Review of Thunderbolt

Von Sternberg's original 95-minutes cut was never released. Instead Zukor and Lasky ordered the movie to be cut down to a more exhibitor-friendly length – which turned out to be 85 minutes. So if you're looking for smooth continuity, you won't find it in this film which proceeds via a series of jumps until both the principals find themselves in the Death House. Needless to say, the scissors were not taken to George Bancroft's scenes. In fact, not a single frame was removed from these scenes, which was good in a way because it meant that the really enjoyable Curtis Mosby-Theresa Harris nightclub footage was also retained in full. However, the movie is definitely off balance (and even a little difficult to follow, let alone swallow) until we arrive at the Death House where the rhythm finally (and unexpectedly) settles down and even allows humor (of all things!) to be injected into the play. Nonetheless, if a comedian like Tully Marshall seems a strange choice for a Death House warden (Tully had played serious roles – and played them well – but here is definitely cast as the comic relief), George is always on top of his material and so totally in control that he can even make the plot twists sound credible and his final scenes unexpectedly moving. He is helped out here by Richard Arlen, an actor who started at the top, giving incredibly gripping performances in such films as Wings, Beggars of Life and The Virginian and then gradually working his way down to the Pine-Thomas side of Poverty Row and finally the formula westerns of A.C. Lyles. As for Fay Wray, I would use the adjective, "disappointing". Her nondescript portrayal would be more tolerable had she been more attractively dressed and presented. As it is, one wonders why the charismatic Thunderbolt is so possessive of such an average-looking girl who is also so totally lacking in personality. Opposites attract, I guess!