Crimen y castigo

Josef von Sternberg, Peter Lorre, and Fyodor Dostoevsky - that's quite a combination. It's a daunting task to put such a long and rich novel into film, and this one in particular, which had Dostoevsky plumbing the depths of human psychology. If you can forgive it for using the novel as a rough framework and appreciate it for what it delivers, I think you'll probably like it, despite what von Sternberg said afterwards.

Peter Lorre plays Raskolnikov, and as always, has wonderful screen presence. He's truly captivating, and works so well with von Sternberg's Expressionist/proto-noir shadows and tight shots. It seems to me he over-acts his part in showing too much agitation early on in the police investigation, when he's not even suspected, and should have been icy cool to let some of that energy build. With that said, the cat-and-mouse game that he and Inspector Porfiry (Edward Arnold) play is fantastic, with verbal sparring, subtle hints and gestures, and each trying to outwit the other. The comic/dramatic scene he has with his sister's suitor is also fantastic, blending outrage with barbs that had me smiling.

The rest of the cast is all strong, and includes Marian Marsh as Sonya, the pious poor woman he falls for and who helps spur his conscience. In the film it's not made clear that her character is a prostitute, as she is in the book. It's also interesting that the second murder, of Lizaveta, the serving girl who walks in on the first, is omitted. Those alterations were quite possibly made because of the production code, but seem to me part of a larger mistake, tipping empathy to Raskolnikov as the murderer of just an evil old pawnbroker because of his poverty, when we should be feeling the horror of a sociopath bordering on nihilist, who murders in large part because he thinks he can get away with it.

As other critics point out, the fact that his conscience is part of his downfall is a bit naïve, but this is an aspect of Dostoevsky's masterpiece. It just doesn't conceive of the fact that there are people out there who can commit these kinds of crimes, and suffer no pangs of guilt at all about it, even if someone else gets wrongly convicted.

As you can see from the direction my review took despite my introductory paragraph, comparisons to the novel are inevitable. How interesting it is to read that von Sternberg himself disliked the film, and did it only out of contractual obligation. Even so, I think he delivered. There is enough here to make the film entertaining - solid direction, clean story-telling, and great performances.

I read the book so long ago that I'd forgotten many details, which was fine - I watched it as a rainy afternoon film presented by Ted Turner, and it is indeed a Turner Classic Movie.

Slammed by many, it is in fact very well written, extremely well acted, and a revelation of Peter Lorre's range. He carries the film brilliantly. It's essentially a long dialog between Raskolnikov, a brilliant, impoverished writer on crime, and Inspector Porphyry, nicely interrupted by Raskolnikov's thoughts on crime, interludes with his family, and his love-life. Made on a low budget, it proves yet again that money isn't everything. Intense, excellent acting, direction, editing and camera work do the job, as with so many low budget European films. It's about people and ideas, not special effects and stardom.

What you get is a minor classic with no empty spaces and nothing extra. The narrative drive is cumulative and very human. Deprived of Dietrich, von Sternberg has no problem, and gets the best out of Edward Arnold and Marian Marsh (and everyone else) as well as Lorre. No weak spots, all class. It's also the perfect demonstration of how to find an excellent film in a great novel: by not trying to include everything, but going to the heart of the matter.

For his first Hollywood movie, Peter Lorre – billed as "the great international star" – personally chose to play the lead in an adaptation of Fyodor Dostoyevsky's masterpiece, although he is curiously second billed to the film's nominal star Edward Arnold (appearing in the film's latter half as his nemesis, the Chief of Police). The film has been justifiably criticized for being a greatly oversimplified and condensed version of Dostoyevsky's mammoth novel but, not having read the book myself, I was satisfied with (and found much to admire in) von Sternberg's typically pictorial direction which highlights Lucien Ballard's atmospheric chiaroscuro lighting. Peter Lorre is perfectly cast as the arrogant genius Roderick Raskolnikov whose tracts on criminology has made him a household word with the police authorities but, perhaps due to an excess of pride, apparently also reduced him to a bottom-of-the-barrel social status; a casualty of the film's ruthless editing of the original source is the fact that Raskolnikov's fall from grace (from a master pupil to a bum) is never properly explained. Meeting up with a lovely gamine (Marian Marsh) at a heartless pawnbroker's and fully confident in his own superiority 'above the law', he soon puts his theories into practice by doing away with the latter; picked up for questioning by the Police, Arnold (also excellent) soon requests his assistance on the murder investigation itself upon learning of Lorre's true identity and, before long, an innocent neighbor (FRANKENSTEIN [1931]'s Michael Mark) is brought before them as the prime suspect. The cast also includes Gene Lockhart (as Lorre's pompous brother-in-law-to-be) and Douglas Dumbrille (as a former employer of Lorre's sister who is now seemingly hounding his steps). Reportedly, von Sternberg did this merely as a contractual assignment and is said to talk disparagingly of it in his famous autobiography, "Fun In A Chinese Laundry"; whatever the case, it was a good start for him after the termination of his celebrated long-running collaboration with Marlene Dietrich. There have been several film adaptations of the Dostoyevsky novel over the years but the most intriguing one that I would like to catch up with is Robert Wiene's 1923 German Expressionist Silent version RASKOLNIKOV which, for better or worse, was recently released on DVD by Alpha under the novel's more recognizable title.

Fyodor Dostoeyevski is, without a doubt, one of the greatest novelists of his native Russia, of 19th Century Europe, and of world literature. That said, he is also a pain in the ass to read. If you are into his views of self-sacrifice and mysticism, and of redemption through intense, sometimes meaningless suffering, you can't find anyone else like him. If you also like anti-Western slavophilia, with more than a dollop of anti-Semitism, he's your guy. These aspects appear in his Russian contemporary Tolstoi too, but Count Leo had a more universal view of forgiveness and brotherhood than Fyodor ever had. Therefore Tolstoi makes his occasional snide comments, but they are quickly dropped - not intensively developed. With these serious reservations said, Dostoeyevski remains monumental. Most people recall him for two novels: CRIME AND PUNISHMENT and THE BROTHERS KARAMAZOV. Neither of the two novels were ever successfully made into U.S. films, despite a great director in this 1935 version of the former novel, and a grade "A" cast and production in the 1958 version of the latter that starred Yul Brynner and Maria Schell. From what I have seen a Masterpiece Theatre version of CRIME AND PUNISHMENT in the 1970s was far closer to the novel than Von Sternberg's 1935 version. But Von Sternberg, working with Columbia Pictures, did not have as good a budget (and certainly could not make a four hour film).

CRIME AND PUNISHMENT has been called the first psychological detective novel, and the best. It is not a who-done-it in the spirit of Dashiell Hamnett's THE THIN MAN. It is more like a Columbo episode (and Columbo's character is obviously modeled on the laid back, wise Detective Inspector Porphiry - who patiently allows Raskolnikov to give himself away and up). Dostoeyevski lets us see the killing of the old pawn broker and her sister, and understand the twisted "philosophical altruism" that Raskolnikov uses to commit his crime. It is a murder for social purposes - get rid of the leech like money lender/pawn broker, grab her money, and use it to aid those truly unfortunate in society. Had the murder been committed quickly with only the pawn broker killed, the absurd logic might have worked. Instead, because the sister of the victim sees the killing, Raskolnikov has to kill her too for self protection. From that time forward his philosophical base begins to crash. Also he discovers that the material answer of money is not enough to help the poor or those he comes to love. As such CRIME AND PUNISHMENT is (no real slap at Conan Doyle) light-years away in effectiveness from THE HOUND OF THE BASKERVILLES. And watching the Russian police procedural in the novel, as Porphiry helps whittle away at Raskolnikov's iron core of beliefs is quite good too.

Peter Lorre gives an affecting performance as the killer, one more role in a chain beginning with "M" that would continue for much of his admirable career. It must have been well received publicly. The Ritz Brothers spoofed his performance in one of their films. Arnold is fine as Porphiry, who has seen all the murder types (and can quickly find their weak spot). Here, his best moment is when another lesser suspect confesses unexpectedly just as Lorre seemed about to confess. It leaves Porphiry perplexed and troubled, as the confession has been heard by witnesses (including a smart aleck Lorre), and Porphiry realizes an innocent man has possibly put his life in danger by such an act. There are some good supporting touches too, especially seeing Mrs. Patrick Campbell in her last performance on screen as the pawnbroker, a dried up, malevolent figure that one does not waste too much pity on (again, if she had been the only victim Raskolnikov's philosophical point would have been correct). Cuts due to budget and time considerations ruined several parts - Douglas Dumbrille as a married man who wants Lorre's sister (Lorre can't stand him) and who helps bring Lorre to book (for personal reasons) had a larger part in the novel, including suicide. That is not in the film.

With all it's budget restraints though, it is a good introduction to the great novel and I recommend it.

Crime and Punishment (1935)

*** (out of 4)

Dostoyevsky's classic novel turned into a classic film by the legendary von Sternberg. In the film Peter Lorre plays a brilliant but poverty stricken criminalologist who resorts to murder when his mom and sister are threatened with being homeless. The crime seems to go off without a hitch until his conscience begins to haunt him and his fear of a detective (Edward Arnold) starts to cause more panic. This is an extremely impressive version of the novel and also features a terrific performance by Lorre but the real beauty here is the vision by von Sternberg. His stamp is all over this film and it's easy to see early on with the beautiful lighting, which creates some wonderful atmosphere and real tension. The way the cinematography picks up each and every shadow just makes the tension in the story build and build and this is especially true right after the murder when Lorre panics and tries to get away without being seen. This entire segments contains some great suspense and the director gets most of the credit. I found Lorre's performance to be one of the greatest of his career because he's actually got quite a bit too do here. Not only must he play a genius but he also must show fear, panic and even a comic tone. When Lorre's character loses his fear it turns into some comic touches and he delivers on all the notes. Arnold turns in another strong performance and his laid back approach is perfect opposite Lorre's breakdown. The one weak spot in the film for me is the final act, which seems to be drawn out too long due to Lorre's relationship with a poor woman (Marian Marsh). Mrs. Patrick Campbell is downright wicked in her role of the murdered pawnbroker. With a little bit of editing this movie could have been a real masterpiece of the genre but as it stands, this is a perfectly entertaining "B" movie that has plenty going for it.