Sirenen um Mitternacht

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.

There's some good things to say about this but unfortunately there's a lot more bad things to say about it. Visually and technically it's very impressive. Tod Browning invests a great deal of thought into achieving perfect framing, atmospheric lighting and some clever imagery. His style however is so unsuited to this film that the overall effect is awful.

The actual story is absurd. It begins as a crime movie but then evolves into an intense melodrama. Mary Nolan is the star and she plays a cynical, heartless gangster's moll who's tied up with a bank robber. What the story is about is whether her bank robber boyfriend (who's actually a decent guy) can change her into a loving, caring, sweet maternal young lady.... in the space of a couple of days. It's a stupid premise and is so ridiculous that the film loses all its credibility.

Edward G Robinson was a rising star at Universal but he's only the supporting actor in this one. Even though he's not at the top of the bill, he seems to be the only member of the cast doing any proper acting. It is however not those actors' fault - the 'bad acting' is actually deliberate. Apart when E. G. R has a scene the dialogue is glacially slow. The weird slow motion style of delivery feels like the the film keeps freezing. A lot of very early talkies we're terrible - directors hadn't a clue how to make the transition to sound, actors forgot how to move and indeed how to speak but this is not one of those. It's a pretty bad film but not because the team at Universal didn't know what they were doing - no, they just didn't want to make this like a proper film.

Tod Browning, although a little past his prime by now was one of Silents' most stylish directors. He was chosen to deliberately make this picture as much like a silent as a talkie could be. It was made with a sense of nostalgia, an attitude that 'if we must use this new fangled sound nonsense let's make sure it doesn't ruin our art form we've spent so long perfecting.' Sound was considered to be an unwelcome intruder not something which could enrich the experience. The experiment really doesn't work, it makes it seem like no one knew how to produce a talking picture and plays up to that old prejudice that those silent stars couldn't make talkies.

Someone who really suffered was this film's star Mary Nolan. She had been an absolute megastar just a few years earlier but this would be her last film at Universal or indeed any major studio before plummeting into an utterly tragic life of heroin addiction, destitution and an early death. When you see how pretty and full of life she was here, it really is genuinely upsetting. She just didn't get a lucky break and found herself having to act in this painfully un-entertaining nonsense. That said, there were other reasons: she had some major personal problems, she wasn't a great actress and certainly couldn't play a cynical gangster's moll - she comes across as even less convincing than Jean Harlow and that's saying something! It wasn't all her fault though, she was directed by Browning to play it this way. In this picture however unfortunately she is one of the main reasons this comes across as such a poor film.

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.

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.