Think gangster films first came along in the early 1930s? Think again! They were present from the very earliest motion picture days and Regeneration is one of the first gangster features. It was directed by some guy named Raoul Walsh.
Raoul Walsh remains one of the most influential directors of the gangster film genre and he was already practicing his craft back in 1915. This is a film about the then-hot topic of poverty cycles and the redemption of career criminals. Walsh filmed on location to ensure that his picture had the proper amount of grit.
Continue reading “Regeneration (1915) A Silent Film Review”
Raoul Walsh. You may know him as the director of gangster classics White Heat, The Roaring Twenties and High Sierra. What you may not know is that Walsh’s career had been linked with crime pictures since the very beginning. He directed Regeneration, considered by many to be the first true gangster feature, in 1915. He had only been directing pictures for three years at that point.
Me, Gangster was released during the sound transition and was offered with a synchronized score. The reviews were quite positive. It was based on a book by Charles Francis Coe and it presented itself as the diary of a gangster. The intertitles were even hand-written. I am not usually a fan of diary picture since the narration is often intrusive but I think that the silent format would make this narrative device work quite well.
Leading man Don Terry would find fame in cliffhanger serials, most famously Don Winslow of the Navy. Pre-stardom Carole Lombard has a supporting part as Blonde Rosie.
Photoplay loved the picture:
Here is a picture as sentimental, as melodramatic, as pointedly moral as any picture ever made, yet it is completely absorbing. Raoul Walsh has the knack, possessed by Griffith in his heyday, of making the characters of a sticky story pulse with life.
The picture is outstanding for another and a more important reason. It brings a new player, a very fine, very compelling actor to the screen, one Don Terry, a young college man discovered by the author of the piece, Charles Francis Coe, in the Montmartre Cafe. Terry’s performance stands out as one of the unusual and moving gestures of the cinema. He is not handsome, he is definitely a type, yet there is a rugged charm about him that gives him a niche higher than your sleek haired, amorous puppets.
The story is related in a novel form. It is “The Diary of Me, Gangster” and the subtitles are shown in handwriting, written in the first person. It is the boy’s story, of course, yet there are splendid performances given by June Collyer, who makes the most of a weak role; by Anders Randolf and by Gustav von Seyffertitz. It is an injustice to relate the plot, since it is an ordinary one of the son of a wardheeler who finds that crime doesn’t pay. Such trite phrases as “the straight and narrow path,” “going straight,” etc., are plentiful. But it is the absorbing interest of the prison scenes, the fascinating development of the situations and the absolutely perfect characterization of Terry that make it a splendid contribution to the art of the cinema. It may not touch your heart, except in one prison scene, but it will hold you spellbound.
The New York Times was also lavish in its praise:
Raoul Walsh, producer of the film version of “What Price Glory,” directed “Me, Gangster.” His scenes move compellingly and naturally, but toward the end there are pardonable periods of gun-play and general excitement. It is, however, a chronicle that stresses the futility of a lawless existence and Mr. Walsh points out the desperate chances the gangster takes and stresses that there is precious little honor among thieves.
Motion Picture News was less excited about the film, though it admitted that is was powerful:
Carrying a decorative title which fairly shouts its meaning:, this crook drama gets under way with realistic touches and maintains them through a series of punchy scenes to the very finish. The idea is built up from a sort of diary exploiting the criminal life of a convict from his first days of crookedness until he seeks and finds redemption through the aid of a girl who believes in him.
Not so new, is it ? But it is forcefully presented and sticks to its pattern without trespassing over into sentimental pastures, aside from the necessary romantic interest. The hero is a bad chip of a bad old block and after a series of shady crimes he wins an election to prison. But the girl who loves him exercises her charm and understanding. And the youth’s redemption is effected.
The piece is strongest in its atmosphere, the scenes comprising prison shots, police court sequences, and some tenement tidbits. The story is well told, punctuated with adequate incident and acted competently enough even if the players are not always convincing.
This movie sounds like a pip to me. Plus, you know, Carole Lombard! Check those attics, basements, etc.
Douglas Fairbanks is a thief but what he really wants is to marry a princess (Julanne Johnston) and so he sets off on a treasure hunt that will win her hand. But wouldn’t you know it, those dadblasted villains take over Bagdad and it’s up to our thief to take it back. Meltingly gorgeous to behold with stunning sets and splendid effects but the pace slows to a crawl after the first half-hour.
How does it end? Hover or tap below for a spoiler.
Our thief reforms, gets a few magical artifacts, saves the day and wins his princess.
If it were a dessert it would be:
Patience cake. Full of tasty ingredients but a little too elaborate for its own good.