Les damnés de l'océan

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.

For me, this comes a close second to "Underworld" in Sternberg's films: the twists and turns of the melodramatic plot become ultimately a little too much for me to swallow (a twist too far?), and I found some of the camera devices simply distracting, but even so the film is more or less won by virtue of the impressive acting from all concerned. Betty Compson (who was soon to receive a well-deserved Oscar nomination for her role in the part-talkie "The Barker") stands out as the fragile, cynical girl who has "had too many good times" already but allows herself to believe in the possibility of redemption; Baclanova is memorable as the petty officer's deserted wife, while George Bancroft is a cheerful, callous but not unkindly Colossus of a stoker. The weary, sensitive features of Gustav von Seyffertitz, in a small role as the threadbare Bible-basher who ministers to this godless 'flock', also make a strong impression. The film is almost all atmosphere, but it is atmosphere well-done.

Docks of New York, The (1928)

*** 1/2 (out of 4)

Impressive melodrama benefits from some strong performances and some terrific visuals. The film tells the story of Bill Roberts (George Bancroft) a man who lives down on the docks who ends up saving a woman (Betty Compson) from killing herself. Over the period of a day he saves her life, then the two get to know one another before getting married hours later but neither of them know what the future might hold. The plot of this film is pretty simple and in many ways it's not too original but that doesn't hamper the film too much as director von Sternberg has such an amazing eye that each scene contains something fresh even if the story in that scene isn't anything new. I'm not sure how much a better story would have helped overall but it might have benefited in a few ways including the two actually falling for one another. In many ways this film plays out like a lonely males fantasy of him just happening to save a beautiful woman and then she gives him a chance of winning her heart. Being made years before the Code went into full effect allowed the director to show off some darker moments to both characters as it's made clear in a very funny scene that neither person are virgins and that they've both had their share of wild moments. What's most impressive about the direction here is his visual style, which is easily the most impressive that I've seen from him. Just take a look at the scene where Bill saves the woman. The fog is laid on very thick making the scene come off almost like a fantasy sequence and the way von Sternberg edits the thing makes it seem like some sort of strange dreamland. The way the girl is seen, pulled from the water and eventually carried home are all shot very darkly with very little light and what light there is comes mainly from the reflections off the fog. I loved the way von Sternberg shot the scene where the woman comes to and is introduced to the man who saved her. I loved where the camera was placed and how the lighting once again plays a very important part. The atmosphere is a very thick one as you can feel how dirty the docks are and all the people there seem like the type you'd actually find living and working there. Bancroft delivers a very good performance in a role he has no problem playing. The toughness of the character is very believable with Bancroft in the role but he also handles the more quiet and tender moments. Compson has the harder of the two roles as her character is much darker but she has no problem making us care for her. The two don't look like the types who would be together but their performances are so good and the two act so well together that they make us believe. While the film is far from flawless it's well worth watching for the performances and directing.

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.

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