I mendicanti della vita

Artfully photographed, dark and riveting silent film following the story of a handsome tramp (Richard Arlen) who has entered a house looking for work, finds a man slumped over at the table and discovers he has been shot to death. A young lady (Louise Brooks) appears at the top of the stairs dressed in male clothing - she admits she killed the man (he "adopted" her from the orphanage two years before - okey dokey), but reasons that she did it to protect herself from being raped. So - they run off together and hitch a ride on a rail car to get out of town. The two of them soon arrive at a side of the railyard hobo camp where they encounter one really hardened, bully of a hobo (Wallace Beery) who actually ends up helping them. When she is recognized by one of the hobos as being a woman, the bunch want to get her away from her fellow and have her for themselves - oh dear, that struck me as a pretty bad/scary situation for a female to find herself in (the looks on these men's faces as they stared in lust at this poor girl were enough to frighten anyone)! Later "Wanted" posters begin to appear on signposts, as they discover she is now wanted for murder with a $1,000 reward offered for her capture.

I found this to be a very interesting and enjoyable film, full of some beautifully photographed scenes - Brooks and Arlen in close-up as they hide out one night in a hay loft, Brooks falling from a train into a grassy field, a montage of images in the beginning showing the decadence of the girl's "father" as he paws and pursues her. The plot is, in a few ways, reminiscent of the early 40s comedy "Sullivan's Travels" - the female dressed in male clothing stealing rides on rail cars with a male friend/lover, the hobo camp, etc. Interestingly, I thought Louise Brooks looked even more beautiful dressed as a boy than when she puts on a dress! All in all, this is a visual treat and a highly entertaining film.

This is an entertaining film containing passages of alarming sentimentality that are neutralised by frank brutality (the brutality being provided by the indomitable Oklahoma Red - Wallace Beery - a thug with a conscience, and the psychopathic Black Mose - Edgar Washington).

Louise Brooks does very well as an imp of promise escaping a sinister rapist, and Richard Arlen is effective as her practical-minded (but not overly intelligent) beau. In fact I think this is just about the only one of her American films where Brooks gets the opportunity to do some real acting. It is thought that this was one of the first films to pioneer the androgynous look. The other stock players add to the drama, and the cinematography is well done.

Although Beery gets top-billing we do not see him until the latter half of the picture. This is just as well, because he does enough scene-stealing to compensate for his absence in the first half.

Brooks did not care for William Wellman, who appears to have been a hard task-master, and as she remarked in her memoirs: 'I knew Billy was a phoney brave man and consequently a woman-beater - all cowards revenge themselves on women - just by feel, especially when my ass hit the pavement in "Beggars of Life"'. This might be a reference to her failed attempt to board a moving train where the viewer (for once) gets some idea of how difficult a task this is. Of course Wellman might have been a little harsh with her because she was fast acquiring a reputation as an actress who was difficult to handle.

A really great film. Great action scenes, and yet there are a lot of subtle scenes with nuanced acting. The social themes - child abuse, the desperation of the poor - are quite as relevant today, and make it easy to relate to, especially with the fine acting of Arlen and Brooks. Although the tone is serious, the scenes with Beery introduce an element of broad comedy. Also progressive for its time by having a black character as a respected equal of the others.

The print is in fairly good condition, so this movie would probably gain wider appreciation if someone would write accompanying music specially for it.

Notable for its tautly realistic performances and unrelentingly downbeat atmosphere, "Beggars of Life" is put over with considerable power by director Wellman who makes the most of his location material with a real train on the San Diego-Yuma railroad.

Although it's hard to tell in the print under review, the photography by Henry Gerrard was also a potent ingredient; and certainly the remarkably astute film editing by Alyson Shaffer also aids both the film's tight pace and its ability to grip the viewer.

With her beguiling face and charismatic presence, Louise Brooks rivets attention from start to finish as the wanted girl and even manages to outshine Wallace Beery who pulls out all his usual thespian tricks as a good badman.

"Beggars of Life" is (and I hate to use this word) awesome. Louise Brooks takes command of this photoplay right away and makes it her own. Watch her act with her facial expressions in the scene inside the haystack. Brooks' acting is very subtle and is quite effective. She is in good company with Richard Arlen, always a fine actor, and Wallace Beery, whose portrayal of the complex Oklahoma Red is excellent. The all-male supporting cast is also of high quality. This is a first rate cinematic event with a first rate actress and supporting cast. It is something modern day film audiences should not miss.