Raffles

The early Goldwyn Colman films had a lovely atmosphere all of their own. Just learning to cope with sound they exhibit an echoey creaky staginess which in turns is charming and irritating when watching a romantic adventure/mystery. Every action was pointed and often laboured with the handed down techniques from silent days, meaning once seen you seldom forget it. It's the same with Raffles, a ridiculous script if there was one (heavily mucked about with from the book) but if you don't see it for 20 years you'd probably remember every act and scene.

Raffles has been a reformed ex-Cracksman for a few hours but finds he suddenly has to help his limp friend Bunny repay £1000 within 2 days and he only knows one way to get it. An invite to Lady Melrose's country house for cricket and a garden party of hundreds provides him with the chance – and also a gang of six ineffectual Cockney burglars who skulk around in the dark loudly laying their plans. The scene where the burglar is caught and venomously points out Raffles on the stairs is pivotal to the film but it never recovers from the clumsy handling of it – did Colman know what to say at that point? Colman was great in the role, his clipped accent and perfect diction usually used to good effect. Good support was from Kay Francis who played his understanding girlfriend although she didn't get to say Divine, and David Torrence the chunky and heavily cloaked Scotland Yard Inspector. Favourite bit: the torchlit confrontation between Raffles and Crawshay in the bedroom at midnight.

Simple old fashioned entertainment - I stick it on every few years without fail because with all its faults I like this one.

Hollywood took a few cracks at adapting E.W. Hornung's prose series about gentleman thief A.J. Raffles: in 1917, 1925, this early 1930 talkie and, again, in 1939, with the casting including such suave leading men as John Barrymore, David Niven and, here, Ronald Colman. This "Raffles" suffers being a creaky early talkie (reportedly, a silent version was also, simultaneously filmed), although its sole Academy Award nomination was for sound recording, and, indeed, it makes some good use of sound, from the start with the bobbies sipping coffee from bowls, to a clock motif and the punctuation of the usual talkfest in the early years of synchronized-sound production with sequences of silence during the nighttime burglaries. The writers even managed to get a bit of clever wordplay over the noise from the primitive recording technology of the day.

Moreover, as another character chimes, one, indeed, can't help liking Colman's Raffles. The supporting cast is decent, too, including Kay Francis as the romantic interest, David Torrence as the Scottish Scotland Yard inspector, and Alison Shipworth and Frederick Kerr are amusing as the bickering hosts to their home of guests spending the weekend, apparently, smoking, drinking and playing cricket and tennis--the sort of upper-class soirées one might expect from an episode of "Downton Abbey," where dandies in tuxedos sip brandy and retort that Americans are too savage to understand cricket.

I think what raises "Raffles" above many other early talkies, however, is the talent Samuel Goldwyn assembled behind the scenes, namely cinematographers George Barnes (5-time Oscar nominee) and Gregg Toland (who also photographed the 1939 version and is most famous for "Citizen Kane" (1941)) and art directors Park French and William Cameron Menzies (the latter of whom would invent the job of production designer during the making of "Gone with the Wind" (1939)). There's nothing amateurish in their design of the amateur cracksman's first heist scene, with the policeman's shadow lurking in the background behind store-front glass as a safe is cracked with the aid of a diegetic light source. Some camera movement is managed, too, including a nice shot of Colman on the staircase upon seeing Francis's entry. Being England, there's also a fog-filled sequence. There's nothing amazing about any of this, but it's worth noting how much difference to a slight scenario burdened by primitive new technology can benefit from skilled artists behind the camera while placing charming actors in front of it, as well as giving some thought to how to use and not use the newfangled sound.

A. J. Raffles, "the amateur cracksman," was a fictional English gentleman safecracker invented by E. W. Hornung in a series of stories beginning in 1898 as a sort of mirror image of Sherlock Holmes. Like Holmes, Raffles is a suave, upper-class intellectual involved with the underworld, but Raffles's involvement is on the wrong side of the law: he supports his upper-class lifestyle by his career as a jewellry thief.

The Raffles stories were extremely popular and have been the subject of many film, theater, and television treatments. One of the best of these is this 1930, very early talkie starring cinema's quintessential English gentleman, Ronald Coleman. It's really quite a good film for its time, with an intelligent script, generally good acting (especially by Coleman and character actor Frederick Kerr, better known as Baron Frankenstein in James Whale's famous 1931 treatment of the monster story, who steals every scene he is in as a grouchy English lord.) Co-cinematographer Gregg Toland, who later worked on many Hollywood classics, is presumably responsible for the film's noirish, atmospheric lighting effects.

All in all, I'd say this entertaining film will still be enjoyed by today's audiences, and is a must see for fans of Coleman.

... with Ronald Colman in the title role, sounding and behaving as though he was born to play it.

Raffles is a British gentleman who supports himself by being a jewel thief - an amateur cracksman. The film opens with his burglary of a jewelry store with him leaving a calling card saying that this is his final burglary. He's fallen in love with Gwen (Kay Francis) and plans to leave this life behind because of his love for her. But then his friend Bunny appears, literally suicidal, and says he has written a bad check of one thousand pounds for gambling debts. His reputation will be ruined when the bank opens Monday morning and the check is known to be bad. So Raffles must pull one more job to help out his friend since he gave the jewelry in his last robbery to Gwen. He eyes the jewels of Lady Melrose as doing the job. Plus Bunny already has an invitation to go to the Melrose estate for the weekend for a big gathering that is going on there, so Raffles asks Bunny if he can go along. Realize that Raffles' criminal activity is a secret from everyone at this point - friends, family, servants.

But there are complications. Scotland Yard sends an inspector to the Melrose estate along with a cadre of cops because Scotland Yard thinks that the Amateur Cracksman will strike there that weekend. Also, there is a gang of burglars planning to steal the Melrose jewels themselves, under the cover of darkness. Then Gwen decides to pay a surprise visit to the Melrose estate, further complicating Raffles' plans to steal Lady Melrose's jewels.

I really can't say anymore without spoiling the fun for other viewers, but considering it is a very early talkie it is amazingly fluid and quite good at delivering suspense and comedy. Particularly amusing is Alison Skipworth as Lady Melrose. In her 50s, Melrose's heart still skips a beat around Raffles on who she obviously has a crush to the point that she talks about him in her sleep.

Dashing Ronald Coleman was unusual among silent cinema leading men in that his popularity was not diminished by the coming of sound. Many other leading men lost their popularity and their careers simply because they did not sound like what audiences expected. Colman had no such problem and with his excellent voice he was a natural with dialog. Watch this one and see what I mean. It delivers a great story well told, does not outstay its welcome, and supplies just the right amount of dialog.

Thus went the conversation between Ronald Colman's Raffles and the rich but vast and ageing Lady Melrose after he had courteously escorted her to her bedroom and the two hovered either side of the open door. The lady's expression, which went from bright expectation to annoyed disappointment, left no doubt what was happening. This was pre-Hayes Code and both here and elsewhere it was very obvious. Also the question of Raffle's morality. In the book, Raffles does give some kind of justification for his thieving - "the richly immoral robbing the immorally rich". He also never befriends soon to become victims. Here Colman blithely disregards all of this. The 1939 almost scene for scene word for word remake with David Niven was entirely cleaned up - but weaker and more colourless for it.

I'm a great fan of the Raffles books. E W Hornung the author was not so well known as his brother in law, Arthur Conan-Doyle but was though alround a better writer. This film is engaging and quite exciting, brings together parts from different stories and the result is entertaining but in terms of story, thin and slap-dash. The adaptation is dominated by the requirement to continue/assist Ronald Colman's highly bankable screen persona as an elegant, humorous, charming pleaser of ladies.(Raffles in the book is too dedicated to be humorous or charming unless necessary in pursuit of crime). Here Raffles love interest, Kay Francis, is very passionate, unlimited in her devotion to him. Of the two other central characters, companion in crime "Bunny" Manders is reduced to an irrelevance. Curiously the third character in the trio - McKenzie, the "Scotch" detective - alone is the all-time definitive rendering of the character in the book - Raffles' feared Nemesis: dogged, doughty and determined. Indeed the adaptation gives him equal billing with his quarry. It's a joy to watch a character from the books so vividly and truthfully brought to life. Clearly whoever did the adaptation was more interested in and relished McKenzie more than the other two.

All in all, a good entertainment.