Alibi

If you don't know who Roland West was, after watching this you'll immediately want to see his other work. He pushes the boundaries of the technology of the time to make an outstanding work of art that's still reasonably entertaining even today.

It's obviously apparent that this was made at the time when talking pictures were just being invented but Roland West was not one to be inhibited by the limitations of what logic told him was possible. Aficionados of early talkies will be aware that most 1929 films were pretty awful. With a handful of notable exceptions, they were frequently stagey and static populated by actors seemingly utterly incapable of acting and talking at the same time. This isn't just one of the rare exceptions but an imaginative and beautiful piece of popular entertainment.

Compared with the more "normal" style of acting which we'd see in a year or so, the style of acting here hadn't quite evolved. That stilted and affected style however actually works really well with this picture by enhancing the other worldliness and the feeling of disconnect the characters have from each other and society in general. The mood Mr West creates heavily influenced by German expressionism is an edgy uncomfortable blend of realism juxtaposed with surrealism. It's definitely however not just an exercise in style - this has an abundance of substance too. You soon acclimatise to the acting style, it isn't bad just different although to be honest, Eleanor Griffith isn't good, Regis Toomey is a bit annoying and I'm afraid that to me Mae Busch will always be Oliver Hardy's wife!

Despite the understandable limitations of the production, what's unusual for a 1929 film is that it really engages your mind and immerses your thoughts in its themes. You question who are the good guys and who are the bad guys. The police and the criminals aren't black and white - they're all pretty black. What this film then does is punch you in the stomach by making you realise that you were wrong. As it progresses you almost start to side with the criminals, you totally empathise with 'Joan' as she sides with them but then suddenly you realise how wrong you were as the bad guys show their true colours. It's rare for such an old talkie to play with your mind this cleverly.

These days a big topic of conversation is: 'can we trust the police.' Historically trusting the police isn't really a natural state of affairs. There seemed to be a golden age of trusting the Bobby maybe in the fifties but certainly in the twenties and more so in the thirties when The Depression kicked in, for a lot of people in America the police were not trusted. If they needed help or got into trouble, the last people they'd think of calling would be the police, they were not thought of as service to help or protect ordinary people. To a huge proportion of the population, they were just another bunch of hoodlums at war with other bunches of hoodlums. As 'Joan' demonstrates in this story, that sense that they were people to avoid is evoked very effectively. It gives you a genuine taste of the attitudes of the time - an excellent time machine!

In terms of style, although the cumbersome sound cameras restricted Roland West's vision, this almost has the feel of a classic expressionist silent classic. We get flowing camerawork sweeping down and across semi-surrealist rooftops yet still taste the dust and the dirt of the streets. He invites us into this world by occasionally using his camera to give first person point of views and uses his sets to express and accentuate the mood of the characters. Depending on whom we're seeing, their settings reflect their state of anxiety or optimism. For example, as the characters' outlooks turn bleaker, the walls look bigger and the people seem tiny and trapped. The spaces which were once opulent art deco apartments or nightclubs become huge enveloping claustrophobic prisons which again emphasise the hopelessness of those within.

As an insight into pre-Depression American society and how those people thought, this is invaluable. It's also a real work of art but is it something you can sit down with, kick off your shoes and relax with? Yes, it's not quite a classic but being so well produced, the quality is still there and so it's still enjoyable.

One of the first scenes of ALIBI has a camera prowl an art deco night club and into the world of an ex-con (Chester Morris) Much of the film is stagy, including Morris' almost death scene. What makes ALIBI shine so well are the visual elements. The art-deco set direction, the incredibly well edited cop shooting sequence and a rooftop chase that looks more pen and ink rather than photograph makes up for the staginess.

Aside from wine and cheese, not all things age well. Like a gallon of milk, over time this film has started to sour--thanks mostly to changing and improving film-making. In fact, had this film been made just a year or two later, it would have been much easier to sit through. Unfortunately, this can be said of most films made in 1929. This was a transition period in which silent films were changing to sound and the technology frankly wasn't very good. Plus, since this was all new territory, the films tended to be very, very stagy--mostly because the sound men had no idea how to compensate for people as they moved away or towards microphones. This is all painfully obvious with ALIBI. Some characters are loud and easy to understand, others appear as if whispering and others have their voices fade as they move. Additionally, the film looked a lot like a play in parts as they used very long single shots with few inter-cut scenes. Plus, it was obvious some scenes were originally filmed as silent because the standard 24 frames per second (used for all sound films) made these segments seem like people were moving too quickly (as silents were filmed anywhere from 16 to 22 frames per second).

As for the plot, it's a crime drama with a lot to like and a lot to hate. I liked how, at times, the film was rather gritty--particularly in the last few minutes (the building scene at the very end was amazingly tough and memorable--one of the best death scenes in film history). Some may also like how the cops in the film pretty much ignore the Bill of Rights--and weren't above slapping a confession out or someone or threatening them with guns! Some may also be appalled, but this is truly Film Noir-like in its sensibilities. But, the plot also is really stupid at times--with some of the dumbest criminals you'll ever see in films, clichés galore and a very sappy death scene that will practically make you cringe.

Now as for the plot. For 1929, it was really quite good. If we'd had IMDb and the internet back then, a score of 7 or 8 wouldn't be unexpected. However, by today's standards, I'd have a hard time giving it anything more than a 2 or 3. So, splitting the difference, a 5 seems appropriate--for the time, a very good film but when seen today, it's terribly old fashioned and dull.

This crime melodrama isn't terribly easy to sit through today, but you can see why it impressed everybody and got a Best Picture Oscar nomination in 1929-- director West is constantly experimenting with the possibilities of sound, dramatically raising and lowering voice volumes and playing with background noise, music (there's a not-bad dance number that foreshadows Busby Berkeley a little), etc.

Alibi (1929)

** (out of 4)

Early talkie has a gangster (Chester Morris) released from prison and deciding to go straight. He married a police captain's daughter (Mae Busch) but soon afterwards police begin to think he was behind a cop killing. This thing was a huge hit back in the day and even got Oscar nominations for Best Picture and Best Actor but time hasn't been too friendly to this thing. Like many early talkies, the film spends way too much time letting the viewing know that it can talk. In fact, the first minute is nothing more than various police hitting their nightsticks up against a wall so that the sound effects can come through. Also with most early talkies, the characters just keep talking and talking and most of the talk has nothing to do with the plot of the film. Director Roland West does a nice job in certain aspects but I guess you can't blame him since I'm sure the studio was wanting to show off this new format. Future Boston Blackie star Morris is good in his role but it's Busch who steals the show. Some might remember her from The Unholy Three as well as several Laurel and Hardy shorts.