both dialogue sequences and silent sequences with music or sound effects. Lang edited the sound as if he were editing the visuals.
We are introduced to the murder in shadow when he speaks to a young girl, Elsie. We hear the conversation he makes with her, but we see only his shadow, which is ironically shown on a reward poster for his capture.
Lang then set up a parallel action sequence by intercutting shots of the murderer with the young girl's mother. The culmination of the scene relies wholly on sound for its continuity. The mother calls out for her child. Each time she calls for Elsie, we see a different visual: out of the window of home, down the stairs, out into the yard where the laundry dries, to the empty dinner table where Elsie would sit, and finally far away to the child's ball rolling out of a treed area and to a balloon stuck in a telephone line.
With each shot, cries became more distant. For the last two shots, the mother's......

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