Alias Jimmy Valentine

Most people who see this will see it as part of the Library of Congress video series under the heading "Origins of the Gangster Film"-- suggesting that it's an early example of a tradition that would lead to Public Enemy, Little Caesar, and so on. In reality, however, it (and the Griffith short included on the same tape) could just as easily be said to represent another tradition which lasted through the silent era (including von Sternberg's Underworld) but essentially was killed off by the more realistic and less sympathetic talkie gangster films-- one in which the urban gangster is essentially a romantic "good bad man" analogous to the redeemable western badmen played by stars like William S. Hart. Though this film was remade as late as 1928 (in a version now lost), it's hard to imagine a 30s gangster star like James Cagney in its plotline, which has the master safecracker Jimmy Valentine more or less instantly reform through his noble admiration (at a distance) for a good woman, become a trusted bank employee, and then be forced to choose between his past and his present-- not because of his own temptation to return to crime, but for even more noble reasons.

As that description suggests, the source material is a bit dated (although the climactic sequence, which I won't spoil, is a surefire piece of stage suspense craft and must have had them bouncing in their seats in 1915). But the smooth direction of pioneer Maurice Tourneur (father of the director of such noir classics as Out of the Past and Nightfall) makes this a very watchable film for its time, and one robbery sequence, filmed on a multi-room set shot entirely from above, is a stunning long-take sequence that suggests the clinical detachment of later caper films like Rififi and Heat. And Warwick, who will be mainly familiar as a middle-aged character actor in films like The Adventures of Robin Hood and The Palm Beach Story, makes a dashingly romantic hero (with a striking resemblance to the later silent star George O'Brien).

Robert Warwick (as Lee Randall aka "Jimmy Valentine") is a respected citizen by day, and a safecracker by night. His main adversary is lawman Robert Cummings (as Doyle), who wants to see Mr. Warwick in prison Sing-Sing. Ruth Shepley (as Rose Fay) is the woman who turns Warwick's head, and visa-versa. The situation changes several times over the course of the film; but, basically, Warwick wants to lead the straight life, as a banker family man - however, he is haunted by the past.

Director Maurice Tourneur makes this a visually exciting silent drama; many of the images are beautifully done. Warwick is remarkable in the lead role. Johnny Hines (as Red Joclyn) and Alec B. Francis (as Bill Avery) are also very good - the story livens up whenever they are on-screen with Warwick; the three are so good, you'll want them to pull a few more heists! However, there is no corresponding chemistry with Ms. Shepley; and, the children perform like wind-up dolls. "Alias Jimmy Valentine" is, unfortunately, not as exciting as it's production or direction. Still, it's quite an achievement for 1915.

******* Alias Jimmy Valentine (2/22/15) Maurice Tourneur ~ Robert Warwick, Johnny Hines, Alec B. Francis

Credit where it's due: save for silent comedies rife with complex stunts, and grandiose epics with the visuals to match, one doesn't necessarily look to the silent era for finesse and ingenuity. Even as filmmakers were pushing the envelope in various ways in the new cinematic medium, every little step along the path to bigger, more sophisticated things is a minor delight. Even in this 1915 movie that clocks in at only about one hour one can see examples of the keen mind Maurice Tourneur possessed and worked with, with some wonderful instances of shot composition, or excellent set design; an early sequence of thieves at work is splendidly well done. Yes, this is undeniably simple when standing next to no few other titles to come in the silent era, let alone following the advent of talkies, but for as young as Motion Pictures were at this time, this is in the very least ahead of the curve compared to some of its immediate contemporaries. 'Alias Jimmy Valentine' is no revelation, but it's admirable and enjoyable on its own merits, and a fine testament to the skills of all involved.

While the world of the 1910s certainly looked different, all the same underlying themes and ideas are as present over 100 years later as they were here. The film-making and storytelling techniques of cinema are basic and straightforward compared to what we would see as techniques and technology developed, but one can handily trace a path from the features of yesteryear to those of the twenty-first century. Why, even being unfamiliar with the play or short story on which this is based, one can recognize common plot points of such works of misunderstandings, lies of omission - and, of course, ultimately redemption - in the story of a criminal and the unexpected consequences of acts of kindness. The discerning viewer may also see echoes of Victor Hugo's 'Les misérables.' For all that, there's some gratifying cleverness scattered throughout in one capacity or another, and Tourneur's script boasts smart scene writing amidst a narrative that's duly compelling. Though limited by the means of the medium at the time, I think the man's direction is just swell, and the cast give fine performances. Really, 'Alias Jimmy Valentine' is just a pleasure all around.

In all fairness, I should also say that the plot represents overly generous assumptions about the criminal justice system, the integrity of that system and those behind it, and the opportunities afforded to those who in any way come into contact with it. While not nearly as heavy-handed as some other movies of the time might be, there are also small illustrations at one point or another of very antiquated values; an intertitle or two are a tad too on the nose; whether it's a question of faults in the writing, or pieces missing from the surviving print, I feel like the plot development makes some unexpected leaps. Still, one way or another, this is consistently entertaining, and endearing in its craft and the story it weaves. True, it's nothing so significant as to change the minds of those who have difficulty abiding older films; conversely, cinephiles who love the silent era will doubtlessly be charmed. But it even manages to attain a measure of earnest tension and suspense at the climax despite the predictability of where everything will end up, and I believe that speaks very well to the capabilities of all on hand. Don't necessarily go out of your way for 'Alias Jimmy Valentine,' but if you do have the chance to watch and like what older pictures have to offer, this is enjoyable and worth the mere hour it requires.

The story (generic social commentary, in addition to carelessly dubious plot lines) and acting (lots of posturing) are unimpressive, but Maurice Tourneur was one of the best directors of his day--here, especially evidenced by some of the cinematography. This website doesn't list the cinematographer of this film, but I suppose it was John van den Broek, who was Tourneur's usual cinematographer until Broek drowned in 1918. The heist scene contains symbolic shots of the criminals through barred windows and overhead shots of them breaking into a bank. The ceiling is absent in the set--rather than the usual problematic missing walls.

I appreciate the variations of lighting and tinting, too, including tinting changes for lights switched off and on. Some moments of humor alleviate from the dull story, such as by the supporting character Red, or a shot of a girl and her dolls praying. The editing is choppy at times, though, which is not unusual for when editors just held the negative to a light and used some guesswork on where to cut. Additionally, it's a bit condescending to place quotation marks around slang in the intertitles. Nevertheless, I'm thankful that some of Tourneur's films--this one lost until 1989--survive for me to see that D.W. Griffith wasn't a complete anomaly of innovation.

This movie has some fast-forwardable scenes, and also a few plot problems (some possibly due to missing footage), but its virtues make it very worthwhile. The photography and lighting are simply beautiful, and Tourneur creates some highly inventive shots. (The birdseye view of the heist is the most obvious example.) Most of the performers are excellent--especially Robert Warwick and the engaging John Hines--and even the bit characters, such as forger Blinkey Davis, are memorable. It's interesting to see how quickly silent-film acting progressed in its early years; the 1912 D.W. Griffith short on the same tape is much less sophisticated in that respect. The story of "Alias Jimmy Valentine" is a bit too "improving" for modern tastes, and the theme of Valentine's double life is not very well explored, but the film presents a fascinating look at "the underworld" in 1915.