There were three main reasons for seeing 'The Docks of New York', there is always at least one main reason for me that draws me into watching any film. One was my high appreciation for silent films. Two was the idea for the story, which did sound fantastic. Three was Josef von Sternberg, who did many good and above films with one of his regular stars being Marlene Dietrich. His best films, with 'Shanghai Express', 'The Devil is a Woman' and 'The Scarlet Empress' being a few examples, are wonderful even.
For me, 'The Docks of New York' is up there as nearly one of Sternberg's best. As well as one of his most overlooked, though it is regarded highly by many today it is still underseen. It is a real shame that 'The Docks of New York' was a flop at the time, and it was nothing to do with its quality. It was in my view to do with timing, which was not fair to 'The Docks of New York'. Releasing it at the same time as the more ground-breaking 'The Jazz Singer' (despite that film being more historically significant for being the first talkie, this for me is the better film) was a bad and near-suicidal move.
Perhaps the film could have been longer which would have allowed a few of the plot developments to breathe more.
Other than that, 'The Docks of New York' is near-essential viewing and highly recommended if one wants to see what the fuss about Sternberg is about. His direction is typically accomplished and passionately engaged with the material, making a seedy setting look stunning which is not always easy to do. One of the greatest things about 'The Docks of New York' is how it looks, one of the most beautiful looking late silent films to exist in my view. The setting is seedy yet handsome and the cinematography is both luminous and atmospheric, the best imagery looking stunning.
Just as good is the highly effective use of light and shadow, which was a common distinctive thing in Sternberg's films. Absolutely loved the attention to visual detail in this film. The music is haunting enough and at least fits. The story is simple but never dull, thanks to some nice twists and turns that keeps one guessing without losing cohesion and the great chemistry between the leads. Which has tension and one can feel the attraction between them. Just as they do feel the uncompromising grit of the story's atmosphere. It is melodramatic yes but doesn't go overboard on the suds.
All the cast do great, with Olga Baclanova being especially classy in support. George Bancroft has a swaggering intensity but the most challenging role belongs to Betty Compson, and along with Sternberg and the production values her searing performance is the heart, driving force and shining light of the film.
Concluding, really great. 9/10
For me, 'The Docks of New York' is up there as nearly one of Sternberg's best. As well as one of his most overlooked, though it is regarded highly by many today it is still underseen. It is a real shame that 'The Docks of New York' was a flop at the time, and it was nothing to do with its quality. It was in my view to do with timing, which was not fair to 'The Docks of New York'. Releasing it at the same time as the more ground-breaking 'The Jazz Singer' (despite that film being more historically significant for being the first talkie, this for me is the better film) was a bad and near-suicidal move.
Perhaps the film could have been longer which would have allowed a few of the plot developments to breathe more.
Other than that, 'The Docks of New York' is near-essential viewing and highly recommended if one wants to see what the fuss about Sternberg is about. His direction is typically accomplished and passionately engaged with the material, making a seedy setting look stunning which is not always easy to do. One of the greatest things about 'The Docks of New York' is how it looks, one of the most beautiful looking late silent films to exist in my view. The setting is seedy yet handsome and the cinematography is both luminous and atmospheric, the best imagery looking stunning.
Just as good is the highly effective use of light and shadow, which was a common distinctive thing in Sternberg's films. Absolutely loved the attention to visual detail in this film. The music is haunting enough and at least fits. The story is simple but never dull, thanks to some nice twists and turns that keeps one guessing without losing cohesion and the great chemistry between the leads. Which has tension and one can feel the attraction between them. Just as they do feel the uncompromising grit of the story's atmosphere. It is melodramatic yes but doesn't go overboard on the suds.
All the cast do great, with Olga Baclanova being especially classy in support. George Bancroft has a swaggering intensity but the most challenging role belongs to Betty Compson, and along with Sternberg and the production values her searing performance is the heart, driving force and shining light of the film.
Concluding, really great. 9/10