Mendigos da Vida

While she is known primarily for her work for G.W. Pabst in the German films Pandora's Box and Diary of a Lost Girl, Louise Brooks is phenomenal in William Wellman's movie of a young girl on the run after she murders her sexually abusive guardian. The opening scene, in which the murder takes place, is gorgeously imagistic and ranks (for me) as one of the most indelible moments in all of cinema. Richard Arlen and Wallace Beery are very good in their roles, but the movie belongs to Brooks, whose ability to underplay in the silent era -- when mugging and exaggeration were more the rule than the exception -- makes her seem ultra-contemporary. It is little wonder Brooks has such resonance with modern audiences.

Handsome hobo Richard Arlen (as Jim) is hungry. Smelling breakfast as he passes by a home, Mr. Arlen ventures inside to beg for food. Arlen is startled to discover the body of a dead man, as beautiful Louise Brooks (as Nancy) descends her stairway to explain. Tired of waiting on the pawing man, Ms. Brooks shot her sexually abusive guardian. Believing Brooks story (and taken by her beauty), Arlen invites her to accompany him east. They hop a freight train with Brooks disguised as a boy, to deter the police. Love blooms when the two share a bed made in hay. Arlen's "leg-locking" and Brooks' look of approval are part of these actors' well-played scene. With the police on their trail, Arlen and Brooks fall in with a group of hobos.

Brooks' disguise as Arlen's "kid brother" only lasts so long, and she is discovered as a girl. This arouses the interest of boozy tramp leader Wallace Berry (as Okalahoma Red). When their gang of hobos hitches a ride on another train, Mr. Berry wants to throw Arlen overboard and rape Brooks. Berry's swaggering introduction, with a keg of ale for the hobos, is a jolt - as we hear his voice in a "synchronized sound effected" film. Berry, who is billed over Arlen and Brooks, quickly becomes a major character. His change during the last act becomes one of the film's problems. Still, this is still a fine-looking production (despite the prints available).

You get "Wings" director William A. Wellman with one of his greatest stars (Arlen), a fine new actress (Brooks), and one of the movies' most popular character players (Berry). And, hang on tight for some exciting train sequences.

******** Beggars of Life (9/22/28) William A. Wellman ~ Richard Arlen, Louise Brooks, Wallace Berry, Edgar Washington

"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.

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.

I wish for nothing more than a valid version of this great movie on DVD. It's been a while since I last saw it, but the impression has been a lasting one. True empathy lasts through the ages and there is a poignancy about 'Beggars of Life' that is phenomenal. All actors shine in career-defining roles, direction is sensible to minuscule moods, and the overall effect is overpowering. One of the best flicks to come out of Hollywood in those pre-talkie days. Can't wait to see it again.