The Cameraman.

Review #1774: The Cameraman.

Cast: 

Buster Keaton (Buster), Marceline Day (Sally Richards), Harold Goodwin (Harold Stagg), Sidney Bracey (Edward J. Blake), Harry Gribbon (Hennessey, the cop), with Josephine the Monkey, Richard Alexander, Edward Brophy, and Ray Cooke. Directed by Edward Sedgwick and Buster Keaton (#757 - Seven Chances, #762 - College, #805 - The Navigator, #877 - Three Ages, #908 - The General, #926 - Our Hospitality, #941 - Sherlock Jr, #1037 - Go West, and #1058 - Battling Butler, #1173 - Steamboat Bill, Jr)

Review: 

“When we made pictures, we ate, slept, and dreamed them.”

Buster Keaton, as is the case with several folks that thrived in the silent era, deserved better. He thrived best as one of the comedy pillars of the silent era, but his popularity underwent its demise not long after his decision to sign a contract with Metro Goldwyn Meyer. Of course, it actually really started with The General (1926), arguably his greatest film. The mixed success of the film at the time led his distributor in United Artists making sure to monitor him more carefully in expenses. With this film, it fell to MGM to try and manage him, with Keaton not even given credit for co-direction; Sedgwick, known for his un-credited work for 1925's The Phantom of the Opera (#774), shouldn't be diminished, since he tried to maintain his authority before quietly telling Keaton to help guide him. Keaton would later call his decision to join one of the worst of his life, one that would last until 1933. Instead of doing all the stunts, now he had stuntmen (after this film, anyway). Perhaps it is a coincidence that a movie involving cameramen name-drops the studio in the film. done by MGM. He wanted Spite Marriage (1929, the film released after this one) to be done ss a sound film, but the studio (headed by Irving Thalberg in production) wanted it to be done simply and under their control. As his workload got tougher in the next few years (which came with attempts at pairing him with Jimmy Durante for three films), his personal life fell apart, and he was fired from the studio midway through the 1930s. At any rate, this film managed to do quite well with audiences, even though it was believed to have been lost because of the 1965 MGM vault fire; three years later, a print was found in France, proving that is important to keep looking (a 1991 print was combined with this one to make the restored version one knows today). The film was written by Clyde Bruckman and Lew Lipton, with Joseph W. Farnham for titles. 

For what it is worth, the studio would show this film to new directors over the next few years about what a well-constituted comedy looked like. It is always hard to say just which Keaton film is the best, because he managed to do so well as one of the masters of the deadpan, the visual gag, and all-around master of charm. Even with a lessened capacity in terms of control with his comedy (i.e. not just him having an idea he could flesh out in the middle), he still is at the top of his game. His expressions in the face of amusing situations manages to never waver, always seeming to zone in on what is needed without becoming a malleable prop or just a stone face. He might not have as many dangerous stunts to pull around, but he still finds ways to make worthy humor come from arranged sequences, such as a street skirmish or sequences in a pool room. Day accompanies him with fair timing that fits what is needed, since one just has to make sure they don't look overmatched when it comes to being together. They match well, and the boat sequence is a useful one to note. At any rate, there are a few folks that Keaton pairs himself with for a gag, whether involving a monkey or with a hapless Gribbon (Goodwin does fine as the stooge). Of course, maybe the biggest smirk on my face comes with his scene at Yankee Stadium (an improvisation on his part), acting out the game to an empty crowd. At any rate, the sequence involving him shooting (or at least attempting) with the camera prove quite interesting, as a sort of film-within-the-film (which in that sense might remind one of Sherlock, Jr), complete with "mistake shots" and a climax with an absolute zinger for a line. The 67 minute run-time is effective to where one might want to see it twice just to absorb those visual gags again and again. It is the last great classic with Keaton in control, and he does everything one might see from him, never seeming compromised or constrained in his comic vision. No matter who stands out as your comic favorite of the silent era, Keaton's The Cameraman is still a great triumph for its era.

Overall, I give it 10 out of 10 stars.

I want to close this review off by acknowledging that today is the eleventh anniversary of the beginning of Movie Night. What a time we live in. 4,018 days since that day has seen 1,774 reviews, which means a review has been done every 2.26 days on average. As always, I wish to express my gratitude to anybody who has had the curiosity to check out this show over the years and anyone who has stuck around to check out what somebody on the Internet has to say about some random movie, whether good or bad. I hope that the years that follow lead to a continuation of interesting films to encounter and ponder about and that you are there to read all about it. Onward to the next row of films for the holidays.

In Old Arizona.

Review #1328: In Old Arizona.

Cast: 
Warner Baxter (The Cisco Kid), Edmund Lowe (Sergeant Mickey Dunn), Dorothy Burgess (Tonia Maria), Henry Armetta (Barber), James Bradbury Jr. (Soldier), Joe Brown (Bartender), Frank Campeau (Man Chasing Cisco), John Webb Dillion (Second Soldier), Alphonse Ethier (Sheriff), Jim Farley (Townsman), Pat Hartigan (Cowpuncher), and Soledad Jiménez (Tonita the Cook) Directed by Irving Cummings.

Review: 
In Old Arizona premiered on Christmas Day of 1928 (with general release to come in the following days) as a pioneer for Westerns and for talking films. It is the first major Western in sound, and it is the first talkie with outdoor scenes. Sunrise: A Song of Two Humans (1927) had been the first film from Fox Film to use the Fox Movietone sound-on-film system (which it used for a synchronized music score and sound effects). Now it is used here to make something in line with other Westerns adapted from previous material. The film is adapted from O. Henry's 1907 short story "The Caballero's Way". In the original story, The Cisco Kid was a killer for sport, as opposed to the more sympathetic portrayals in adaptations, although this does keep the ending from the original. There had been two adaptations of the work in the previous decade, and there would be further films to follow with the character in the next three decades (with Baxter playing the role four more times) along with a radio and television series. Baxter had started his career as an extra in 1914, gradually finding bigger roles over the 1920s, such as Sheltered Daughters (1921). He had gained this role through a series of accidents befalling people cast for the lead role. Raoul Walsh was a noted actor who became a director in his own right (having directed noted films such as Regeneration in 1915 and The Thief of Bagdad in 1924), and he was slated to direct and star as the lead. However, when he was driving during production in the desert, a jackrabbit jumped into the windshield of his car, blinding his right eye because of the broken glass. Actor/stuntman Buddy Roosevelt was brought in next, but he withdrew before production could re-start due to a broken leg, so it fell to Baxter to portray the charismatic lead and stay in one piece (along with do a bit of singing), resulting in an Academy Award. In that sense, he does okay, playing with tinges of charisma in a role that seems a bit dated nowadays (imagine putting on a mustache and trying to pull off an accent when you're from Ohio). At least he sings okay, in the same way that I really don't go watching too many singing cowboys to really compare it to. Lowe isn't too much better, but at least his brashness is meant to come out as opposed to seeming awkward with a microphone strategically placed to get the sound out fine like others. Burgess maintains the standard of the mediocre love triangle going with no bumps, although it really isn't much of an interesting triangle with chemistry to keep following for 95 minutes. These are chumps we are dealing with here, but at least it knows to pair it down with a decent ending (as opposed to just a shoot-out) involving the old switching-your-clothes-and-letters trick. The locations certainly seem lovely, even if they don't exactly match the title, with shots being done in Utah and California (notably in parks, missions, and the Mojave Desert) that look fairly nice. Honestly, the film isn't terrible, but it seems a bit tedious when it comes to execution, where one could note better Westerns that came before it that didn't have sound (such as 3 Bad Men, for example) and then note the ones that would come after it for how they dealt with both sound and story. The 1920s had plenty of interesting winners for film, but this one falls right in the middle - not quite forgettable, but not quite remarkable either.

Overall, I give it 6 out of 10 stars.

The Wind (1928).

Review #1327: The Wind.

Cast: 
Lillian Gish (Letty Mason), Lars Hanson (Lige Hightower), Montagu Love (Wirt Roddy), Dorothy Cumming (Cora), Edward Earle (Beverly), and William Orlamond (Sourdough) Directed by Victor Sjöström.

Review: 
For the year of 1928, change was imminent for film. Lights of New York, the first all-talking full length feature was released in July of that year (released through Warner Bros with the Vitaphone system, improving from their previous efforts). Sprinkled within the top grossing film list were mixes of silent and sound (or at least part-sound) films, such as The Singing Fool (the follow-up part-talkie musical by Warner Bros with Al Jolson) or The Circus (one of numerous Charlie Chaplin films that highlighted the decade) and so forth. The actors of yesteryear would either transition into the burgeoning era of voice or would find themselves doing other avenues of work besides film. Lillian Gish was a key pioneer as an actress for the silent era, who had transitioned from stage acting in the early 20th century to appearing films by 1912, with her highlights primarily being her work from D. W. Griffith, which I've noted before with Way Down East (1920). The rise of Metro-Goldwyn-Mayer in 1924 led to Gish signing and starring in films with them, with this being the last of the three made with the studio. This was the last of the three films she made for MGM (along with her last silent role), which was not a huge success upon release, having been delayed a year before release. This was the penultimate American film directed by Victor Sjöström, who was noted for work in his native country of Sweden in the decade with films such as The Phantom Carriage (1921) before moving on to sign with Louis B. Mayer to direct in 1924 with Name the Man, and he and Gish had collaborated on The Scarlet Letter two years earlier. Gish went back to theater acting in the following decade, although she would appear in films from time to time until her death at 99 in 1993, while Sjöström directed four more films (his last being in 1937) and returned to acting in the theater and in film, with his last performance before his death in 1960 being Ingmar Bergman's Wild Strawberries (1957).

This film was an adaptation of the 1925 novel of the same name by Dorothy Scarborough, which depicted a lonely small town Texan life in the 1880s, ending with the main character being driven mad by the corpse of the man she killed (after being raped) being uncovered by the wind that leads her to wander into a windstorm. The ending for the film was notably different from the book in that it was a happy one - although it has been said that it was imposed onto the film over a filmed "sad" ending, this does not seem the case. Gish and Sjöström were not fans of doing this ending, but the sensibilities of a public wanting something happy to close their viewing experience in the 1920s wins out, I suppose. It doesn't harm the film as a complete whole, mostly because it is compels attention for 78 minutes without hesitation, a drama of suffering in the elements that resonates without needless extravagance or maudlin sentiment. The film was primarily made in the Mojave Desert (with over 90 degree temperatures), with eight airplanes being used to help simulate wind (no points for wondering how bad conditions must've been for crew having to deal with all that air and sand). Gish is at her finest form here, displaying fragility and depth with a steely soul that urges to persist on and confront her fate like poetry with grace, whether when having to handle the harsh conditions of a small windy town (which can seem quite literal at times) or some of the people that come from it. Hanson (a Swedish actor who had his career turn to Hollywood with a few successes) does fine with Gish, having a reasonable screen presence when needed. The rest of the cast do well with their parts when needed, whether villainous with Love or comedy relief with Orlamond. The film is an engaging one, wracked with chills that make for quite a moody piece to view for the curious at heart. It is one with plenty of entertainment through its direction, acting, and effects that make it a welcome gem for the silent era and film viewers.

Next Time: 1928 strikes again with In Old Arizona.

Overall, I give it 8 out of 10 stars.

Steamboat Bill, Jr.

Review #1173: Steamboat Bill, Jr.

Cast: 
Buster Keaton (William Canfield, Jr.), Ernest Torrence (William "Steamboat Bill" Canfield, Sr.), Marion Byron (Kitty King), Tom McGuire (John James King), and Tom Lewis (Tom Carter) Directed by Charles Reisner and Buster Keaton (#757 - Seven Chances, #762 - College, #805 - The Navigator, #877 - Three Ages, #908 - The General, #926 - Our Hospitality, #941 - Sherlock Jr, #1037 - Go West, and #1058 - Battling Butler)

Review: 
Steamboat Bill, Jr (1928) was the tenth film with Buster Keaton as its main star along with director, although he was not credited for doing the latter unlike with other movies of his. He also reportedly wrote the story for the film, although only Carl Harbaugh was given credit for it. It also served as the last of his films to be distributed by United Artists, as he signed a deal with Metro-Goldwyn-Mayer, who would distribute Keaton's last two starring/directorial efforts (The Cameraman, which was released a few months after this film, and Spite Marriage, which was released the following year). In any case, the film was not an immediate success upon its release, but it has received a following of its own, much like with other Keaton films. It isn't too hard to see why, since Keaton manages to cobble an entertaining feature, filled with some fine gags, a few zippy title cards, and stunts that one would expect from Keaton. He does a fine job leading the way as one would expect, having fine timing and the right kind of expressions to go alongside the effective gags. Torrence does fine with his scenes with Keaton, evoking a few chuckles. Byron and McGuire are fine counterparts when needed in the story, although neither contribute too much in laughs. The characters (for which there aren't too many of) are fairly familiar types, but the film is charming enough to roll along with itself without too much time spent doing silly things. The climax is certainly an entertaining one. A good chunk of the budget (estimated to be around $300,000-$400,000) was spent on the cyclone sequence, having breakaway sets and wind machines. The original intent of the sequence was meant to depict a flood, but this was nixed by producer Joseph M. Schenck, in part because of the Mississippi River Flood that had occurred the previous year. It's a pretty impressive sequence, with the most notable part being where an entire building facade (with only the attic window being open) collapsing all around Keaton, which he did with no camera trickery. Even after nine decades since the film's release, it is still a sight to see, and it does invite chuckles (if not a bit of astonishment) that click with the other parts of the climax. On the whole, the film is a fairly enjoyable and generally consistent one that ranks up just fine with Keaton's other features; it may not be one of his best, but it is still one worth a look.

I want to close this review off by acknowledging that today is the eighth anniversary of the beginning of Movie Night. This show has had written reviews on a fairly consistent level in the 2,922 days from 2010 to 2018, averaging a review roughly every 2.5 days (or so the math says). Although the quantity of reviews has fluctuated over time, I will say that my passion for writing about films and watching them has not declined in the slightest. I wish to express my gratitude to anybody who has had the curiosity to check out this show over the years and anyone who has stuck around to check out what somebody on the Internet has to say about some random movie, whether good or bad. I hope that the years that follow lead to a continuation of interesting films to encounter and ponder about and that you are there to read all about it. Thank you for eight fine years. I would also like to wish you all a Merry Christmas and a Happy New Year.

Overall, I give it 8 out of 10 stars.

Speedy.

Review #1070: Speedy.

Cast: 
Harold Lloyd (Harold 'Speedy' Swift), Ann Christy (Jane Dillon), Bert Woodruff (Pop Dillon - Her Grand-daddy), Byron Douglas (W.S. Wilton), Brooks Benedict (Steve Carter), and Babe Ruth (Himself) Directed by Ted Wilde (#1044 - The Kid Brother)

Review: 
Speedy was the eleventh feature film starring Harold Lloyd, along with being his last silent film, released during the early transition from silent to sound features, with his next film Welcome Danger (1929) being filmed in both silent and sound but released in the latter. In any case, this is a fairly interesting film that manages to have its own share of charms. The plot involves Lloyd's character trying to save his love's grandfather from losing his business of operating a horse-drawn streetcar in New York City. Lloyd plays this carefree role convincingly enough, being quite charming and as useful as ever in his work with selling the gags. Christy and Woodruff are fairly decent, showing a bit of charm in each of their scenes with Lloyd. The other members of the cast are decent enough, although there isn't any particularly memorable adversaries or companions this time around, though the gags manage to make up for it enough.

There are numerous scenes showing the landscape of New York City, such as the scenes at Luna Park at Coney Island, or parts with Yankee Stadium, with the credit going to the filmmakers for not resorting to sets to try to simply have the film all filmed in sets, although a street of the Lower East Side was constructed on property that Lloyd owned on Westwood, California to complete the film. In any case, it's certainly interesting to look at this film as a time capsule of the city 80 years ago. The sequences on Coney Island are pretty entertaining, particularly the dollar-bill gag. Over halfway through the film, Babe Ruth (along with Lou Gehrig, appearing for a few seconds) shows up in an extended cameo role, being one of Lloyd's passengers on the taxi, which is pretty amusing. It may interest you to know that Wilde was nominated for the Academy Award for Best Director of a Comedy for this film, awarded at the 1st Academy Awards, although he lost to Lewis Milestone for his work on Two Arabian Knights (1927). This was the only Oscar ceremony in which there were separate categories (in this case, "Dramatic" and "Comedy") for Best Director. Naturally, the film ends with a big spectacle chase, filled with laughs and amusement that will surely prove charming to watch. On the whole, this is a fine piece of film-work that will certainly charm fans of silent films or fans of Lloyd - with me falling into both categories. It isn't as great as something like Safety Last! (#758), but it will fall under the line of an acceptable gem to focus 86 minutes on - take it for what it's worth.

Overall, I give it 8 out of 10 stars.

The Circus.

Review #1025: The Circus.

Cast: 
Charlie Chaplin (A Tramp), Al Ernest Garcia (The Circus Proprietor and Ringmaster), Merna Kennedy (His Step-daughter, A Circus Rider), Harry Crocker (Rex, A Tight Rope Walker), George Davis (A Magician), Henry Bergman (An Old Clown), Tiny Sandford (The Head Property Man), and John Rand (An Assistant Property Man) Directed by Charlie Chaplin (#353 - Monsieur Verdoux, #599 - The Kid, #600 - City Lights, #759 - The Gold Rush, #775 - Shoulder Arms, #820 - Modern Times, and #923 - The Pilgrim)

Review: 
Silent films are interesting to watch, particularly comedies. What does it mean to be funny? With the Tramp, there is something inherently entertaining about this silent clown, whether due to his physical appearance or the way he moves around, and this is especially prevalent in this film, in which he joins the circus. There are numerous entertaining sequences that inspire numerous laughs, from a chase sequence in the beginning to a tightrope sequence near the end with monkeys that is dare-defying along with amusing in its execution. The scene with the lion in the cage is also one that stands out for its thrills (with the sequence reportedly taking over 200 takes to get correctly), and it is one that certainly looks chilling even for the modern age. There is just a great semblance of imagination and entertainment that the movie inspires due to the circus setting, with a story that is simple but also fairly dynamic as well. The rest of the cast do a fine job, with Garcia doing good in playing opposite Chaplin as the ringmaster. The ending is a bit murky along with bittersweet, although at least the ending shot of him walking off in the distance is a memorable one. It likely isn't as great as The Gold Rush (1925), but it is at the very least one of Chaplin's best films.

There were numerous production delays and problems, such as a studio fire, the death of Chaplin's mother, Chaplin's divorce from his wife and claims of owed back taxes by the IRS that made filming stall for eight months. In any case, the film was released three months after The Jazz Singer. Both that film and Chaplin were recognized by the Academy during the 1st Academy Awards with Honorary Awards, with Chaplin receiving one for "for writing, acting, directing and producing The Circus". In the late 1960s, he did a new musical score for the movie, with a recording of him singing "Swing Little Girl" playing over the opening credits of the film, and it is certainly an interesting way to begin things. At 70 minutes, this is an entertaining film that proves to be highly satisfying with its slapstick comedy, all due to the talent of Chaplin that comes out greatly on screen. It's an agile kind of movie that has enough sight gags and snappy title cards to make this an easy one to recommend for anyone.

Overall, I give it 9 out of 10 stars.

The Man Who Laughs (1928).

Review #999: The Man Who Laughs.

Cast: 
Mary Philbin (Dea), Conrad Veidt (Gwynplaine / Lord Clancharlie), Brandon Hurst (Barkilphedro), Olga Baclanova (Duchess Josiana), Cesare Gravina (Ursus), Stuart Holmes (Lord Dirry-Moir), Samuel de Grasse (King James II Stuart), George Siegmann (Dr. Hardquanonne), and Josephine Crowell (Queen Anne Stuart) Directed by Paul Leni (#863 - Waxworks)

Review: 
I figured that it would be fitting to do a silent film for the 999th review, with this being the 62nd of its type covered on Movie Night. You may notice that the square right next to the title card is in a few colors like pink, grey and black. These colors were utilized for the 99th review (Mutiny on the Bounty), albeit with a bit more stylizing this time around. Enjoy this review.

This was adapted from Victor Hugo's 1869 novel of the same name. The novel had one previous adaptation in 1921 named The Grinning Face, made in Austria. Universal had previously adapted Hugo's The Hunchback of Notre Dame (#850) back in 1923, and the intent was to have Chaney star in the title role after the success of that film, although issues to the rights of the novel meant that Chaney would be released from doing this film in favor of The Phantom of the Opera (#774). After that film's release, producer Carl Laemmle decided to try and make this as his next attempt at Gothic success, with Veidt picked to play the title role. Leni, who had recently moved to Hollywood after having been invited by Laemmele, was selected as director. Both choices prove to be fairly crucial in why this film works as well as it does; Leni uses his lighting and sets to fine effect, as one might expect from a German Expressionist such as him. Veidt wears a makeup device that made his mouth swollen while being supplied disturbing teeth, which contributes to the look of his character. While it is a great effect, it takes a good actor to help convey numerous emotions with only his eyes, and Veidt stands up to the challenge quite well. The appearance of Veidt proved to be the visual inspiration for the comic book villain the Joker, appearing in comics over a decade later. Philbin, playing a role not too different from her role from Phantom of the Opera (in which she played opposite Chaney), does a decent job, given that she is playing a blind person.

This film is sometimes counted as one of the films of the Universal Monsters series, and while it isn't much of a horror film, there is a fair amount of gloom within its tone to make a case for it, although it also has elements of romance and swashbuckling action. Yes, it has a climax with excitement, but the scenes that precede it also can be sad, such as when Veidt's character is shown in a freak show, or when he is being propositioned by Baklanova's character. The scene at the House of Lords proves to a moving and effective scene in part because of Vedit and his mannerisms towards the others. Though this is a silent movie, it was (on re-release) shown with sound effects, a synchronized score, and even a theme song (named "When Love Comes Stealing"). The sounds we get to hear are of laughter during the freak show, which is certainly a startling (and satisfying) effect, and the theme is fairly passable as well. As a whole, this is an efficient movie that satisfies on numerous levels while being fairly paced well at 110 minutes. It might not be the horror film that you might expect from seeing Veidt's appearance on screen, but it is a satisfying romance drama (with a bit of horror) with enough competence and style to make a top-notch effort.

Well. Here we are at end of review nine hundred ninty-nine. 
You are likely wondering what is next for the one thousandth review, so I'll tell you...

...tomorrow night, when the review is actually up. I'm not trying to hype the review, but I figure it makes sense to let you all wonder a bit and enjoy. 

Overall, I give it 9 out of 10 stars.

Show People.

Review #987: Show People.

Cast: 
Marion Davies (Peggy Pepper), William Haines (Billy Boone), Dell Henderson (General Marmaduke Oldfish Pepper), Paul Ralli (Andre Telfair), Tenen Holtz (Casting director), Harry Gribbon (Jim, comedy director), Sidney Bracey (Dramatic director), Polly Moran (Peggy's maid), and Albert Conti (Producer) Directed by King Vidor.

Review: 
This was a lighthearted look at Hollywood released near the end of the silent era, but it featured synchronized musical score and sound effects, with numerous cameo appearances from stars of the time throughout the film, such as Charlie Chaplin, Douglas Fairbanks, John Gilbert, with Davies and Vidor making cameos as themselves. Admittedly, it may feel a bit familiar to anyone who has watched a film about a person's rise (and their ensuing change in personality), but this is at least decent fare. This is an enjoyable film that utilizes some star power along with a ready amount of charm and well crafted direction to be good entertainment. Davies does a capable job, seemingly well suited for the comedic situations that happen (best signified by her reaction to being sprayed with a seltzer bottle). This is definitely a fine delight of a film, mainly because Davies proves quite capable at eliciting laughs while also being fairly interesting to watch to interact with the rest of the cast. Haines is a fairly decent counterpart for Davies, and he does help elicit some laughs as well. The rest of the cast also do fine jobs in their parts, but the real highlight is the amount of guest appearances, which are pretty charming; though I did not recognize all of the actors that make an appearance, they certainly feel useful enough without seeming obnoxious (my favorite of the cameos has to be Davies, as she and her character meet for one short scene). At 79 minutes, this is a clear pick for anyone looking for a nice enjoyable little clever comedy.

Overall, I give it 8 out of 10 stars.

The Racket (1928).

Review #901: The Racket.

Cast:
Thomas Meighan (Captain James McQuigg), Louis Wolheim (Nick Scarsi), Marie Prevost (Helen Hayes), G. Pat Collins (Patrolman Johnson), Henry Sedley (Spike), George E. Stone (Joe Scarsi), John Darrow (Dave Ames - Cub Reporter), and Sam De Grasse (District Attorney Welch) Directed by Lewis Milestone.

Review:
It only took until February to cover a silent film for the new year, but it's good to get back into the voiceless spirit, especially with a movie that was lost for years until it was found in the collection of producer Howard Hughes' after his death.This was one of the films nominated at the 1st Academy Awards for "Outstanding Picture", though it lost to Wings (#349. Fun fact, that year also had a category named Unique and Artistic Picture (which #499 - Sunrise: A Song of Two Humans won), while also having Best Director for both Comedy and Dramatic Pictures). The Racket was based off the play of the same name (which like the film was banned in Chicago), and it certainly feels like a play at times, using only a few sets (such as the police station), but the film manages to have snappy action and efficient characters, moving at an efficient pace. Wolheim certainly has the look of a villain (due to a football injury to his nose in college), and he does a fine job at making this gangster a decent counterpart to Meighan, who also does pretty good as the authority figure, having a stern but workable attitude that certainly looks the part. The rest of the cast is also pretty good at their roles, not doing anything too over-the-top and Prevost being a fine player who doesn't get involved in romance scenes (though her chemistry with Darrow is serviceable at least). At 84 minutes, The Racket runs at a fine pace while also being the kind of crime drama that pulls all the right buttons and moves the right motions in its nifty cast and action at the right times, made just before gangster films became more prevalent. On the whole, it's a efficient film.

Overall, I give it 8 out of 10 stars.

Movie Night: A Woman of Affairs.

Review #423: A Woman of Affairs.

Cast
Greta Garbo (Diana Merrick Furness), John Gilbert (Neville Holderness), Lewis Stone (Dr. Hugh Trevelyan), Johnny Mack Brown (David Furness), Douglas Fairbanks Jr. (Jeffry Merrick), Hobart Bosworth (Morton Holderness), and Dorothy Sebastian (Constance) Directed by Clarence Brown.

Review
In the six (#256, #261, #330, #349, #400, #415) previous 1920s films I've reviewed here, all of them have been silent films (either involving clowns, vampires, Caligari, a thief, Americans, or pilots), and they seem to run together somehow, a recurring theme. This film breaks that trend, this being a romantic drama, with newcomers for Movie Night, such as Greta Garbo (notable for doing 28 films before retiring at 35), John Gilbert (a notable silent film star who did have star in talkie films briefly), and Douglas Fairbanks, Jr, who was a film star much like his father, this being a fine opportunity to have reviewed father and son, which I can only remember one other time doing, with Michael and Kirk Douglas. Anyway, this film is enjoyable enough, and it flows well, not running too long or too short, and the actors do convey emotion pretty well, not failing in their attempts to convey the story rather than having the title cards do it for them. It's a noteworthy film that I do recommend to anyone who wants a good time regardless of the year it was made, which I suppose is enough.

Overall, I give it 8 out of 10 stars.

Movie Night: Laugh, Clown, Laugh.

Review #330: Laugh, Clown, Laugh.

Cast
Lon Chaney (Tito/Flik), Loretta Young (Simonetta), Nils Asther (Count Luigi Ravelli), Bernard Siegel (Simon), Cissy Fitzgerald (Giacinta), and Gwen Lee (Lucretia) Directed by Herbert Brenon.

Review
Lon Chaney was one of the prime silent film stars long ago, being a lot of roles like the Hunchback to even the Phantom, giving him the name of "The Man of a Thousand Faces". And he does a a great job for his first appearance here (With his son being reviewed in #260 - The Wolf Man), managing to do a great job to convey his feeling al into his face. The rest of the cast do a decent job, conveying their feelings decently. It's a strange, yet sad film, with a circus feel that brings a bit of joy. It's a decent film that has a mostly short runtime (Lasting mostly over an hour), giving some sort of entertainment.

Overall, I give it 8 out of 10 stars