Jim Lang is a Crime Boss whose reputation reverberates like a thunderbolt, a man with a one-track mind concerning his lover Ritzy that leads him to a one-way dead-end. Director Josef von Sternberg utilizes sound for the first time in this early talky, and though dialogue seems stage-bound in its delivery and pulse it’s his use of diegetic music/effects in such an experimental way that make this so interesting to modern audiences: from the thrum of a sewing machine or the squeaking of a dog’s toy gripped in a fist, to the roaring jazz age music from Black musicians (presented as people and not caricatures!) this film is excellently designed both visually and aurally. DP Henry Gerrard’s use of low angle tracking shots and low-key lighting and his compositions using prison bars or lattice work to obscure and frame certain scenes is amazing. And the film is very funny as melodrama meets film-noir (a term not yet invented) with a dash of vaudeville antics! Seeing the larger-than-life antagonist Jim Lang wiggle his ass as he attempts to lure a barking dog away from his intended victim is fucking hilarious because it’s unexpected and seemingly out of character. But George Bancroft imbues his murderous character Lang with a goofy sentimentality later perfected by Wallace Beery, so this human element makes him reachable even if it’s just barely.
The plot is a lover’s triangle in the first act that sets up the rather absurd premise for the final two acts: Ritzy (Fay Wray) is a milk drinking ex-femme who wants to sever her relationship with Lang but is afraid to do so because he threatens to kill her new beau. Ritzy won’t turn Lang over to the Police but spurns him romantically nonetheless and moves in with her sweetheart (and his mother), the nice guy ex-banker Bob Moran. When Lang tracks her down to Bob’s apartment and makes his terroristic threat over the phone, she notifies the police so they can nab him in the act! Once in prison, Lang has his henchmen frame Bob for a bank robbery and murder, so Bob is sent to Death Row with him. Of course, Bob ends up in the cell directly across from Lang. Moral conflict ensues and the resolution is a bit surprising yet foreshadowed by Lang’s love of the stray dog. He may be the villain but he’s still human and this unconditional affection and loyalty from the dog (who’s even allowed in the cell with him!) is key to understanding his intentions. Lang is vindictive at Ritzy and Bob because he feels betrayed but when he discovers the truth he acts out of loyalty. Lang goes to the electric chair laughing as he has used the last of his (Ali)wishes.
Final Grade: (B+)