Copyright 1 December 1929 by Samuel Goldwyn. Released through United Artists. New York opening at the Selwyn: 3 November 1929. 10 reels. 93 minutes.
1944 re-issue title: CONDEMNED TO DEVIL'S ISLAND.
SYNOPSIS: A convict falls in love with the warden's wife.
NOTES: Ronald Colman was nominated for an Academy Award for Best Actor, losing to George Arliss in "Disraeli".
COMMENT: For his second talkie, Ronald Colman enjoys a considerable change of pace from "Bulldog Drummond". This time, he's not so romantic. He's dirty, disheveled, sweaty, sardonic, impulsive, self- deprecating, selfish, uncaring, even despairing. What a great performance! In fact he plays here with more animation than in many of his later roles, including Clive of India. Unfortunately, his realistic study of a brazen thief is slightly undermined by Ann Harding's overly theatrical posturing and Dudley Digges' overly theatrical delivery of his dialogue. Fortunately, Louis Wolheim is on hand to support Colman at crucial moments, though his part (after a splendid introduction) does turn out to be a bit disappointingly small.
Despite its vintage (way back in 1929) and some unconvincing dramatics, as said, from Harding and Digges, "Condemned" seems not the least bit dated. Whilst other directors were moving over-cautiously into sound, or trying vainly to transplant outmoded silent techniques, Wesley Ruggles and two others, Tay Garnett and William K. Howard, managed to grasp all the essentials of sound cinema straight away. In fact, Condemned rates easily as Ruggles' best film. Look at the wonderful climax with Ann Harding moving diagonally out of the frame, or the tossing ship-board camera at the opening, or the fantastic pan into the silhouettes of the prisoners, or the fast tracking shot with Digges as he delivers his introductory speech to the new inmates. True, once the action settles down and the triangle romance rears its not unexpected head, the picture does become more static and dialogue-bound, but even these scenes are leavened by a marvelously realistic use of sound effects and other cinematic devices.
The camera-work too is a constant delight. True, we are blinded by soft focus light every time the lens picks up Miss Harding, but some appealing, typical-Toland, atmospheric effects enliven the prison scenes.
Also to be commended are the superlative sets designed by the masterful William Cameron Menzies.
Present prints have been astutely shortened by nine or ten minutes, to make the thrills come faster. There are no lapses in continuity.
1944 re-issue title: CONDEMNED TO DEVIL'S ISLAND.
SYNOPSIS: A convict falls in love with the warden's wife.
NOTES: Ronald Colman was nominated for an Academy Award for Best Actor, losing to George Arliss in "Disraeli".
COMMENT: For his second talkie, Ronald Colman enjoys a considerable change of pace from "Bulldog Drummond". This time, he's not so romantic. He's dirty, disheveled, sweaty, sardonic, impulsive, self- deprecating, selfish, uncaring, even despairing. What a great performance! In fact he plays here with more animation than in many of his later roles, including Clive of India. Unfortunately, his realistic study of a brazen thief is slightly undermined by Ann Harding's overly theatrical posturing and Dudley Digges' overly theatrical delivery of his dialogue. Fortunately, Louis Wolheim is on hand to support Colman at crucial moments, though his part (after a splendid introduction) does turn out to be a bit disappointingly small.
Despite its vintage (way back in 1929) and some unconvincing dramatics, as said, from Harding and Digges, "Condemned" seems not the least bit dated. Whilst other directors were moving over-cautiously into sound, or trying vainly to transplant outmoded silent techniques, Wesley Ruggles and two others, Tay Garnett and William K. Howard, managed to grasp all the essentials of sound cinema straight away. In fact, Condemned rates easily as Ruggles' best film. Look at the wonderful climax with Ann Harding moving diagonally out of the frame, or the tossing ship-board camera at the opening, or the fantastic pan into the silhouettes of the prisoners, or the fast tracking shot with Digges as he delivers his introductory speech to the new inmates. True, once the action settles down and the triangle romance rears its not unexpected head, the picture does become more static and dialogue-bound, but even these scenes are leavened by a marvelously realistic use of sound effects and other cinematic devices.
The camera-work too is a constant delight. True, we are blinded by soft focus light every time the lens picks up Miss Harding, but some appealing, typical-Toland, atmospheric effects enliven the prison scenes.
Also to be commended are the superlative sets designed by the masterful William Cameron Menzies.
Present prints have been astutely shortened by nine or ten minutes, to make the thrills come faster. There are no lapses in continuity.