Beggars of Life

This is an entertaining film containing passages of alarming sentimentality that are neutralised by frank brutality (the brutality being provided by the indomitable Oklahoma Red - Wallace Beery - a thug with a conscience, and the psychopathic Black Mose - Edgar Washington).

Louise Brooks does very well as an imp of promise escaping a sinister rapist, and Richard Arlen is effective as her practical-minded (but not overly intelligent) beau. In fact I think this is just about the only one of her American films where Brooks gets the opportunity to do some real acting. It is thought that this was one of the first films to pioneer the androgynous look. The other stock players add to the drama, and the cinematography is well done.

Although Beery gets top-billing we do not see him until the latter half of the picture. This is just as well, because he does enough scene-stealing to compensate for his absence in the first half.

Brooks did not care for William Wellman, who appears to have been a hard task-master, and as she remarked in her memoirs: 'I knew Billy was a phoney brave man and consequently a woman-beater - all cowards revenge themselves on women - just by feel, especially when my ass hit the pavement in "Beggars of Life"'. This might be a reference to her failed attempt to board a moving train where the viewer (for once) gets some idea of how difficult a task this is. Of course Wellman might have been a little harsh with her because she was fast acquiring a reputation as an actress who was difficult to handle.

I wish for nothing more than a valid version of this great movie on DVD. It's been a while since I last saw it, but the impression has been a lasting one. True empathy lasts through the ages and there is a poignancy about 'Beggars of Life' that is phenomenal. All actors shine in career-defining roles, direction is sensible to minuscule moods, and the overall effect is overpowering. One of the best flicks to come out of Hollywood in those pre-talkie days. Can't wait to see it again.

A really great film. Great action scenes, and yet there are a lot of subtle scenes with nuanced acting. The social themes - child abuse, the desperation of the poor - are quite as relevant today, and make it easy to relate to, especially with the fine acting of Arlen and Brooks. Although the tone is serious, the scenes with Beery introduce an element of broad comedy. Also progressive for its time by having a black character as a respected equal of the others.

The print is in fairly good condition, so this movie would probably gain wider appreciation if someone would write accompanying music specially for it.

While she is known primarily for her work for G.W. Pabst in the German films Pandora's Box and Diary of a Lost Girl, Louise Brooks is phenomenal in William Wellman's movie of a young girl on the run after she murders her sexually abusive guardian. The opening scene, in which the murder takes place, is gorgeously imagistic and ranks (for me) as one of the most indelible moments in all of cinema. Richard Arlen and Wallace Beery are very good in their roles, but the movie belongs to Brooks, whose ability to underplay in the silent era -- when mugging and exaggeration were more the rule than the exception -- makes her seem ultra-contemporary. It is little wonder Brooks has such resonance with modern audiences.

"Beggars of Life" is (and I hate to use this word) awesome. Louise Brooks takes command of this photoplay right away and makes it her own. Watch her act with her facial expressions in the scene inside the haystack. Brooks' acting is very subtle and is quite effective. She is in good company with Richard Arlen, always a fine actor, and Wallace Beery, whose portrayal of the complex Oklahoma Red is excellent. The all-male supporting cast is also of high quality. This is a first rate cinematic event with a first rate actress and supporting cast. It is something modern day film audiences should not miss.