George Bancroft (Bull Weed), Clive Brook (Rolls Royce), Evelyn Brent (Feathers McCoy), Larry Semon (Slippy Lewis), Fred Kohler (Buck Mulligan), Helen Lynch (Mulligan's girl-friend), Jerry Mandy (Paloma), Karl Morse (High Collar Sam), Alfred Allen (judge), Shep Houghton (street kid), Julian Rivero (Mulligan henchman).
Director. JOSEF VON STERNBERG. Screenplay: Howard Hawks. Adapted by Robert N. Lee and Charles Furthman from the story by Ben Hecht. Titles: George Marion, Jr. Director of photography: Bert Glennon. Supervising film editor: E. Lloyd Sheldon. 2nd unit director: Henry Hathaway. Art director: Hans Dreier. Associate producer: B.P. Schulberg. Producer: Hector Turnbull. Presented by Adolph Zukor, Jesse L. Lasky.
Copyright 29 October 1927 by Paramount Famous Lasky Corp. New York opening at the Paramount, 2 August 1927. U.S. release: 29 October 1927. 8 reels. 7,643 feet.
SYNOPSIS: New member of an underworld gang takes an interest in the boss' moll.
NOTES: Academy Award, Original Story, Ben Hecht (defeating The Last Command and The Patent Leather Kid). Number 8 in The Film Daily 1927 poll of U.S. film critics.
COMMENT: Just as entertaining today as when first released nearly 80 years ago, this fast-paced story (with concise, often-amusing titles by George Marion, Jr.) is made marvelously vivid by von Sternberg's passion for atmospheric effects (especially in the fantastic climax) and by a number of particularly vibrant performances.
Miss Brent is perfect. Her first scene with the reformed Clive Brook is an acting tour-de-force. Mr. Brook is also quite extraordinary. In his introductory scenes he is almost unrecognizable, making the transition from bum to gentleman crook with a polished ease that dazzles with fluid charm. Can this be the same wooden Brook that gave such stiff performances in early talkies?
Bancroft is also a powerhouse, and all are well served by von Sternberg's (don't take any notice of the name on the credits) film noir photography. (The photographer's union enforced the rule that one of their members be engaged, even if he did no work and offered no suggestions.)
Director. JOSEF VON STERNBERG. Screenplay: Howard Hawks. Adapted by Robert N. Lee and Charles Furthman from the story by Ben Hecht. Titles: George Marion, Jr. Director of photography: Bert Glennon. Supervising film editor: E. Lloyd Sheldon. 2nd unit director: Henry Hathaway. Art director: Hans Dreier. Associate producer: B.P. Schulberg. Producer: Hector Turnbull. Presented by Adolph Zukor, Jesse L. Lasky.
Copyright 29 October 1927 by Paramount Famous Lasky Corp. New York opening at the Paramount, 2 August 1927. U.S. release: 29 October 1927. 8 reels. 7,643 feet.
SYNOPSIS: New member of an underworld gang takes an interest in the boss' moll.
NOTES: Academy Award, Original Story, Ben Hecht (defeating The Last Command and The Patent Leather Kid). Number 8 in The Film Daily 1927 poll of U.S. film critics.
COMMENT: Just as entertaining today as when first released nearly 80 years ago, this fast-paced story (with concise, often-amusing titles by George Marion, Jr.) is made marvelously vivid by von Sternberg's passion for atmospheric effects (especially in the fantastic climax) and by a number of particularly vibrant performances.
Miss Brent is perfect. Her first scene with the reformed Clive Brook is an acting tour-de-force. Mr. Brook is also quite extraordinary. In his introductory scenes he is almost unrecognizable, making the transition from bum to gentleman crook with a polished ease that dazzles with fluid charm. Can this be the same wooden Brook that gave such stiff performances in early talkies?
Bancroft is also a powerhouse, and all are well served by von Sternberg's (don't take any notice of the name on the credits) film noir photography. (The photographer's union enforced the rule that one of their members be engaged, even if he did no work and offered no suggestions.)