Sirenen um Mitternacht

1930's "Outside the Law" was the first of director Tod Browning's three Universal pictures, to be followed by the immortal "Dracula" and "Iron Man" (both 1931). Leaving MGM after his first talkie, 1929's "The Thirteenth Chair," Browning debuted at Universal with this remake of his own 1921 silent crime drama, also titled "Outside the Law," one of his first collaborations with the late Lon Chaney. Second billed Edward G. Robinson easily dominates as gang leader Cobra Collins, who demands a piece of the cut when the local bank is robbed by a small time crook (Owen Moore) and his moll (Mary Nolan). What truly sinks it are the endless scenes depicting the two crooks alone in their apartment, coddling a nauseating little boy who just happens to have a police captain for a father. It's rather dispiriting to think that a director like Tod Browning, with a real feel for the macabre, would display such a heavy hand with such maudlin sentimentality, yet the glacial pace is a reminder of how he botched "Dracula." The unsympathetic bickering of the two insufferable leads clearly has the opposite effect of what was intended (their unspectacular careers quickly petered out, with Moore dead by 1939, and Nolan by 1948). Browning's next feature would leave this old fashioned claptrap in the dust: the 1931 "Dracula" (his triumphant return to MGM produced the shocking "Freaks" in 1932). Already typecast as underworld kingpins, Edward G. Robinson would follow this forgettable fluff with "The Widow from Chicago," leading to the vastly superior and uncompromising gangster classic "Little Caesar," released early in 1931, and then a pair of intriguing titles opposite Boris Karloff, "Smart Money" (co-starring James Cagney) and "Five Star Final."

This movie has director Tod Browning remake one of the Priscilla Dean underworld thrillers he had directed before he had hooked up with Lon Chaney. In fact, the earlier version had Chaney as one of the principal roles. In this version, bank robber Owen Moore works with gorgeous moll Mary Nolan to cheat underworld boss Edward G. Robinson out of what he considers his rightful cut of any crime committed in San Francisco. Like many a Browning picture, people are insane, particularly Miss Nolan.

The problem with this movie, like many she appeared in, is that star Mary Nolan's acting... well, she has improved from some of her earlier works. As one of Browning's insane characters, I find her senseless mood changes and talking to herself convincing; it's when she interacts with other people that I find her unbelievable.

Everyone gets to be weird, even Rockcliffe Fellowes as the police captain trying to track down the bank robbers, and whose annoying son, played by one of the innumerable Watson clan, breaks into their hide-out, since they all live in the same building.

It's clear that Miss Nolan is the star of this movie - she gets more tics and twitches than anyone else, although Robinson shines in the sort of gangster role he would play at Warner Brothers. It's Miss Nolan's movie to carry, and she does a poor job of it, although Browning's usual insane world filled with mad people certainly kept my interest up.

This flick has Robinson in his vintage character form as a gangster named Cobra, with his cigars and his infamous "Ny'a See". Fingers and Connie play a robbery team thats moving in on Cobra's turf and is forced to hid out from the law, and Cobra. Nothing great about this film that should make one go crazy to see it. The most enjoyable parts in the movie is Robinson doing his ol' mob boss routine where it almost gets humorous.

I totally forgot this early thirties crime drama directed by Tod Browning, for whom this kind of plot was not the speciality. You know what I am talking about, don't yoou? I mean there is no Lon Chaney Sr here, in the role of a poor puppet master who suffers of a disease that disabled him and desperately in love with a beautiful gal...No, it is a pure gangster plot, starring an actor for whom this kind of role, of character, this time will be the speciality; I speak of Edward G Robinson, one year before Mervyn le Roy's LITTLE CAESAR and later William Keighley's BULLETS OR BALLOTS. So, yes, this is a true gem, very rare, hard to catch, and very interesting from a director like Tod Browning.

Before Edward G. Robinson had his career role in Little Caesar he did a few films including a couple of silent movies and in several of them played a gangster. Watching Outside The Law you think you are watching Robinson in a dress rehearsal for Little Caesar.

All the snarling all the mannerisms are there for Robinson in this film. He plays a gangland boss who likes to control all the crime action in his are and get his cut. But Owen Moore and moll Mary Nolan aren't splitting with anybody when they pull a bank job. So it's a question of whether the cops will get them or Robinson.

Nolan though she overacts considerably as did just about everyone in those early talkies. She tries to vamp Robinson, but he's as uninterested as he was in Little Caesar.

Curiously enough both Moore and Nolan were coming close to the end of their respective careers. Both were known for high living and partying away in the Roaring Twenties. They both died too young.

But Robinson was just getting started and you'll swear you are seeing Little Caesar. Had he been the main character as he was in Little Caesar this could have been the breakout role for him.

Tod Browning directed this film and it's remake of one he did ten years earlier with Lon Chaney. A real treat for fans of Eddie Robinson.