This was apparently all the rage in 1929, but 95 years later can be a bit challenging to watch. The usual trials of early talkies are there with large periods of silence and slow camera movement, but some of the track shots seem really inventive for its time, particularly at the beginning. Compared to other films of 1929 though, it's nearly a masterpiece thanks to the inventive choices of director Roland West.
The first hour gives a lot of focus to the alcoholic criminal played by Regis Toomey who sunk from leads and major supporting roles to bit parts by the 1940's ("Meet John Doe", "The Doughgirls"), but here, he's quite commanding with the rather tragic character he plays. The leading man is Chester Morris whose gangster is much more subtle than Cagney or Raft or Robinson, and it's a character that builds in intensity.
Then there's Mae Busch who played some rather shrewish women in the Laurel and Hardy shorts, showing great range here. Eleanor Griffith, as Morris's wife, is also very interesting. The film interspersed a ton of musical numbers that aren't full length but adds to the atmosphere. Ray June should be greatly credited with some very intriguing camera work here, whether having a camera moving through an empty set to move into another room where the action is taking place, or peaking into windows as a bunch of people engage in various activities. Definitely one of more historical value than entertainment, but I can see why this is acclaimed as an advancement in film technology.
The first hour gives a lot of focus to the alcoholic criminal played by Regis Toomey who sunk from leads and major supporting roles to bit parts by the 1940's ("Meet John Doe", "The Doughgirls"), but here, he's quite commanding with the rather tragic character he plays. The leading man is Chester Morris whose gangster is much more subtle than Cagney or Raft or Robinson, and it's a character that builds in intensity.
Then there's Mae Busch who played some rather shrewish women in the Laurel and Hardy shorts, showing great range here. Eleanor Griffith, as Morris's wife, is also very interesting. The film interspersed a ton of musical numbers that aren't full length but adds to the atmosphere. Ray June should be greatly credited with some very intriguing camera work here, whether having a camera moving through an empty set to move into another room where the action is taking place, or peaking into windows as a bunch of people engage in various activities. Definitely one of more historical value than entertainment, but I can see why this is acclaimed as an advancement in film technology.