Condamné

Ronald Colman's second talkie feature film was Condemned and for that and Bulldog Drummond he received his first Oscar nomination. He lost in that second Oscar sweepstakes for Best Actor to Warner Baxter for In Old Arizona. Nevertheless Condemned holds up very well in this story set in the infamous French Devil's Island penal colony.

In the story Colman's a convict and since it's Ronald Colman he's going to have a bit of polish more than the others there like fellow new inmate Louis Wolheim. The warden's wife Ann Harding is unhappily married to warden Dudley Digges who insists that she get herself a house servant from the group. Colman is a bit less threatening so he's chosen.

The inevitable happens as Colman is better company than her lout of a husband. That's when they planned to escape.

Dudley Digges who also doubled as dialogue director for this new fangled talking picture said that stage trained actors like both Colman and Ann Harding were a pleasure to work with. Both grasped that a bit more subtlety in technique had to be used. Both also emoted well when that was called for.

According to Citadel Film series book on Ronald Colman, Colman said how grateful he was that sound came along and what a boon it was to him and other players like William Powell who was both staged trained and a good friend of Colman's. Powell also did well in his talkie debut in one of the Philo Vance films he made.

The depiction of Devil's Island was outstanding. Condemned still holds up well for today's audience.

This film was based on the bestselling fictionalized account of the escapes of René Belbenoît, a prisoner on the Devil's Island penal colony in French Guiana, written by Blair Niles. The novel helped raise awareness of conditions there which eventually led to its closure.

In his second talking film Ronald Colman plays Michel Oman, an unrepentant thief condemned to Devil's Island. Michel is not a noble guy or an innocent guy, so immediately the niceties are out of the way. Madame Vadal (Ann Harding) is the wife of the warden of the prison (Dudley Digges). He is a big slob, harsh and rude to his wife. I wondered how this pretty and demure woman came to be married to this brute beast, but apparently at the time of their marriage he looked like St. John. I doubt that St. John ever looked like Dudley Digges! But I digress.

Vidal is quite a snob considering he is also a slob, and thinks someone of "his station" should have a servant. He makes Michel his houseboy because he seems more refined than the other convicts, and Michel likes this job because it keeps him from having to do hard labor with the rest of the convicts. But Michel and Vidal's wife fall in love, although they don't act on it. But the wives of the other prison employees begin to gossip based on absolutely nothing but their own boredom, and soon the gossip gets back to Vidal, who reacts exactly like you'd expect him to.

I have to wonder...what would this pair be like in everyday life? Would they make it? Or would ordinary life in a world populated with plenty of other people to which they could turn break them up? What happens when one of them forgets to pay the electric bill, when the sex stops being hot, when the upstairs neighbors turn out to be flamenco dancers? This film isn't alone in being one about people from completely different backgrounds falling in love because they are the only people available to one another, but these scripts never have the subjects in love talk about these obstacles. But, again, I digress.

Originally this was supposed to be shot on Devil's Island, but the expense and practicality of it all prevented that from happening. Colman gives a very subtle performance as Michel, contrasting with Digges and Harding being more theatrical. That surprised me, since Digges and Harding have acting styles here that seem somewhat like holdovers from the silent era, yet they never acted in silent films, where Colman was a veteran of silent films and does not display that style.

The camera work here is excellent, really giving off the feeling of being shot in a prison even though it was not.

And if you think Louis Wolheim is being wasted here, I will tell you he is a very key part of the resolution. This is a precode, but it is definitely not one in the Warner Brothers tradition.

Talkies were still a very new idea when this film was made, and this was star Ronald Coleman's second film with sound.

Surprisingly perhaps the film isn't particularly archaic in the way it is made; the camerawork, the lighting, the direction etc all bear comparison with later films. Of particular interest is the soundtrack; for a 'new idea at the time' the soundtrack is surprisingly good, for example you hear the taunting voices echoing in the warden's mind in one scene.

The plot and acting are of their time, of course; one only needs to (say) listen to popular music of the time to see how certain cultural ideas have changed, but the language of cinematography it seems remains more constant.

Interestingly this film was originally also released in a silent version; presumably many cinemas were not then sound equipped and it wasn't yet certain whether this 'new sound thing' would just be a fad or not.

For something that should be completely anachronistic, a museum piece even, this is a surprising watchable film.

Ronald Colman is "Michel", a debonair thief who ends up in prison on Devil's Island. Sandwiched between the shark-infested waters on one side and the bug-infested forest on then other, he is condemned to live out his days under the brutal custodianship of "Digges" (Jean Vidal), the prison warden. When he befriends Ann Harding, the put-upon wife of his nemesis, they begin to work on a daring plan to escape from their living hell. Though he was Oscar nominated for this, Colman doesn't yet have the glint in his eye that gave him star quality and so this is a bit of an unremarkable melodrama with cages and flies - but the quality of the production has held up well over it's 90 years and Wesley Ruggles keeps it all moving along nicely, if a little too predictably. If you do get an opportunity, give it a go.

"Condemned!" is an early prison melodrama with the accent on "melodrama". Admittedly, "melodrama" was much more acceptable to audiences in 1929 than it is today. That being said, this film does have a good deal in its' favor. It has a great cast including Dudley Digges, somewhat miscast as a French prison administrator, and Ann Harding, much better-cast as his meek, put-upon wife. Also, look for a rare appearance by Louis Wolheim (and, admittedly, his presence is very hard to miss) in the role of a convict. Best remembered today for his memorable performance in the 1930 film, "All Quit on the Western Front", Wolheim's career was unfortunately cut short when he died suddenly in 1931 at the age of only 50. Although usually cast as a plug-ugly thug, Wolheim was actually a graduate of Cornell University and a former college professor whose distinctive appearance was the result of a college football injury (apparently football was a rougher game in those far-off days). Lastly, of course, this movie features the great Ronald Coleman in his prime, an actor whose presence was always a major asset to any film.

The overbearing administrator of a French penal colony in South America considers it beneath his dignity for his wife to be seen doing housework. Consequently, overruling his meek and much put-upon wife's protests that she is afraid of the convicts and does not want one of them in the house, the administrator insists upon selecting a convict to serve as their "house-boy". Needless to say, he selects the most handsome and charming of the convicts for the job, Ronald Coleman. This being a melodrama, anyone can immediately predict where that is going to lead except, of course, the woman's husband. It takes him quite a while to catch on to what is perfectly obvious to everyone else. Of course, once he does, his reaction is equally predictably vindictive and nasty.

Being a very early example of a "talkie", this movie inevitably suffers from some technical crudity. However, it also displays some striking visual effects in those scenes which do not require dialogue. In addition, despite this movie's rather dated melodramatics, it is still worth seeing for its' excellent cast.