That was an excellent one.

Good start, but then it gets ruined

In truth, there is barely enough story here to make a film.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Docks of New York (1928) is a prime example of the power of silent film at its height. After 1928, the medium would be crushed underneath the rise of sound technology, which was a shame considering how technically dazzling and sophisticated they had become by the latter half of the 1920s.The film is a character study of a rough stoker and a suicidal woman. The two fall in love after he rescues her from an attempt to take her own life, though there is a chance they may be separated by the stoker's aversion to commitment and responsibility. The characters are all flawed, compelling people, each one brought to life with subtle performances from the leading actors. The atmosphere is appropriately seedy and dark, with chiaroscuro lighting and crowded spaces. It's a slow film, one that will not please those who prefer more plot or action, but it is worth your time, showcasing silent cinema at its loftiest heights. It is films like Docks of New York which make one wish the silent era had lingered on a little while longer.

With one night in town while the ship is at port, we follow our lead stoker into a world of bars, brutes, brawls and bawdiness, where the only objective is to have a good time, all else be damned, which you get the sense has happened many times before, at many cities around the world, whenever they get a night at port. When a young woman attempts suicide by jumping into the water, our stoker dives in to save her, and thus begins a very unromantic love tale. Being who he is, this is seen only as an opportunity to bed her, and being promiscuous herself, she is only too happy to go along with it.In a strange twist that doesn't make a lot of sense, they decide to get married then and there in the bar, and lo and behold, a paster just happens to be in the vicinity, and lo and behold, he just happens to agree to the ceremony, despite being opposed to the idea, and despite their not having the license! Apparently everyone considers this a great deal of fun - well, I guess they're all drunk!The next day we are supposed to get the idea the two of them have changed their ways, and this hasty, illegal, drunken marriage was actually the best thing for them. He leaves her to get back on the ship, before suddenly deciding the stoking life is not for him anymore, and swims back to shore. In the meantime she has been arrested for the possession of clothes he stole for her, but is saved by his reappearance and admittance of guilt, and they are for sure going to live happily ever after, just as soon as he's served his stint in jail.Poor as the story is, I still highly recommend 'The Docks of New York' on account of the first 30 odd minutes, by which point the plot hasn't yet completely disintegrated, and are some of the most beautiful put to film. The fire steamed boat, the smokey bar and the misty dock create a wonderfully hazy atmosphere, seducing us into this messy world far more convincingly than the characters seduce each other. If only they had ended it then, it would have been a classic.

Docks of New York, The (1928) *** 1/2 (out of 4) Impressive melodrama benefits from some strong performances and some terrific visuals. The film tells the story of Bill Roberts (George Bancroft) a man who lives down on the docks who ends up saving a woman (Betty Compson) from killing herself. Over the period of a day he saves her life, then the two get to know one another before getting married hours later but neither of them know what the future might hold. The plot of this film is pretty simple and in many ways it's not too original but that doesn't hamper the film too much as director von Sternberg has such an amazing eye that each scene contains something fresh even if the story in that scene isn't anything new. I'm not sure how much a better story would have helped overall but it might have benefited in a few ways including the two actually falling for one another. In many ways this film plays out like a lonely males fantasy of him just happening to save a beautiful woman and then she gives him a chance of winning her heart. Being made years before the Code went into full effect allowed the director to show off some darker moments to both characters as it's made clear in a very funny scene that neither person are virgins and that they've both had their share of wild moments. What's most impressive about the direction here is his visual style, which is easily the most impressive that I've seen from him. Just take a look at the scene where Bill saves the woman. The fog is laid on very thick making the scene come off almost like a fantasy sequence and the way von Sternberg edits the thing makes it seem like some sort of strange dreamland. The way the girl is seen, pulled from the water and eventually carried home are all shot very darkly with very little light and what light there is comes mainly from the reflections off the fog. I loved the way von Sternberg shot the scene where the woman comes to and is introduced to the man who saved her. I loved where the camera was placed and how the lighting once again plays a very important part. The atmosphere is a very thick one as you can feel how dirty the docks are and all the people there seem like the type you'd actually find living and working there. Bancroft delivers a very good performance in a role he has no problem playing. The toughness of the character is very believable with Bancroft in the role but he also handles the more quiet and tender moments. Compson has the harder of the two roles as her character is much darker but she has no problem making us care for her. The two don't look like the types who would be together but their performances are so good and the two act so well together that they make us believe. While the film is far from flawless it's well worth watching for the performances and directing.

Of course, no waterfront in the world was ever as deliciously seedy as set designer Hans Dreier's in this amazingly atmospheric and evocative masterpiece of late silent cinema. The story is rather tawdry, cheapish even, but plots are very rarely the point of a movie anyway, and Josef von Sternberg has made the perfect film out of next to nothing.'The Docks of New York' is about a rough and ready stoker, Bill (George Bancroft), on leave for the night. He goes to the Sandbar and gets into a brawl with Hymn-Book Harry (the ever sleazy Gustav von Seyffertitz), and on the way back saves a young girl, Mae the tough kookie (Betty Compson) from drowning herself. Slowly they sorta kinda fall in love and he marries her on the spur of the moment, but what will they do the next morning when Bill is supposed to sail off again? The most astonishing thing about 'The Docks of New York' is its subtlety. We have no heroes or simplified villains here, just people who have had a hard time all their lives and are reluctant to be redeemed. The concept of love in this sneering, loud-mouthed environment is completely alien. "I hope you have better luck than me", says Olga Baclanova's character to Mae on her way to the slammer, "but I doubt it". It is Baclanova who says on the subject of decency that she was decent "before I got married".It goes without saying that the film is acted as naturalistically as anything we see today, that Compson & Bancroft absolutely shine as the unlikely lovers, grittily played and with no sentimentality. The lighting is superb, photography stupendous, direction acute, and the edition you are most likely to see looks fabulous.