Underworld (1927), at the dawn of the modern gangster film

I hadn’t seen Underworld before, but I knew enough about it to be intrigued. For starters, it was directed by virtuoso filmmaker Josef von Sternberg, a man of remarkable cinematic ingenuity who is mostly remembered today for having discovered Marlene Dietrich and stage-managed her rise to stardom. Also of interest when considering the subject of outlaws on film, Underworld was, to quote its introductory title,  “…unusually bold both in subject matter and in treatment at the time it was made. It introduced a fashion for gangster pictures.” Specifically, the film, a runaway hit on release, is credited with establishing many conventions for what would become the gangster genre a few years later, in the early sound era. Another attraction Underworld held for me was that genius costume designer Travis Banton, who would become Paramount’s Chief Designer and go on to mentor Edith Head, costumed the film. For leading lady Evelyn Brent, starring as “Feathers McCoy," he created an endless variety of trendsetting feather-bedecked hats, wraps, jackets and dresses, enough to fill at least one extra-large closet. And so, early last week I sat down to watch Underworld for the first time and begin my post for the Classic Movie Blog Association's Fall 2018 OUTLAWS Blogathon.

Light, Shadow and Synergy - von Sternberg and Dietrich, Part I

Josef von Sternberg is recalled first and foremost as the filmmaker who, 80 years ago, introduced the cinematic persona adopted by Marlene Dietrich as her own, on screen and off, for most of the rest of her life. It is less well known that before their fabled association von Sternberg had already earned a name for himself as an accomplished, if temperamental, director. His artistic reputation peaked during the years 1930 - 1935, when he directed seven films starring Dietrich.