Two American soldiers are captured by the Germans on the Western Front during World War One and escape a POW camp only to stumble into further life-threatening adventures when they come across an Arabian king's daughter while on the lam.
Nan, a racketeer's daughter, is in love with The Kid, a shooting gallery showman. Despite Nan's prodding, The Kid has no ambitions about joining the rackets and making enough money to ... See full summary »
An altruistic department-store owner hires ex-convicts in order to give them a second chance at life. Unfortunately, one of the convicts he hires recruits two of his fellow ex-convicts in a plan to rob the store.
'Nobody helps me -- I help them!' boasts open-handed gangster Bull Weed, handing over what will prove to be the best investment in his high-spending career: a thousand dollars that will put the literate 'Rolls Royce' of vagrants back on his feet. Living it up in the Twenties with the aid of cool but smouldering moll Feathers, the Bull lords it over the law and his rivals alike -- specifically big Buck Mulligan, whose floral-tributes business echoes that of a certain real-life Chicago gangster... Yet Feathers, prize possession and object of envy, proves his weak point; and in the end, Bull Weed will indeed come to need help from others, and more than he has ever needed it before. But can Rolls Royce and Feathers still give it to him? And will the Bull accept? Written by
One of the great joys of prohibition-era gangster films is the colorful dialogue spat out by the likes of James Cagney and Edward G. Robinson. As that element would, obviously, be missing from a silent film, I wasn't sure how I would react to Underworld.
Not to worry. This is a great film, one of the best prohibition-era gangster films I've seen, ranking slightly ahead of Little Caesar and the Public Enemy, and maybe only slightly below Scarface (1932). Tough, tense, tightly written--interestingly, Howard Hawks is credited for the scenario--and with gorgeous DARK cinematography and Josef von Sternberg's usual excellence in direction. I barely missed the lack of gangster-speak.
I suppose this film was a template upon which a lot of gangster films were based. It struck me while watching it how much it had in common with the Coen brothers' Miller's Crossing (1990)--a love triangle between a mob boss, his moll, and his right hand man. And it's all about the gangsters' peculiar code of ethics.
I'd rate it a perfect 10, but for a muddled and badly-handled prison break sequence, which I watched three times and still couldn't figure out. Maybe I'm just dense; maybe it was actually a genius bit of filmmaking and it just flew over my head, but for now, 9/10.
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