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Crime and Punishment (1935)

Not Rated | | Crime , Drama | 11 January 1936 (Sweden)
Man is haunted by a murder he's committed.

Writers:

Joseph Anthony, Fyodor Dostoevsky (novel) (as Dostoievsky, Feodor Dostoievsky) | 1 more credit »
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Cast

Complete credited cast:
Peter Lorre ... Roderick Raskolnikov
Edward Arnold ... Insp. Porfiry
Marian Marsh ... Sonya
Tala Birell ... Antonya Raskolnikov
Elisabeth Risdon ... Mrs. Raskolnikov
Robert Allen ... Dmitri
Douglass Dumbrille ... Grilov
Gene Lockhart ... Lushin
Charles Waldron Charles Waldron ... University president
Thurston Hall ... Editor
Johnny Arthur ... Clerk
Mrs. Patrick Campbell ... Pawnbroker
Rest of cast listed alphabetically:
A. Gest 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

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:

Not Rated | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

11 January 1936 (Sweden) See more »

Also Known As:

Crimen y castigo See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Director Josef von Sternberg's son, Nicholas Josef von Sternberg, would eventually work as a cinematographer in another adaptation of the same story: Crime and Punishment (2002). See more »

Quotes

Insp. Porfiry: [after the pathetic prime suspect has left his office] The more I see of humanity, the more I marvel at its infinite variety. The difference bwtween a nan and a monley isn't as much between ine man and another. You're right my friend. One man of genius is wort a milllion like him.
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

 
The Greatest "Detective" Novel of All?
1 May 2005 | by theowinthropSee all my reviews

Fyodor Dostoeyevski is, without a doubt, one of the greatest novelists of his native Russia, of 19th Century Europe, and of world literature. That said, he is also a pain in the ass to read. If you are into his views of self-sacrifice and mysticism, and of redemption through intense, sometimes meaningless suffering, you can't find anyone else like him. If you also like anti-Western slavophilia, with more than a dollop of anti-Semitism, he's your guy. These aspects appear in his Russian contemporary Tolstoi too, but Count Leo had a more universal view of forgiveness and brotherhood than Fyodor ever had. Therefore Tolstoi makes his occasional snide comments, but they are quickly dropped - not intensively developed. With these serious reservations said, Dostoeyevski remains monumental. Most people recall him for two novels: CRIME AND PUNISHMENT and THE BROTHERS KARAMAZOV. Neither of the two novels were ever successfully made into U.S. films, despite a great director in this 1935 version of the former novel, and a grade "A" cast and production in the 1958 version of the latter that starred Yul Brynner and Maria Schell. From what I have seen a Masterpiece Theatre version of CRIME AND PUNISHMENT in the 1970s was far closer to the novel than Von Sternberg's 1935 version. But Von Sternberg, working with Columbia Pictures, did not have as good a budget (and certainly could not make a four hour film).

CRIME AND PUNISHMENT has been called the first psychological detective novel, and the best. It is not a who-done-it in the spirit of Dashiell Hamnett's THE THIN MAN. It is more like a Columbo episode (and Columbo's character is obviously modeled on the laid back, wise Detective Inspector Porphiry - who patiently allows Raskolnikov to give himself away and up). Dostoeyevski lets us see the killing of the old pawn broker and her sister, and understand the twisted "philosophical altruism" that Raskolnikov uses to commit his crime. It is a murder for social purposes - get rid of the leech like money lender/pawn broker, grab her money, and use it to aid those truly unfortunate in society. Had the murder been committed quickly with only the pawn broker killed, the absurd logic might have worked. Instead, because the sister of the victim sees the killing, Raskolnikov has to kill her too for self protection. From that time forward his philosophical base begins to crash. Also he discovers that the material answer of money is not enough to help the poor or those he comes to love. As such CRIME AND PUNISHMENT is (no real slap at Conan Doyle) light-years away in effectiveness from THE HOUND OF THE BASKERVILLES. And watching the Russian police procedural in the novel, as Porphiry helps whittle away at Raskolnikov's iron core of beliefs is quite good too.

Peter Lorre gives an affecting performance as the killer, one more role in a chain beginning with "M" that would continue for much of his admirable career. It must have been well received publicly. The Ritz Brothers spoofed his performance in one of their films. Arnold is fine as Porphiry, who has seen all the murder types (and can quickly find their weak spot). Here, his best moment is when another lesser suspect confesses unexpectedly just as Lorre seemed about to confess. It leaves Porphiry perplexed and troubled, as the confession has been heard by witnesses (including a smart aleck Lorre), and Porphiry realizes an innocent man has possibly put his life in danger by such an act. There are some good supporting touches too, especially seeing Mrs. Patrick Campbell in her last performance on screen as the pawnbroker, a dried up, malevolent figure that one does not waste too much pity on (again, if she had been the only victim Raskolnikov's philosophical point would have been correct). Cuts due to budget and time considerations ruined several parts - Douglas Dumbrille as a married man who wants Lorre's sister (Lorre can't stand him) and who helps bring Lorre to book (for personal reasons) had a larger part in the novel, including suicide. That is not in the film.

With all it's budget restraints though, it is a good introduction to the great novel and I recommend it.


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