Lights of New York

This is an important historical film since it was the the first all-talking feature film.

The film was made for a mere 23,000 dollars.

It grossed over a million dollars upon its release.

This film all so helped define the gangster melodramas that were to become the bread and butter of the Warner's studio in the 1930's.

The popularity of this film ended the silent era more so than its more famous part-talkie predecessor, the Jazz Singer. The film deserves its place in history and not as a mere footnote.

The only actor who might be remember today that is in it was Eugene Palette.

One-hour-long, corny, somewhat boring---but still kind of watchable. I liked one song that an entertainer in a nightclub sang (and he did a bit of dance accompaniment). Some decent plot twists. The actors stumble over their lines but one cannot blame the movie that much because I am reading here that it was billed as "the first 100% talkie." The slang expressions and quick-fire dialogue are big pluses.

Fascinating and amusingly bad, Lights of New York is the first all talkie feature and one that almost never saw the light of day.

Two naive barbers (Eddie and Gene) from out of town get involved with bootleggers and end up fronting a speak. When a cop is shot by one of the bootleggers the police start to close in, and the Hawk (who shot the officer) decides to pin the murder on Eddie instructing his henchman to "take him for a ride". But it's the Hawk himself who takes the bullet in a twist that will surprise few.

Shot in one week at a cost of $23,000, "Lights" was originally meant as a two reeler but Foy took advantage of Jack Warner's absence to extend it to six. When Warner discovered this he ordered Foy to cut it back to the original short. Only when an independent exhibitor offered $25k for the film, did Warners actually look at the film, which went on to make a staggering $1.3 million.

Seen now this is an extremely hokey piece, with acting that ranges from the passable (Eugene Pallette) to trance like (Eddie's Granny in a particularly risible scene) and much of the playing is at the level of vaudeville. Since it's an early talkie (4 part-talkies preceded it) that's about all the characters do, and very slowly at that. The script feels improvised, visual style is non existent (apart from the shooting scene done in silhouette) and scenes grind on interminably. Title cards are intercut which redundantly announce characters and locales.

Despite all this "Lights" is a compelling experience, as we watch actors and crew struggling with the alien technology, and changing cinema for ever.

Catch it if you can

Okay so I gave this a 6 but to be fair you can't grade Lights of New York in any ordinary sense. The camera's immobile, the acting's on par with lumber and the script's below second-rate. I love the dialog--- Wheeler Oakman's "But... they... must not... find... Eddie" and the infamous, "Take.. him... for... A... ride" is stupifyingly awful (further proof of his thespian skills can be seen in his death scene... then he keeps on breathing!). But hey, this was the very first all-talking movie! There's every reason in the world to make allowances for every one of it's shortcomings. I've seen The Jazz Singer released around 8 months earlier and this represented a huge leap over part-talkies. It's hard to be overly critical on the technical aspects when it's apparent that everyone was dealing with new fangled sound and heavily soundproofed cameras--- not to mention sound requiring completely new types of direction. This is a gem that deserves to be seen and judged for what it is, a historical artifact. Eugene Palette is the best actor here (no surprise).

LIGHTS OF NEW YORK was the first "all-taking" feature film, coming in at a brisk 57 minutes and directed by Bryan Foy (of the famous vaudeville family).

The story has two dopey barbers (Cullen Landis, Eugene Palette) yearning for a chance at "big city life" and getting involved with gangsters and bootleg booze. One of the guys gets framed for the murder of a cop but is saved at the last minute by a gun moll (Gladys Brockwell).

Much of the story takes place in a night club called The Night Hawk, which is run by a crook named Hawk (Wheeler Oakman) who has his eye on a pretty chorine (Helene Costello) who is the girl friend of Landis. Costello gets to do a brief dance, and we hear Harry Downing (made up to resemble Ted Lewis) sing "At Dawning) in his best Al Jolson style.

The acting ranges from good (Palette and Brockwell) to awful (Oakman). A couple of the actors muff their lines but then keep right on with the scene. As noted elsewhere this was intended to be a short 2-reeler and was made on a shoestring budget. Yet the sound quality is surprisingly good, the voices all register clearly, and there is a neat cinematic touch in the silhouette death.

The film was a box-office smash even though it was shown as a silent film where theaters were not wired for the new sound technology. No one expected this little film to gross an amazing $1.3 million. It briefly made stars of Costello and Landis and certainly launched Palette on his long career as a star character actor.

Co-stars include Mary Carr as the mother, Robert Elliott as the detective, Eddie Kane as the street cop, and Tom Dugan as a thug.