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Crime and Punishment (1935)

 -  Crime | Drama  -  22 November 1935 (USA)
7.0
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Ratings: 7.0/10 from 824 users  
Reviews: 21 user | 14 critic

Man is haunted by a murder he's committed.

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Cast

Complete credited cast:
...
...
Marian Marsh ...
Tala Birell ...
Elisabeth Risdon ...
Robert Allen ...
...
Grilov
...
Charles Waldron ...
University president
Thurston Hall ...
Editor
Johnny Arthur ...
Clerk
Mrs. Patrick Campbell ...
Rest of cast listed alphabetically:
A. Gest ...
Clerk
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Storyline

Roderick Raskolnikov, a brilliant criminology student and writer, becomes embittered by poverty and his inability to support his family. When he sees a desperate prostitute, Sonya, degraded by a vicious pawnbroker, Raskolnikov, a proponent of the idea that some people are imbued with such intelligence that the law cannot be applied to them as to other people, decides to rid the world of the pawnbroker and thus save his family and Sonya as well from the fate poverty forces on them. When Porphiry, the police detective investigating the murder, encounters Raskolnikov, he finds a man nearly crippled by the guilt and paranoia his deed has burdened him with. But Raskolnikov clings with as much coldness and calculation as he can muster to his guiding idea, that some crimes ought not to be punished. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Add Synopsis

Plot Keywords:

remake | based on novel

Taglines:

I am Sonya! You don't know who or what I am... the police know! They know I'm in love with a murderer! But a woman like me might still save a man's soul! See more »

Genres:

Crime | Drama

Certificate:

Approved
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Details

Country:

Language:

Release Date:

22 November 1935 (USA)  »

Also Known As:

Crime et châtiment  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Josef von Sternberg was contractually obligated to make this film, and he disliked it, saying in his autobiography that it was "no more related to the true text of the novel than the corner of Sunset Boulevard and Gower is related to the Russian environment." See more »

Quotes

Roderick Raskolnikov: [Looking down at the water] I wonder how many poor devils have found an answer to their questions down there. If only the dead could ever come back.
Sonya: They have!
[goes inside to fetch a book, returns]
Sonya: Remember the Raising of Lazarus?
Roderick Raskolnikov: [Takes Bible, turns it over and hands it back] Are you happy to have your Bible back?
Sonya: [excited] Would you like me to read the Raising of Lazarus?
Roderick Raskolnikov: [They go inside] I can't understand you Sonya, how can you continue living like this?
Sonya: I believe in God.
Roderick Raskolnikov: What have you or I to ...
[...]
See more »

Crazy Credits

One of the credits reads "Story by Dostoievsky". There is an asterisk next to this credit, and at the bottom it says, "Feodor Dostoievsky, Russia's foremost author, wrote 'Crime and Punishment' in 1866'". See more »

Connections

Version of Crime and Punishment (1945) See more »

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User Reviews

 
As a film adaptation
14 July 2009 | by (New York City, USA) – See all my reviews

I have spent my entire adult life reading and teaching the works of Dostoevsky, and as such I often approach film adaptations with a great deal of trepidation. Cinematic adaptations of ambitious Russian novels inherently involve a tremendous amount of compromise and reduction. At worst, they become embarrassing comic-book imitations of the original, and, at best, they become representative distillations, provocative fragments.

If one wants to see the best attempt at the latter, one should see the 1970 Kulidzhanov film version, which hews as close as possible to the original spirit and themes of the novel.

This 1935 von Sternberg version does not fall neatly into either category. It certainly makes some wrenching changes to the original-- not just in terms of plot details (such changes are inevitable for the cinematic form), but even to the thematic spirit of the original (Roderick receiving such high honors at the outset; Roderick entering a such a strident Napoleonic phase _after_ the crime; the momentary 180-degree reversal in Sonia's final speech), but what does come through successfully is a kind of gestalt rumination on the original novel. If Dostoevsky's novel was an exquisitely perfect, ambitious symphony, this film is a jazz rhapsody on the theme of the book; it borrows and rearranges motifs and creates its own new song, a song nothing like the original in particulars, but a worthwhile song on its own merits.

The film certainly seems to make full use of the serendipitous similarity in appearance between Lorre and Napoleon in his most famous portraits (Lorre even hams it up by sliding his hand under his vest at one point, which is the stereotypical Napoleonic gesture). And the decision to set the story in no particular city, it seems to me, was a judicious one, as it eliminates much of the painful artificiality that inevitably comes when Anglophone films attempt to portray Russian society.

In short, I do think this is a worthwhile film if it is judged as a creation unto its own-- not the novel per se, but a kind of Hollywood, proto-noir inspired by the great book.


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