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The Blackbird (1926)

 -  Crime | Drama  -  11 January 1926 (USA)
6.9
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Ratings: 6.9/10 from 416 users  
Reviews: 14 user | 5 critic

Two thieves, the Blackbird and West End Bertie, fall in love with the same girl, a French nightclub performer named Fifi. Each man tries to outdo the other to win her heart.

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Title: The Blackbird (1926)

The Blackbird (1926) on IMDb 6.9/10

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Cast

Complete credited cast:
...
The Blackbird / The Bishop
...
West End Bertie
...
Fifi Lorraine
Doris Lloyd ...
Limehouse Polly
Andy MacLennan ...
The Shadow (as Andy Maclennan)
William Weston ...
Red
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Storyline

Two thieves, the Blackbird and West End Bertie, fall in love with the same girl, a French nightclub performer named Fifi. Each man tries to outdo the other to win her heart.

Plot Summary | Add Synopsis

Genres:

Crime | Drama

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Details

Country:

Language:

Release Date:

11 January 1926 (USA)  »

Also Known As:

The Black Bird  »

Box Office

Budget:

$166,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

(TCM print)

Sound Mix:

Aspect Ratio:

1.33 : 1
See  »
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Did You Know?

Quotes

The Blackbird: God... I can't stand it! The pain! The pain!
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Connections

Referenced in The Falls (1980) See more »

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User Reviews

The Black Bird (1926) - TCM U.K. screening review
13 June 2004 | by (Naxxar, Malta) – See all my reviews

By contrast, I was relatively satisfied with THE BLACK BIRD. The plot is somewhat derivative (particularly of THE PENALTY [1920]), but Chaney is in fine form here. The film goes a long way in simulating the Limehouse atmosphere, even where dialogue is concerned (which comes off as fairly hilarious if quite endearing).

The romantic leads, as played by Owen Moore and Renee' Adoree', are above average in this case; in fact, Moore (as a gentleman crook) is more of an anti-hero here and creates an interesting contrast to Chaney, who himself alternates between the villainous 'Black Bird' and the saintly 'Bishop' throughout.

For a Browning/Chaney effort, the film is fairly conventional and comes off as somewhat protracted (particularly the overly contrived ending) when compared to THE UNKNOWN (1927). Chaney's (deceptive) physical deformity of his 'Bishop' character is the sole weird element in evidence and, for once, here we get a chance to observe - on camera - the way Chaney accomplishes this amazing feat!


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