One of the best films i have seen

Good concept, poorly executed.

Best movie ever!

I have absolutely never seen anything like this movie before. You have to see this movie.

"Alibi" starts out promisingly enough, with a sort of sound symphony set to an expressionist montage of a man being released from prison. We hear the tread of wardens' boots, the clank of truncheons against metal bars, steel doors rasping and clanging -- it's almost like a musical number and pays homage to the new technology that had so recently hit screens and changed films for ever in the late 20s.But then "Alibi" starts talking, and things go quickly downhill from there. This Best Picture nominee from 1929 does manage to capture a striking visual style, which is something I can't say for the film that won the second Academy Award for Best Picture, "The Broadway Melody." But it's clear that the team behind "Alibi" didn't have much more of an idea of what to do with sound than the creators of that other film did.As with "The Broadway Melody," "Alibi" is more interesting as a blueprint for films that would spring from the same genre than it is on its own terms. In this case, that genre is the seedy gangster film that Warner Bros. would turn into an art form only a few years later.Chester Morris received an Academy Award nomination for Best Actor for his performance as the reformed gangster who's not really reformed, but his mugging is nearly uncomfortable to watch -- he would prove himself to be a quick learner in the sound medium and deliver a very good performance in "The Divorcée" only a year later. The abstract art direction by William Cameron Menzies was also recognized by the Academy with a nomination."Alibi" tricks a viewer into thinking that it's going to go to some rather interesting places that it ultimately doesn't. There's some attempts at obscuring the boundaries between the criminals and the cops that a more heavily enforced production code wouldn't allow in movies from a decade later, but it doesn't take that juxtaposition very far, and we always pretty much know whose side we're supposed to be on.As with "The Broadway Melody," "Alibi" is interesting for people who want to see what some of the early Academy Award winning and nominated movies look like, but it's not very enjoyable for anything else.Grade: C

Hitchcock's "Blackmail" and Lubitsch's "The Love Parade", are probably the very best of the early sound films made in 1929, but this one is close behind. I'm rating this film 9/10 when ranked with other early sound entries from 1929 -1934. Although the dialogue still has some of that halting quality that is common in early talkies, it doesn't cause the film to plod along. Instead, it moves along at a good pace and keeps you engaged. The actors have a pretty natural quality in their performance, Chester Morris in particular. He's the one actor you're likely to recognize, since he had a pretty good career in the 30's and 40's playing romantic leads first and then in a crime drama series later on.The film starts out with Chick Williams (Chester Morris) being released from prison, supposedly after being framed by the police. He's dating the daughter of a hard-boiled detective, and from the way the detective and his subordinates handle things - not to mention his rough treatment of his daughter - at first you might believe Chick is a wronged guy. Shortly after Chick's release there is a robbery that goes bad in which a police officer is killed. Chick is suspect number one, except he has an alibi - the hard-boiled detective's daughter, and roughly a hundred other people who saw him at the theatre at the time of the robbery.There are lots of little interesting tricks and turns in this movie, not to mention the interesting use of sound and the mounting of the camera on the front of the car so that as the police and the criminals speed around in the dark, you see what they see. Look at any other typically claustrophobic 1929 film, and you'll appreciate this even more. I also enjoyed how this film used musical numbers - not to intrude on the plot in a silly way as so many 1929 films did - but to add to the atmosphere of the club that Chick and his gang hang out at.Finally there is Chester Morris' acting. He was nominated for a Best Actor Oscar for his performance, and he certainly deserved it. He transitioned from playing the smooth and possibly wronged man, to vicious criminal, to trembling coward quite believably. Not for another two years, when Edward G. Robinson and James Cagney came along, do we get quite such a powerful performance from an actor playing a gangster.The one bad thing I'll say about the Kino DVD is that the sound has quite a bit of static in it. It's not terrible, but there are times when you need to really turn up the volume to understand what's being said.

Aside from wine and cheese, not all things age well. Like a gallon of milk, over time this film has started to sour--thanks mostly to changing and improving film-making. In fact, had this film been made just a year or two later, it would have been much easier to sit through. Unfortunately, this can be said of most films made in 1929. This was a transition period in which silent films were changing to sound and the technology frankly wasn't very good. Plus, since this was all new territory, the films tended to be very, very stagy--mostly because the sound men had no idea how to compensate for people as they moved away or towards microphones. This is all painfully obvious with ALIBI. Some characters are loud and easy to understand, others appear as if whispering and others have their voices fade as they move. Additionally, the film looked a lot like a play in parts as they used very long single shots with few inter-cut scenes. Plus, it was obvious some scenes were originally filmed as silent because the standard 24 frames per second (used for all sound films) made these segments seem like people were moving too quickly (as silents were filmed anywhere from 16 to 22 frames per second).As for the plot, it's a crime drama with a lot to like and a lot to hate. I liked how, at times, the film was rather gritty--particularly in the last few minutes (the building scene at the very end was amazingly tough and memorable--one of the best death scenes in film history). Some may also like how the cops in the film pretty much ignore the Bill of Rights--and weren't above slapping a confession out or someone or threatening them with guns! Some may also be appalled, but this is truly Film Noir-like in its sensibilities. But, the plot also is really stupid at times--with some of the dumbest criminals you'll ever see in films, clichés galore and a very sappy death scene that will practically make you cringe.Now as for the plot. For 1929, it was really quite good. If we'd had IMDb and the internet back then, a score of 7 or 8 wouldn't be unexpected. However, by today's standards, I'd have a hard time giving it anything more than a 2 or 3. So, splitting the difference, a 5 seems appropriate--for the time, a very good film but when seen today, it's terribly old fashioned and dull.

It's hard to watch this film out of the context of 1929 when it was first released. The Idea of a talking moving picture was still a novelty. In fact this film was released simultaneously with a silent version for those theaters that had yet to convert to sound. That said the biggest problem with this film is that it doesn't seem to know which side of the law it wants to side with, first it makes the cops out to be, I don't want to say bad guys, so let's just say unlikable. Then towards the end it's creates the criminal as well lets also say unlikeable. The problem is that it has one of the worst transitions I've ever seen. Again one has to go back to the time in which the film was made, this at the height of Al Capone and the bootlegging racketeering of that period and just before the stock market was to crash in October. Today many people see the police forces in a dualistic light, as being both there to serve and protect, and as villains with a corrupt politicized agenda. With this the film should hold up, but it doesn't. The main problem is that the characters are so flat and unlikable. It's hard to care one iota about who lives and who dies. In the end it's a film about jerks, plain and simple. I doubt however that when the film was released the audiences of the day had this same feeling. The idea of beating or threatening a criminal suspect was most likely looked at as not only acceptable but necessary. It's hard to come down on the film one way or the other, as I have mixed feelings about it as a whole. With that said the ending is one of the most anticlimactic endings I've seen since Chinatown. In that film, the whole concept of the movie was based around this idea of the inevitable of the outcome. Alibi fails in that it doesn't seem to hold on to any one concept for too long, instead making leaps that just feel awkward and clumsy. I think that what most likely amazed the audience was the fact that Alibi is one of the first films to start to play around with the sound design, having a moving camera and dancing and sound all working simultaneously creating a spectacle that most film goes of the day had never seen before. I can't say stay away from this film as it has it's place in the pantheon of cinema history, in part because it was nominated for Best Picture at the academy awards. However, if you're just looking for a classic film to watch on a Saturday night, you might want to steer clear of this one.