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New York Nights (1929)

 -  Crime | Drama  -  28 December 1929 (USA)
6.8
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Title: New York Nights (1929)

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Cast

Cast overview:
...
...
Fred Deverne
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Joe Prividi
...
Peggy
...
Ruthie Day (as Mary Koran)
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Johnny Dolan
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Storyline

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Genres:

Crime | Drama

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Details

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Release Date:

28 December 1929 (USA)  »

Also Known As:

Buhranli geceler  »

Company Credits

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Technical Specs

Runtime:

(1938 re-release) | (original release)

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.20 : 1
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Trivia

(1928). Stage Play: Tin Pan Alley. Written by Hugh Stanislaus Stange. Directed by Lester Lonergan. Biltmore Theatre: 1 Nov 1928- Dec 1928 (closing date unknown/69 performances). Cast: John Abrams (as "One of the Three Jolly Good Fellows"), Ward Argo (as "One of the Rialto Rounders Roger Bacon (as "Her Son"), George Bleasdale (as "One of the Three Jolly Good Fellows"), Claudette Colbert, Dorthy Farnum (as "Old Lady"), Claire Farrell (as "One of the Small Timers"), Richard Finley (as "One of the Three Jolly Good Fellows"), Marian Florance (as "Suburbanite"), Norman Foster (as "Fred Moran"), Arthur Gaby (as "One of the Small Timers"), Arnold Goodrow (as "Escort"), John Graham (as "Suburbanite"), Alton Hamilton (as "Suburbanite"), Henry Hammond (as "Escort"), Horbert Harwood (as "Gyp"), John O. Hewitt (as "Brakeman"), Herbert Heywood (as "Pete"), Marjorie Hubert (as "Mrs."), Charlotte Hunt (as "Dumb Dora"), Mortimer Hunt (as "Mr."), Curtis Karpe (as "Tony Costero"), Donald Lashley (as "Porter"), Melvin Leewood (as "One of the Small Timers"), Sam Levene (as "Telephone Troublehunter"), Arline Lloyd (as "Suburbanite"), George M. Lloyd (as "Conductor"), David Manning (as "Jake"), Marica Manning (as "Ruthie Day"), Constance McKay (as "Peggy Loree"), William Nally (as "Bull"), Edgar Nelson (as "Johnny Dolan"), William A. Norton (as "Sgt. Dillon"), Walter Powers (as "Wop"), Marie Preston (as "Suburbanite"), Ramon Racomar (as "Georgie Dunn"), George Rogers (as "Detective Hogan"), Irving Sklar (as "Old Lady"), William Truda (as "One of the Rialto Rounders"), Grace Walsh (as "Rio Rita Girl"), Mildred Waterbury (as "Rio Rita Girl"), Marion Waters (as "One of the Small Timers"), Ben Welden (as "Isadore Marks"), Bert Wilcox (as "Charlie Roseberg"), John Wray (as "Joe Prividi"), Donald Wynne (as "Porter"). Produced by Harry Lang and Henry B. Forbes. Note: Filmed by Joseph M. Schenck Productions [distributed by United Artists] as New York Nights (1929). See more »

Connections

Featured in Hollywood: End of an Era (1980) See more »

Soundtracks

A Year From Today
Written by Dave Dreyer, Al Jolson and Ballard MacDonald
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User Reviews

 
You must see this Norma Talmadge talkie!
4 November 2002 | by (Easley, SC) – See all my reviews



A police wagon speeds through pre-dawn Manhattan streets as the credits roll. The siren screams, there is no music. Two policemen rouse a doctor to a stricken man, he's dying. "Who did it, Dopie?" Cut to a tuxedoed silk hat in the back of a chauffered limo. "Gee, boss, that was a nervy hit." An I. O. U. for $25,000 payable to Dopie Brown is being torn, "Somebody's always gotta pay for a fourflush." A cackling John Wray (as Joe Prividi) chews the I. O. U. pieces into a spitwad, then flings it out the window. Joe then breaks into a flower shop and takes a stolen bouquet to "his goil".

Norma Talmadge as Jill Deverne is the object of Joe's affections. Leaning into a clever two shot in a dumbwaiter, she reminds her Broadway show's producer that her husband might object. Jill walks the knife edge between offending her benefactor and encouraging his romantic inclinations. She is polite, yet firm. In another room, her husband, Fred (Gilbert Roland) works on a tune with buddy, Johnny (Roscoe Karnes). Fred's stuck for a closing lyric and Jill enters with a plum, then falls into his arms. In one scene, Gilbert Roland and Norma Talmadge exhibit their fine voices and sparkling, well-honed chemistry. Roland and Talmadge had been teamed in THE DOVE (1927) and A WOMAN DISPUTED (1928) and here, the magic pops out of the screen. Norma has several close-ups that display her acting mastery. Halfway through the first reel you'll be in love with this movie.

Lilyan Tashman, as Jill's friend Peggy, has a backstage scene where her beauty is truly revealed. With her hair hidden by a cloche-like headpiece, Ms. Tashman's face is revealed to be the most beautiful ever photographed. Also revealed, in this pre-code picture, is her body. Were it not for the wings of a bird seemingly painted on Lilyan's front, all of her modesty would be lost.

The direction is excellent, tightly handled by Lewis Milestone right before he started ALL QUIET ON THE WESTERN FRONT. The pace is rapid and only relents for one brief reconciliation between Jill and Fred. They plot their getaway in a booth in a diner. As they hash out the final details, the camera dollies slowly to the next booth, chillingly revealing Joe's chauffer eavesdropping.

Ray June keeps interesting shots coming throughout the 64 minutes my print ran. And this is where a discrepency arises. The runtime is given as 108 minutes (IMBD), then a release footage of (approx.) 7380 ft (IMDB). AFI lists the release footage at 7447. As both footages run 81 or 82 mins, one wonders what happened to the rest of the film. [I know film shrinks, but that's rediculous] I can find only evidence of one song ever having been in the picture.

73 years after its release, it is impossible to determine what sank this wonderful film at the box office. But, sank it did. Impossible to ascertain whether it failed to be promoted, what the rumor mill ground out or just how the public expected silent film stars to sound. After one more picture, the glittering career of Norma Talmadge, a star that shone so bright as to bring two sisters into the arc light, would be extinguished. Only a year later, as writer Joseph L. Mankiewicz noted, the end of the silent era was typified by Norma Talmadge leaving the Brown Derby and telling a gang of autograph hounds, "Get away, you little b*****ds, I don't need you anymore." And thus fell silent a splendid, promising new talking picture career.

At least we have this terrific movie to remind us of how good silent film technique could be in talkies.


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