At times the melodrama is downright hammy and there is really nothing unique about the plot - a group of con artists using a psychic/medium scam to bilk rich patrons, and a girl (Claudette Colbert as Jean) wrongly accused of theft by a rich woman to keep her away from her son, thrown into prison as a result, embittered and swearing revenge when she is released, and joining up with the gang. What is unique about all of this is how sound is used for the first time to give depth to the story.
The group of thieves keep a howling madman that they got from a carnival around for the séances, and when he lets out a yowl it is really creepy. The end, with Jean the fake spiritualist actually making contact with the dead, and mouthing the dead man's real words of warning was surprising and could not have been done effectively in a silent film. As for the visuals, they are a mixed bag. For example, there is a train wreck scene that is done oddly. Time is taken to get a real feel of the human toll of the wreck with close-ups of the passengers before and of the wreckage afterwards. But the accident itself looks very fake and amateurish - the train is obviously a miniature model.
The interior art design is a bit of a hoot too - I mean who is that supposed to be a statue of in the séance room? It rather looks like Buddha, but not exactly. Then there is one big goof by the thieves that actually draws the police like flies to the "hole in the wall" gang. Such so-called smart crooks would never make such a ridiculous mistake.
Edward G. Robinson is really great as "The Fox". For the first time you can see and hear a gangster in a film, and his speech and mannerisms are spot on and very natural. His sweet proposal to Jean, her gentle rejection, and his dignified acceptance of her decision is the acting highlight of the film. Oddly enough Robinson is fourth billed under Claudette Colbert, although this is the first talkie for both of them, neither having been particularly successful in silent films. Besides the familiar faces working their way up, it's interesting and a bit sad to see unfamiliar faces working their way down. David Newell, billed over Robinson, completely fails to impress. He does stand out though because of his halting speech, detached performance, and a fake smile that seems to be stapled to his face. I just can't see this guy staying on Jean's mind since they were childhood sweethearts and her passing up The Fox for this cardboard cutout.
The whole thing plays out a bit like an experiment in early sound film, and in December 1928 when it was shot that is pretty much what it was - even director Robert Florey looked at it that way, trying a number of different new techniques and players in this one film so he would know what would work. If you enjoy the early talkies I recommend you give this one a look.
The group of thieves keep a howling madman that they got from a carnival around for the séances, and when he lets out a yowl it is really creepy. The end, with Jean the fake spiritualist actually making contact with the dead, and mouthing the dead man's real words of warning was surprising and could not have been done effectively in a silent film. As for the visuals, they are a mixed bag. For example, there is a train wreck scene that is done oddly. Time is taken to get a real feel of the human toll of the wreck with close-ups of the passengers before and of the wreckage afterwards. But the accident itself looks very fake and amateurish - the train is obviously a miniature model.
The interior art design is a bit of a hoot too - I mean who is that supposed to be a statue of in the séance room? It rather looks like Buddha, but not exactly. Then there is one big goof by the thieves that actually draws the police like flies to the "hole in the wall" gang. Such so-called smart crooks would never make such a ridiculous mistake.
Edward G. Robinson is really great as "The Fox". For the first time you can see and hear a gangster in a film, and his speech and mannerisms are spot on and very natural. His sweet proposal to Jean, her gentle rejection, and his dignified acceptance of her decision is the acting highlight of the film. Oddly enough Robinson is fourth billed under Claudette Colbert, although this is the first talkie for both of them, neither having been particularly successful in silent films. Besides the familiar faces working their way up, it's interesting and a bit sad to see unfamiliar faces working their way down. David Newell, billed over Robinson, completely fails to impress. He does stand out though because of his halting speech, detached performance, and a fake smile that seems to be stapled to his face. I just can't see this guy staying on Jean's mind since they were childhood sweethearts and her passing up The Fox for this cardboard cutout.
The whole thing plays out a bit like an experiment in early sound film, and in December 1928 when it was shot that is pretty much what it was - even director Robert Florey looked at it that way, trying a number of different new techniques and players in this one film so he would know what would work. If you enjoy the early talkies I recommend you give this one a look.