The Sins of the Children (1930) User Reviews

Roast Goose, Red Cabbage, Tears and Beers

[howdymax · 7/10 · 21 May 2003]

I decided to comment on this movie, primarily, for one reason - Louis Mann. He plays the hard working patriarch of a loving family whose children constantly disappoint him. He scrapes together enough money from his barber shop to send his older son Ludwig to college, only to have him renounce his immigrant German family and change his name once he becomes a doctor. The son marries a social climber and turns into a spineless worm. The old man mortgages the barber shop to rescue his younger son when he embezzles money from his company to play the horses. When the old man is unable to repay the loan, he asks his son, the doctor, for help. The wife promptly turns him out with a peck on the cheek. His beautiful young daughter sacrifices her virtue to the town bankers weakling son (well played by Robert Montgomery). Well, you get the picture.

But back to Louis Mann. Until I caught this flick on TCM, I never heard of him. Apparently for good reason. I was so impressed with his performance that I did some research. He has virtually no history. I just can't understand it. His performance in this movie was so genuine, poignant, natural, and sympathetic I would have sworn he had an extensive, well rounded career in the business. I don't know anything about his ethnic background, but his German accent was very authentic. I grew up in a 1st generation German home and his delivery reminded me very much of those times. The lapses into German, the emotion, the unintentional humor. He reminded me, at times, of Albert Basserman.

The story has been done many times, the ending is way too pat, and the performances of the actors was mediocre, but this movie is still worth seeing. It will probably be your only chance to see Louis Mann perform, and you need to put everything else aside and watch. I am sorry he never got the recognition I think he deserves and I'm grateful that I got the chance to see him and honor his performance.

Foreshadows You Can't Take it With You (1938) and It's a Wonderful Life (1946)

[jacobs-greenwood · 7/10 · 17 October 2016]

One has to wonder whether Frank Capra saw this above average, sentimental drama and was influenced by it since scenes (and themes) from two of his films, You Can't Take it With You (1938) and It's a Wonderful Life (1946), are evident in this one, which was produced and directed by Sam Wood.

Elliott Nugent, who with his father J. C. wrote the story Father's Day on which this film is based, not only wrote dialogue and acted in it, but went on to direct several movies on his own. Louis Mann stars as a father who loves his family more than money and sacrifices everything for their sake. For their part, his children let him down though he refuses to acknowledge this fact and, instead, considers himself "The Richest Man in the World" (the film's alternate title). Besides Nugent, Robert Montgomery, Leila Hyams, Clara Blandick, Mary Doran, Ralph Bushman, Robert McWade, and Henry Armetta also play significant roles.

Barbershop owner Adolf Wagenkampf (Mann) and his wife Martha (Blandick) have three sons and two daughters; their first priority is raising them right. He proves it when, on the verge of investing his life savings ($3,000) with partner Joe Higginson (McWade) to open their growing town's first Building & Loan, he instead follows his doctor's (Lee Kohlmar) advice to send his ailing son Ludwig away to a dry climate for 2 years. Higginson, whose troublemaker son Nick heckles Adolf's youngest daughter Alma, thinks Wagenkampf's being a fool. Police officer Ted (Dell Henderson), who was Adolf's first customer and was to be his last, feels bad for Adolf as fellow barber Tony (Armetta) looks on.

Twenty years later, Adolf can't contain his excitement that Ludwig is returning home from medical school, as a doctor himself, that very day. He plans an elaborate coming home party and even rents a limousine in which he, Martha, and son Johann (Nugent) can pick him up. They are all surprised, and naturally disappointed, that Ludwig (Bushman) has made other plans - to ride home with Muriel Stokes (Jeane Wood) instead. Meanwhile, Nick (Montgomery), who's still a roustabout, calls on a grownup Alma (Hyams), whom he's been secretly dating. Nick's father Joe is the wealthiest man in town, as sole owner of the town's highly successful building & loan.

Later that evening, the entire Wagenkampf clan converges on the family home for Ludwig's party, including their daughter Kathy (Jane Reid), her obnoxious husband Bide (James Donlan), and their three children. Ludwig sits at the head of the table, but has to admit that he's Americanized his name to Lawrence Warren on his diploma. This hurts his father's feelings, but not as much as when officer Ted arrives to arrest Johann, who now goes by Johnnie. Johnnie, who'd been a collector, was convinced by Nick to "borrow" company funds to bet on a racehorse, which lost. Adolf, Ted, and Johnnie then go to Johnnie's boss to smooth things over; Adolf has to pay the tab and insists that no one tell Martha or the others.

In order to help Lawrence start his practice, Adolf borrows $2,000 against his mortgage from Joe Higginson. Upon giving it to his son, Adolf is again surprised that Lawrence has married Muriel. Times are tough for Adolf at the barbershop, and with the mortgage bill due, Tony refuses his longtime friend and employer's request to work elsewhere for pay. Instead, he convinces Adolf to hire an ambitious, and pretty manicurist named Laura (Doran). Unable to find work (in Harristown ... Harrisburg?), wannabe inventor Johnnie decides to leave for Pittsburgh where his embezzlement is not known by everyone. He'd grown attached to Laura, somewhat of a worldly woman herself who'd fallen for his naiveté; unbeknownst to him, she slips him train fare. After questioning Lawrence's receptionist about his son's growing practice, Adolf reluctantly asks Lawrence for financial help to resolve his debt. His wife Muriel intercepts the conversation and directs her father-in-law elsewhere, saying that Lawrence is on the verge of success and can't afford to help.

Meanwhile, Nick has impregnated Alma, a fact she reveals to her father when he catches her returning after 4 AM one night. Adolf goes to Higginson, not to discuss his defaulted loan as the banker assumes, but their "kids'" relationship. Higginson tells Adolf that Nick will not marry Alma, who's below his class and goes on to call his former friend a loser. Adolf goes into a tirade saying that success is not about money, but about love. That he, Adolf, is therefore richer than Higginson whose son fears him in lieu of loving him. Adolf then begins to leave, and is joined by Nick who embraces, and then departs with, him.

It's Christmas Eve and Adolf's barbershop is being dismantled and sold piecemeal by those that foreclosed on him. Adolf returns home where he greets Martha at the fireplace and gives her a lace handkerchief as a gift. They kiss and she goes to bed. Much to his surprise and delight, Johnnie arrives home for the holiday. Better still, Johnnie gives Adolf his paid off mortgage and some cash to boot, saying that his shaving pump invention worked and that he'd made his father 50% owner of the thriving business.

While a grateful, tearful Adolf goes upstairs to tell Martha, Johnnie opens the front door so that the entire Wagenkampf clan (and the Taylors and the Warrens) can enter. With Christmas tree and gifts in hand, the family fills the dining room and enthusiastically greets Martha and Adolf when they return downstairs. A turkey dinner is brought in and everyone celebrates, including Alma with Nick and Johnnie with Laura.

Pop always pays.

[mark.waltz · 6/10 · 16 July 2023]

It's hard to judge these early stagy talkie dramas where the camera moves seldomly and the actors often feel like they're screaming to the third balcony. A few early talkies have actors who only made one or two movie appearances, and in the case of Louis Mann who plays the German born patriarch of a struggling family it's because he died after making just this film. On one hand, he's loaded with sympathy, but on the other, he's playing it rather melodramatically, a big heart but bad luck around every corner.

His devoted wife, Clara Blandick, had the luck of playing Aunt Polly in "Tom Sawyer" the same year, and would have a few major supporting roles before being relegated to mainly bits. But she's instantly recognizable as Auntie Em, trademark bun, but having a German accent as well. The story deals with their struggles of an ailing young son and years later, one of the children spending their savings on a bad business deal. This is very creaky, like most early 30's films, but a decent story and consistently good performances including a young Robert Montgomery as a brash rich kid engaged to daughter Leila Hyams and responsible for the son using his dad's savings. Definitely worth seeing for fans of older films, but patience is required.

Bravo Performance By Louis Mann

[Ron Oliver · 10/10 · 8 July 2005]

THE SINS OF THE CHILDREN cause their father grief, but he never stops loving them.

Despite its slightly lurid title, this film is all about love. Full of small moments beautifully played, it gives a portrait of an American family over a series of several years, held together through times of tribulation by a proud papa who adores his family unstintingly. This is a 'feel good film' in the best sense of the phrase and perfect to enjoy at the Christmas Holidays. It is a shame that this little gem has become so obscure.

As Adolf Wagenkampf, immigrant German barber, Louis Mann is nothing short of magnificent, giving one of the first great performances of the sound era. Showing enormous confidence in front of the camera, Mann steals the show with his mannerisms and accent, his pliable face registering every triumph or tragedy, every hope or defeat, which comes his way. Mann's beautiful soul is authentic, his talent undeniable. Unfortunately, this was to be virtually his only film. Louis Mann died in February of 1931, at the age of 65.

A very fine cast supports Mann throughout: Clara Blandick as his gentle wife; Francis X. Bushman Jr as the doctor son ashamed of his family name; Elliott Nugent as the inventor son, whose unwise impulse costs his father dearly; pretty Leila Hyams as the headstrong youngest daughter; and James Dolan as the obnoxious son-in-law.

(It was actor Nugent, playing the part of the youngest Wagenkampf son, who was largely responsible for both the original story and dialogue for the film. It's success is his, as well.)

In one of his earliest roles, Robert Montgomery scores as the local cad who compromises Hyams; Robert W. Wade is his heartless father, the richest man in Harristown. Henry Armetta is excellent as Tony, the exuberant and intensely loyal Italian barber who works for Mann. Mary Doran is the feisty new manicurist and Dell Henderson is the town's genial sheriff.

Movie mavens will recognize an uncredited Jackie Searl playing Montgomery as a child.

Louis Mann Performance

[zpzjones · 9/10 · 18 December 2005]

Interesting to see others speak highly of Louis Mann in his one and only sound screen performance. Hence the only visual/aural record of his work. But for those writing why they've never heard of Mann, the reason is that he spent a very full career on the New York stage where he was very well known(www.ibdb.com). Born April 20 1865(six days after Lincoln was shot)Mann spent his youth in the theater during the 1890s-1900s. This is obviously before sound films were invented so no record of his early work is preserved. To 1930s film audiences he would have been familiar and especially to New York film audiences. Mann, like many high brow theater stars, opted to make a sound film as an 'experiment'. Not always for the money but to test the waters of a new medium. His one other film, a 1914 silent, may indicate he did not like the film medium and preferred theater acting & writing plays. Perhaps as the technology & prestige of films got better and he got older he had a change of heart. Also Mann's actress wife of many decades, Clara Lipman, was one of the dialogue writers on Sins of the Children. They were a well known stage couple coming to the big screen in a way similar to George & Florence Arliss in "Disraeli". SoTC is a good candidate to serve as a Christmas classic along with "If I Had A Million". If only MGM/Turner would release SoTC in their 'Glorious Black & White' video series. **Many fascinating pictures of Mann & Lipman can be found in Daniel Blum's "Pictorial History of the American Theater"

Excellent performance by Louis Mann

[chuckju · 22 May 2003]

I want to echo the comments by the May 21 commenter: the performance by Mann is a good reason to see this film. The ending is too pat, and the performances by the children not very good (including Robert Montgomery's, imho) but Mann makes the whole thing worthwhile. He was already in his '60s when this film was made and he died the next year. So I can see why he has no subsequent career, but I'd like to know more about his earlier life.

A very good early talkie

[AlsExGal · 8/10 · 14 November 2016]

I had never heard of this film before I saw it for sale, but being an early MGM Robert Montgomery vehicle and being the only talking film in which Louis Mann had a role, I thought I would give it a try. I'm glad I did. Mann plays a German immigrant who has fled to the U.S. as a young man because of a violent act he committed during a fit of temper. Here in the U.S. he raises four children and becomes the owner of a barber shop. He has the chance to become the partner in a savings and loan, but discovers that his son Ludwig needs to go to a dry climate for two years so he refuses the deal so he can take his son out west.

Years later the savings and loan has become a success and the man that Louis Mann's character would have partnered with has become wealthy. On top of this, the would-be partner's son (Robert Montgomery) has grown up to be a spoiled rascal who happens to be in love with Mann's daughter. But that is the least of his problems. Although this is a very good drama in the MGM-Irving Thalberg era tradition and I highly recommend it, don't be fooled by Robert Montgomery being placed so prominently in the cast. He actually has a very small supporting role. This is basically a one man show and that man is Louis Mann. He's perfect as the man for whom no sacrifice is too big where his children are concerned. That is mainly because he doesn't consider his acts sacrifices, for his most valuable possession is the love of his children. In fact, at the end, Mann's character is feeling like a failure not because of the horrific things going on in his life at that time. It is because he feels like he has lost the love and affection of his children when he is seemingly forgotten by them at Christmas.

Roan put out a DVD release of this film, and the video quality is excellent. The audio can be troublesome in spots but it is clear enough. There is just that background hiss in places that you often have in early talking films. There are some good extras on this DVD too. There is an introduction plus two featurettes. One featurette is on the film itself and the other is about being a child star. The final extra feature is a weird little dance number by some children entitled "The Radiation March". If you have other Roan DVDs you've likely seen this one before.

Sorry to hawk a particular product, but the Roan release is the only way I know to see this film which has apparently been forgotten by the company I think has the copyright, which is Warner Brothers.

Take into account...

[YouKnowMyName68 · 10 January 2006]

Perused "howdymax's" comments about how the ending was pat. I watched the last 35 minutes of the film (I hope to watch it in its entirety)and the times and the era this film was made, sensibilities and behaviors were quite different and taking that into account, I would have to totally disagree with "howdymax" and the opinion that was made. Don't know how old "howdymax" is or what era he/she was brought up in, including, the times, e.g., 40s, 50s, 70s? And what ethnic/nationality he/she is from. This is quite an older film, "howdymax" was probably not born and so his/her view and an upbringing years after this film was made must be taken into account.