Cramming a mammoth book, like Fyodor Dostoevsky's Crime and Punishment, into an hour and a half is not an easy job, but while it does fall short of being a great film Josef von Sternberg's 1935 version does ably with the adapting and makes for good entertainment in its own right.
Understandably, it is very condensed with things omitted or introduced but quickly skimmed over, but the basic story, the basic themes and the psychological tension are very much intact and effectively so. The film's low budget does show at times, in some less than imaginative sets (time and place is not always very clear) and some editing that could have done with a little more tightness, and while omissions were inevitable the film could easily have been even better with a longer length to give the story more depth than there was (not that there wasn't already, just that for a story of this amount of complexity there could have been more). Marian Marsh's prostitute-with-a-heart-of-gold character did feel underwritten, there is much more to the character in the book (here, like the similarly blandly played Grilov- who is affected even worse-, the character is reduced to a stereotype), and her performance did come over as bland despite her radiant looks. The romantic subplot very wisely didn't overshadow the film, but the scenes it features in don't quite have the heart and warmth they could have done, and the final third is a touch too drawn out for that reason.
However, despite the low-budget and that it's not a beautiful-looking film, Crime and Punishment has many parts where it still looks good. The lighting is appropriately shadowy, adding much to the atmosphere and psychological tension of the film, and the semi-Expressionist cinematography is wonderfully dark and striking. Von Sternberg directs with cracking efficiency and knack for suspense. Crime and Punishment is hauntingly scored and the script keeps to the tone and substance of Dostoevsky's writing style, the interplay between Raskolnikov and Porfiry is nail-biting in its tension and entertainment value. The story still is incredibly compelling and tautly paced and structured, even with the condensation this is classic Dostoevsky and his style still shines.
Peter Lorre could be as over-theatrical in places, but actually it is more subtle than some of his other work. Raskolnikov's menacing characteristics are really quite haunting, and his anguish is even more convincing and very powerfully and movingly portrayed. Edward Arnold is similarly perfectly cast, he is an absolute joy to watch and gets even more enjoyable and intimidating as Raskolnikov feels more guilt and paranoia after being laid-back initially. Of the solid supporting cast, Mrs. Patrick Campbell stands out, in a formidably wicked performance as a loathsome character that you feel absolutely no sympathy or loss towards her when she's killed off.
All in all, an entertaining and atmospherically effective film but could have been greater. 7/10 Bethany Cox
Understandably, it is very condensed with things omitted or introduced but quickly skimmed over, but the basic story, the basic themes and the psychological tension are very much intact and effectively so. The film's low budget does show at times, in some less than imaginative sets (time and place is not always very clear) and some editing that could have done with a little more tightness, and while omissions were inevitable the film could easily have been even better with a longer length to give the story more depth than there was (not that there wasn't already, just that for a story of this amount of complexity there could have been more). Marian Marsh's prostitute-with-a-heart-of-gold character did feel underwritten, there is much more to the character in the book (here, like the similarly blandly played Grilov- who is affected even worse-, the character is reduced to a stereotype), and her performance did come over as bland despite her radiant looks. The romantic subplot very wisely didn't overshadow the film, but the scenes it features in don't quite have the heart and warmth they could have done, and the final third is a touch too drawn out for that reason.
However, despite the low-budget and that it's not a beautiful-looking film, Crime and Punishment has many parts where it still looks good. The lighting is appropriately shadowy, adding much to the atmosphere and psychological tension of the film, and the semi-Expressionist cinematography is wonderfully dark and striking. Von Sternberg directs with cracking efficiency and knack for suspense. Crime and Punishment is hauntingly scored and the script keeps to the tone and substance of Dostoevsky's writing style, the interplay between Raskolnikov and Porfiry is nail-biting in its tension and entertainment value. The story still is incredibly compelling and tautly paced and structured, even with the condensation this is classic Dostoevsky and his style still shines.
Peter Lorre could be as over-theatrical in places, but actually it is more subtle than some of his other work. Raskolnikov's menacing characteristics are really quite haunting, and his anguish is even more convincing and very powerfully and movingly portrayed. Edward Arnold is similarly perfectly cast, he is an absolute joy to watch and gets even more enjoyable and intimidating as Raskolnikov feels more guilt and paranoia after being laid-back initially. Of the solid supporting cast, Mrs. Patrick Campbell stands out, in a formidably wicked performance as a loathsome character that you feel absolutely no sympathy or loss towards her when she's killed off.
All in all, an entertaining and atmospherically effective film but could have been greater. 7/10 Bethany Cox