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What a good film and what good condition this film is in. The story is simple enough but delivered so well by a great cast.

Seaman(George Bancroft) gets shore leave for the night and goes looking for some fun. He saves a lady(Betty Compson) and is overwhelmed by her. One thing leads to another and he ask her out. From there all kinds of things happen. One of those things is love.

I was very impressed by Bancroft and Compson. They really seemed like they were living their parts rather than acting them out. Betty Compson was such a beautiful woman. That combined with her acting talent, I am surprise that she wasn't a big silent film star. I have never heard of her before.

I would recommend this film to all film lovers, silent and sound.

Docks of New York (1928) is a prime example of the power of silent film at its height. After 1928, the medium would be crushed underneath the rise of sound technology, which was a shame considering how technically dazzling and sophisticated they had become by the latter half of the 1920s.

The film is a character study of a rough stoker and a suicidal woman. The two fall in love after he rescues her from an attempt to take her own life, though there is a chance they may be separated by the stoker's aversion to commitment and responsibility. The characters are all flawed, compelling people, each one brought to life with subtle performances from the leading actors. The atmosphere is appropriately seedy and dark, with chiaroscuro lighting and crowded spaces. It's a slow film, one that will not please those who prefer more plot or action, but it is worth your time, showcasing silent cinema at its loftiest heights. It is films like Docks of New York which make one wish the silent era had lingered on a little while longer.

It was great to see the old New York of the '20's in this movie, only though it's just in a couple of establishment-shots. It still looked so much different of course, with a totally different skyline, without as many and such high skyscrapers as there are this present day.

The build-up of the movie and its drama is done very well. It has a sort of dark and depressing, dirty atmosphere, which suits the movie its time period and themes. The story also all enhances this. I really liked the story, also not in the least that it isn't just another standard written love-story. I also liked how tings came together at the end. The movie really reached a right and satisfying conclusion. The movie however as a whole is a bit too short though perhaps to let all of its drama work out as effective as it perhaps could had. Nevertheless the themes in the movies still work out efficient enough and shows that "The Docks of New York" was a quite edgy and unusual movie for its time.

The movie gets mostly carried by its two main leads, played by George Bancroft and Betty Compson. Both are such compelling characters, greatly and charismatically portrayed by the two main actors, each in their own way. But a complaint would be that's hard at times to always care for the characters. Bill Roberts is one tough hard guy that smacks things around and punches people in the face. And Mae also obviously has some issues and a dark past.

The movie was professionally directed and with some excellent camera-work, that also uses some early moving shots. This also really added up to the movie its quality and atmosphere.

A great unique little film from the silent era!

9/10

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There were three main reasons for seeing 'The Docks of New York', there is always at least one main reason for me that draws me into watching any film. One was my high appreciation for silent films. Two was the idea for the story, which did sound fantastic. Three was Josef von Sternberg, who did many good and above films with one of his regular stars being Marlene Dietrich. His best films, with 'Shanghai Express', 'The Devil is a Woman' and 'The Scarlet Empress' being a few examples, are wonderful even.

For me, 'The Docks of New York' is up there as nearly one of Sternberg's best. As well as one of his most overlooked, though it is regarded highly by many today it is still underseen. It is a real shame that 'The Docks of New York' was a flop at the time, and it was nothing to do with its quality. It was in my view to do with timing, which was not fair to 'The Docks of New York'. Releasing it at the same time as the more ground-breaking 'The Jazz Singer' (despite that film being more historically significant for being the first talkie, this for me is the better film) was a bad and near-suicidal move.

Perhaps the film could have been longer which would have allowed a few of the plot developments to breathe more.

Other than that, 'The Docks of New York' is near-essential viewing and highly recommended if one wants to see what the fuss about Sternberg is about. His direction is typically accomplished and passionately engaged with the material, making a seedy setting look stunning which is not always easy to do. One of the greatest things about 'The Docks of New York' is how it looks, one of the most beautiful looking late silent films to exist in my view. The setting is seedy yet handsome and the cinematography is both luminous and atmospheric, the best imagery looking stunning.

Just as good is the highly effective use of light and shadow, which was a common distinctive thing in Sternberg's films. Absolutely loved the attention to visual detail in this film. The music is haunting enough and at least fits. The story is simple but never dull, thanks to some nice twists and turns that keeps one guessing without losing cohesion and the great chemistry between the leads. Which has tension and one can feel the attraction between them. Just as they do feel the uncompromising grit of the story's atmosphere. It is melodramatic yes but doesn't go overboard on the suds.

All the cast do great, with Olga Baclanova being especially classy in support. George Bancroft has a swaggering intensity but the most challenging role belongs to Betty Compson, and along with Sternberg and the production values her searing performance is the heart, driving force and shining light of the film.

Concluding, really great. 9/10

There are quite a few strengths that make this silent melodrama work so well. It has a well-crafted story that moves at a good pace and efficiently uses each minute of screen time. It is very well-acted, especially by George Bancroft and Betty Compson. Compson's performance, in particular, deserves much more praise and recognition than it has received, either at the time or now. Finally, the dockside atmosphere is interesting and convincing, besides being an integral part of the story.

Bancroft has a role that is particularly well-suited to him, and he does a fine job in the part. Compson has a challenging role, since she must make her character attractive yet lonely and miserable, and somewhat disreputable yet completely sympathetic, for the story to work. She gives an excellent performance in every respect, and Bancroft plays off of her character quite well. There are some fine moments in which their characters' rough edges contend with their own gentler and nobler instincts. Thus the unlikely attachment between the two not only works well, but draws you in and makes you care about them quite a bit.

The supporting cast gives good performances as well, with Olga Baclanova especially good in a role that is essential to the story. Mitchell Lewis is suitably brutish as the heavy, and Clyde Cook is quite believable as Bancroft's nervous pal.

Josef von Sternberg also tied together all of these strengths in an efficient and effective package, making every scene count and making you feel as if you were there on the docks with the characters. It's a fine melodrama by any standard, and is well worth seeing for anyone who enjoys silent movies.