Thunderbolt (1929).

Review #1837: Thunderbolt.

Cast: 

George Bancroft (Thunderbolt Jim Lang), Fay Wray (Ritzy), Richard Arlen (Bob Moran), Tully Marshall (Warden), Eugenie Besserer (Mrs. Moran), James Spottswood ('Snapper' O'Shea), Robert Elliott (Prison Chaplain), Fred Kohler ('Bad Al' Frieberg), E. H. Calvert (Dist. Atty. McKay), and George Irving (Mr. Corwin) Directed by Josef von Sternberg (#1325 - Underworld and #1337 - Shanghai Express)

Review: 

It is interesting to consider what the turn of a decade or the turn of new technology can do to (or for) a director. In the case of Josef von Sternberg, going from silent films to sound would only keep him right where he needed to be to express his vision of filmmaking. This is his ninth feature film (three are lost, with two of them not even having a full release), one that started in 1925 that would span three decades over various studios; he had a distinct style that did not always lead to box office success, but most of his films generally still seem ripe for further research and curiosity, with the level of that depending on just what film of his you see, whether that was his debut with The Salvation Hunters (1925) or Underworld (1927) or The Last Command (1928, where he directed his lead actor to an Oscar) or The Docks of New York (1928). If you remember, Bancroft was the star in Underworld, and this film was the fourth and final collaboration between him and von Sternberg, with all of them featuring him getting swept up in crime (two as gangsters, one as a brawler, and one as a police captain) with two of them involving him trying to cope with the loss of his girl. He went from serving on merchant ships and a stint in the Navy to becoming an actor on Broadway and film, having a career in the latter for seventeen years, but it was the early parts of his career that saw him as a name star (complete with a nomination for an Academy Award for Best Actor with this film) before moving into supporting roles before moving into ranching full-time in 1942, which he did until his death at the age of 74 in 1956.

One can say that the transition into sound did not hinder the qualities shown by von Sternberg when it comes to making curious features of entertainment (there was a silent version of this film made for theaters without sound). He doesn't seem stilted by the addition of a microphone for sound, if only because he utilizes his sets and actors for interesting arrangements and dialogue that makes its 85-minute run-time go by fairly smoothly. The screenplay was written by Jules Furthman and Herman Mankiewicz while the story was done by Charles and Jules Furthman. So yes, the movie is about a guy named "Thunderbolt" and his attempts at trying to get what he wants from his girl and the law before a fateful climatic decision; the movie spends a good chunk of its time in a prison set with a small assortment of characters that used for a bit of humor, since a musical group does play in certain scenes, for example. As such, it is Bancroft who dominates the film with the way that he commands attention with his ego that makes him a curious figure to view in the lines of crime, because there are layers that come out in a rough exterior without falling into easy sentiments (granted, there is a dog that he has a soft spot for, but this isn't too distracting). Wray got into acting as a sixteen-year-old Canadian in 1923, which can't be forgotten in a six-decade career that saw her known for being a "scream queen". She does fine with what is needed here in terms of calm allure, one who seems perfectly fine with "normalness" without being wrapped in hokum. Arlen makes an ideal square without falling into mockery, looking just fine when paired with Wray for their scenes together (Besserer being paired as his on-screen mother is a bit amusing, if only because one doesn't usually see mother figures...for non-criminals in these kind of movies). Marshall proves a worthy foil for Bancroft in generating a bit of amusement as bumbling authority, such as letting a prisoner get out of their cell to subdue a prisoner who grabbed a gun...which results in a punch-out. No matter how much the climax could be thought of as inevitable, the movie does handle its final moments well without springing for maudlin overkill. As a gangster film, it proves okay when compared to his previous work Underworld was in terms of overall excitement, but even being a minor work in von Sternberg's lineup is still a nice compliment to hand it for recommendation, proving a useful curiosity with a suitable lead presence that makes for a relatively charming time.

Overall, I give it 7 out of 10 stars.

Stagecoach (1939).

Review #1349: Stagecoach.

Cast: 
Claire Trevor (Dallas), John Wayne (Ringo Kid), Andy Devine (Buck), John Carradine (Hatfield), Thomas Mitchell (Doc Boone), Louise Platt (Lucy Mallory), George Bancroft (Marshal Curley Wilcox), Donald Meek (Samuel Peacock), Berton Churchill (Henry Gatewood), and Tim Holt (Lieutenant Blanchard) Directed by John Ford (#398 - The Last Hurrah and #1324 - 3 Bad Men)

Review: 
When the right actors and directors are in place to tell a tale of the Old West, it can make for great entertainment. In the early parts of the 20th century, there were plenty of Western films to go around, whether made with a bit of ambition in budget or made on the cheap. John Wayne served as star to several films of the latter category for a majority of the 1930s, most notably with Poverty Row company Monogram Pictures (although there were films he made with the bigger studios, albeit as B-pictures). Although one recognizes his good performance from his feature starring debut in The Big Trail (1930) now, it was considered a financial flop at the time, which did not help his career. But one man knew he had some promise. Who better to exude such confidence than John Ford? For his first Western in thirteen years, Ford tried to attract interest from the major studios to make his film the way he wanted, but it was Selznick International Pictures (founded by noted producer David O. Selznick) that found itself attracted to it more than the majors. Of course, Selznick wanted big name stars to headline the film like Gary Cooper or Marlene Dietrich as opposed to Wayne, but Ford stood firm and eventually found his producer in Walter Wanger with United Artists, albeit with a budget of just $500,000. The film is an adaptation of Ernest Haycox's 1937 short story "The Stage to Lordsburg", done so by Dudley Nichols, who had won an Academy Award for his screenplay in a previous collaboration with Ford earlier with The Informer (1935). A film like this would not come easy - for the director nor its stars. Ford was a man who liked to keep his actors on their toes, describing Devine at one point as a "big tub of lard" and Wayne as a "big oaf". Of course Devine provides a well-done performance (complete with his riding of six horses, which helped him get the part) and Wayne is the everyman that all should look up to, with Ford being the guide in challenging his actors to new heights. Of course one cannot forget Monument Valley, a region on the Arizona-Utah border with plenty of sandstone buttes to behold. Ford loved the place so much that he would return to use it for several films in the following decades, with its wide open spaces blending in with the studio-filmed coach sequences and the backlot usage for the town parts. One who should not be forgotten for their contributions is stuntman Yakima Canutt. The first is his help in suggestions when it came to trying to pull off a sequence with the stagecoach floating across a river with passengers in it (his solution? hollow logs tied to the coach). The second is his stunt-work with the memorable attack of the stagecoach by the natives, in which he rode full speed alongside the coach on a horse, with the most notable stunt being him falling between two lead horses before hanging from the rig before letting go to allow for the horses and the stagecoach to pass over him. Of course the way they handled the horses for filming during said sequence is not as astonishing, as they used a "Running W" device that essentially circled the legs of a horse with an iron clamp and strong wires for when they needed a horse to tumble after its rider was "shot" (with the obvious result being an effective trick but plenty of injured horses). The attitude towards Native Americans that this film has (as is the case with numerous Westerns of the time) is certainly dated, but I am sure it will note adversely affect the general enjoyment of the film as a whole.

One cannot forget about the ensemble in all of this. It is a brilliantly assembled group, each of which being clearly defined in their presence that does not get lost in the shuffle of adventure. A group of eccentric but well definable (and therefore relatable) folks on a trip wracked with some sort of problem either internally or externally seems fairly familiar, but this is a well-executed one at that, moving with the rhythm of a horse on the move. One cares for this group of travelers during this 96 minute trail, and it all starts with Wayne and his memorable close-up entrance. He provides wonderful dignity in a manner that extends to his time spent with Trevor. They share careful chemistry with each other, rolling with the tension that comes with a journey without needing to resort to cliches of the heart, which goes well with the weary vulnerability she exudes. Devine provides squeaky charm of the best sort - you would be proud to have him around for a ride or a story. One cannot forget Carradine (who went from stage company to 300-film company in a six decade career) and his sleek gambler nature that aligns with Platt in contrast quite well. Mitchell (in an Oscar-winning turn) provides warmth and eccentric nature through the wise drunk man routine that pays off in spades for each moment. Bancroft provides grit with authority that is to be expected to the ends the film needs to go to, while Platt, Meek and Churchill each provide distinct qualities that make them seem more than just in the background, wrapped in either dignity, meekness, or prejudice. By the time the film gets to its sequence involving the chase of the stagecoach through dangerous territory, one has found themselves never really wanting the trail to find its end, riveted at what they see go on with a crew at the top of their game for the perfect time (this of course did not stop someone from remaking it in 1966). The build-up to the final showdown is just as exquisite, magic in delivering tension without needing to show a big gun-fight to make an impact. Wayne became a star because of this film, and he would team up with Ford in several productions over the following three decades, most of which (but not all) being Westerns. 1939 was a great year for films, and this is one of those films, a legendary tale worth viewing to understand what one can do with an ensemble cast and a hard-nosed determined director at the helm to make history.

Overall, I give it 10 out of 10 stars.

Underworld (1927).

Review #1325: Underworld.

Cast: 
Clive Brook ("Rolls Royce" Wensel), George Bancroft ("Bull" Weed), Evelyn Brent ("Feathers" McCoy), Fred Kohler ("Buck" Mulligan), Helen Lynch (Meg), Larry Semon ("Slippy" Lewis), and Jerry Mandy (Paloma) Directed by Josef von Sternberg.

Review: 
"Shadow is mystery and light is clarity. Shadow conceals--light reveals. To know what to reveal and what to conceal and in what degrees to do this is all there is to art."

Sometimes you just need a crime film to wind you up for entertainment. This was the film that helped to serve as a template for gangster films to develop that would come along in the next decade, while also helping to deliver its director and writer to further projects over the next several years. It should only make sense to cover a film from Josef von Sternberg, who forged a career in the latter parts of the silent era with his directorial efforts that were characterized by his expressive camera work. He had gotten his start in film in 1919, working with silent directors such as Roy William Neill and Emile Chautard, with his first film credit being for The Mystery of the Yellow Room as assistant director. He had his debut as director in 1925 with The Salvation Hunters, which he also wrote and co-produced. It subsquently recieved a private viewing at the home of Charlie Chaplin, which led to being tasked to direct a film starring Edna Purviance named A Woman of the Sea (1926). A preview screening did not fare well with Chaplin, who decided to not release the film, which later had its negatives burned seven years later in order to note it as a loss for tax reasons, although production stills survive. He had signed by Metro Goldwyn Meyer, but he left the studio after troubles on both The Exquisite Sinner (soon re-shot by Phil Rosen) and The Masked Bride over his vision. He was hired in 1927 by Paramount Pictures "technical advisor for lighting and photography". He was tasked to reshoot scenes and recut footage for Frank Lloyd's Children of Divorce (1927) when executives determined the film was not releasable in its current state. The success of his revision led to him being tapped to direct this film.

One can see various gangster tropes fairly quickly into the film, namely with its maverick criminal lead, a messy love triangle, memorable nicknames, and of course a shootout for the climax (really half of these could be culled for a Western). It all ends up to make a breezy 80 minute experience. Style is a thing that can fit for any decade, and this is one is certainly bold enough to keep up with such demands from its director. The cast do well with the material, such as Brook, who

certainly has the eyes to sell a down-and-out drunk without needing to swagger in hysterics. Bancroft certainly seems bold enough to play an eccentric heavy, devoted to his work, loyalty, and women that provokes attention whenever on screen. Brent plays out the main triangle fairly carefully. The rest of the cast fill out quite well, and the film is relatively engaging without complicating itself in too much detail. It captivates the curiosity in ways that would play itself out further for future films when it came to a focus on criminals and what made them tick, for which von Sternberg does with bold confidence.

The writing for the film was done by journalist and playwright Ben Hecht, who earned an Academy Award for Best Original Story (awarded until 1957) at the very first Academy Award ceremony in 1929 (the award window would not be tightened up to honor just the preceding year until the 1935 ceremony). Hecht became one of Hollywood's go-to people for screenplays, while von Sternberg found success with various studios before his last film in Jet Pilot (1957). He had his conflicts with studio executives over the years when it came to trying to compromise his artistic vision, but he managed to pull off a noted career with the style that came through on screen, with this film being a key piece of his legacy of shining entertainment.

Next Time: The Jazz Singer.

Overall, I give it 8 out of 10 stars.