Gustav von Seyffertitz Movies

Eric Linden is a bellhop who has the extreme misfortune of being in the wrong place at the wrong time in gangster era of Chicago. After witnessing an assassination staged by gangsters, Linden becomes a pawn, being pushed back and forth by corrupt authorities and the mob. Tension mounts as the possibility that the blame for the crime may eventually rest on Linden. ~ All Movie Guide

Edna May Oliver makes the first of three appearances as Hildegarde Withers, the schoolteacher/sleuth created by mystery writer Stuart Palmer. While conducting her students on a tour of the Battery Park Aquarium, Hildegarde spots a dead body in the penguin pool. Police inspector Piper (James Gleason) believes it's an open-and-shut case when he collars the faithless wife (Mae Clarke) of the victim, but Hildegarde suspects there's more to the case than meets the eye. Detective and teacher mellow from antagonists to friends in the course of the investigation, the denouement of which isn't revealed until the suspect is put on trial, where she is defended by her attorney-lover (Robert Armstrong). The murderer's identity isn't too surprising, but Penguin Pool Murder takes several unexpected twists all the same, including a neat reversal on the old "reunited lovers" finale. At the end, Hildegarde and Piper are contemplating marriage, but in the subsequent Edna May Oliver/James Gleason "Hildegarde Withers" films (Murder on the Blackboard, Murder on a Honeymoon) they retain their single status. ~ Hal Erickson, All Movie Guide

"It took more than one man to change my name to Shanghai Lily," purrs Marlene Dietrich in Shanghai Express. She certainly has her well-manicured hands full with more men than she can count in this exotic far-Eastern adventure. Among her fellow passengers on the Shanghai Express are her disillusioned former fiance, stalwart British medical corps officer Clive Brook; overfervent missionary Lawrence Grant; dope smuggler Gustav von Seyffertitz; and mysterious Eurasian businessman Warner Oland. As the train chugs through the more treacherous passages of war-torn China, Oland reveals himself as the leader of a rebel group, who plans to hold the passengers hostage to secure the release of his imprisoned followers. In Boule de Suif fashion, Dietrich, who is a notorious "Chinese coaster" but who has remained sexually aloof throughout the trip, gives herself to Oland to save the life of Brook, the man she truly loves. Directed by Josef von Sternberg at his most orgiastic (love those long, lingering dissolves!), Shanghai Express is 80% style and 20% substance, as proven by two less stylish remakes, Night Plane to Chungking and Peking Express. ~ Hal Erickson, All Movie Guide

A young Barbara Stanwyck was considered for the starring role as the exiled call-girl in this extremely frank pre production-code drama directed by William A. Wellman from a play by Houston Branch). The role eventually went ot Dorothy Mackaill, an evocative British-born veteran adept at playing less than respectable women. Mackaill is Gilda Karlson, a call-girl fleeing New Orleans the supposed murder of her latest "john," Piet Van Saal (Ralf Harolde). Old boyfriend Carl Erickson (Donald Cook) arranges for safe passage to Tortuga, a Caribbean Island without extradition laws. After "marrying" the girl in the eyes of God but without the benefit of clergy, Carl leaves on his ship. Having successfully kept an international array of escaped crooks at bay, Gilda suddenly finds herself face-to-face with Van Saal, still very much alive and on Tortuga because an insurance scam went astray. The island's jealous executioner, Bruno (Morgan Wallace), hands the girl a gun "to protect herself." Van Saal attacks her, and this time Gilda manages to kill her tormentor. About to be acquitted of murder by a sympathetic jury, Gilda chooses to "confess" in order to escape a trap set by Bruno. To the strains of Pagan Moon, the wronged girl bravely faces the gallows. Forthrightly told and extremely well acted, Safe in Hell features two prominent African-American performers -- Nina Mae McKinney and Clarence Muse -- portraying completely un-stereotypical characters. Muse, in fact, persuaded director Wellman to drop the screenplay's standard "black" lines in favor of straight dialogue. McKinney, famous for playing the vamp in King Vidor's all-black Hallelujah! (1929), performs When It's Sleepy Time Down South by Clarence Muse. ~ Hans J. Wollstein, All Movie Guide

Magnificently restored by UCLA to its original "Grandeur" wide-screen format The Bat Whispers may not be a cinematic masterpiece but is certainly worth a second look. Opening with a series of flamboyant tracking shots, director Roland West soon enough settles down to the usual "Old House" shenanigans of sliding panels, mysterious bumps in the night, crawling hands, thunder and lightning (sounding more like an earthquake, incidentally, than a storm), etc. An official remake of the 1926 The Bat (which was itself based on an Avery Hopwood play), The Bat Whispers owed just as much to The Cat and the Canary (1927), the true grand-daddy of all haunted house mysteries. After taunting the New York City police a final time, the notorious criminal "The Bat" announces his retirement to the country. Meanwhile, in said country wealthy spinster Cornelia Van Gorder (Grayce Hampton is leasing the Courtleigh Fleming estate. The news of "The Bat" and the simultaneous disappearance of cashier Brooks Bailey (William Bakewell) shortly after a robbery at the Fleming bank set in motion a series of troubling events -- troubling especially for Miss Van Gorder's eternally frightened maid Lizzie (Maude Eburne). The missing Brooks Bailey shows up soon enough courtesy of Van Gorder's pretty niece Dale (Una Merkel), who persuades the young man to impersonate a gardener -- a disguise that fools no one. There is a mysterious doctor who speaks with an accent (Gustav von Seyffertitz); an equally alarming caretaker (Spencer Charters),; a piece of missing blueprint that leads to a secret room; and, of course, "The Bat," who appears to be prowling the estate as well. Enter into all this Detective Anderson (Chester Morris), who in his unique gritty way gets to the bottom of things. The "Grandeur" wide-screen format was lost on most movie-goers when the film premiered in late November of 1930. Exhibitors who had just spent fortunes rigging their theaters for sound were of course loath to spend even more on yet another "newfangled" invention. Of course, some of cinematographer Robert H. Planck's more breathtaking shots of "The Bat" climbing towering skyscrapers were lost in the standard 35mm prints. But cartoonist Bob Kane reportedly had this film in mind when he nine years later created his eternally popular comic-strip hero Batman. A sadly neglected craftsman, Roland West directed only 11 films before he retired at the age of 44. West (who also directed the 1926 The Bat co-starring his then-wife Jewel Carmen as the imperiled niece) left films to run a Santa Monica café with girlfriend Thelma Todd. He was questioned by the authorities but was apparently never a suspect in Todd's mysterious death in December of 1935. ~ Hans J. Wollstein, All Movie Guide

Are You There? is a characteristically lumpy but enjoyable early-talkie musical from Fox Studios. Broadway luminary Beatrice Lillie stars as a looney lady detective with a penchant for disguises. This plot device allows her to parade her astonishing versatility in a wide array of characterizations, including a dotty nurse in a hospital where a criminal gang is encamped. Are You There? came at the tail end of the first movie-musical cycle; Fox, fearing that musicals were on the way out, removed four of Ms. Lillie's seven musical numbers. This butchery resulted in the negative reputation Are You There? has earned among Bea Lillie's staunchest fans, though even in its truncated form the film is extremely entertaining. ~ Hal Erickson, All Movie Guide

A lesser-known effort from director Josef Von Sternberg, The Case of Lena Smith has been unfairly chastised for all the wrong reasons. It has been branded a financial failure, but in fact its comparatively small box-office take was due to the decision by Paramount Pictures to withdraw several of its late silent releases from distribution and concentrate on talkies. And the casting of Paramount contractee Esther Ralston, who in 1928 was more closely associated with light comedies and romances, has been condemned as a concession to the actress' popularity, when in fact Von Sternberg chose Ralston over Paramount's strenuous objections. The story is set in turn-of-the-century Vienna, where simple peasant girl Lena Smith (Ralston) falls head-over-heels in love with young aristocrat Franz Hofrat (James Hall). The couple are married, despite intense pressure from Hoffrat's blue-blooded family. Ever so slowly and ever so surely, Lena's good nature and unbounded optimism are crushed and shattered by the merciless juggernaut of class consciousness and public opinion, leading unswervingly to a tragic ending. In the original script, Lena Smith was a prostitute, but this was carefully written out to avoid audience animosity against the character (one of the few concessions to popular taste made by Von Sternberg in this instance). Like all of the director's films, The Case of Lena Smith was exquisitely photographed; in fact, there were those who felt that the already gorgeous Esther Ralston never looked better on screen, despite all the suffering endured by her character. ~ Hal Erickson, All Movie Guide

This early talkie is the film that destroyed the career of popular silent leading lady Louise Brooks. A detective story, it centers upon a conniving "canary" (a nightclub singer) who takes on wealthy lovers and then blackmails them into giving her money. If they don't cooperate, she will tell their wives and ruin their lives. It all unravels when she falls in love with a handsome young man and accepts his marriage proposal. She goes to each of her lovers and demands they each make one final large payment. She is found dead the next day and her fiancé is blamed until ultra-suave gumshoe Philo Vance shows up and proves his innocence. Originally, the film was made without sound. Later when Paramount decided to dub in voices, it recalled all of the actors, including Brooks, who was in Europe working with filmmaker Pabst. Brooks disdained talkies and refused to participate. This was a serious breach of contract, and she was released. Margaret Livingston ended up dubbing her voice for Brooks' role. Though later Brooks returned to Hollywood, she was relegated to appearing in low-budget Westerns. ~ Sandra Brennan, All Movie Guide

Based on Olympia, a 1928 Ferenc Molnar stage soufflé, His Glorious Night has gone down in history as having more or less single-handedly caused the downfall of silent-screen matinee idol John Gilbert, whose ardent declarations of "I love you, I love you" to an overly inert Catherine Dale Owen were parodied twenty-odd years later in MGM's otherwise highly apocryphal Singing in the Rain (1952). Owen, from the Broadway stage, plays Princess Orsolini, who refuses an arranged marriage in favor of dallying with Kovacs (Gilbert), a dashing cavalry officer. But on the advice of her mother (stage luminary Nance O'Neil), the princess reluctantly informs Kovacs that she cannot love the offspring of a peasant. In revenge, the latter indulges in a bit of blackmail, but true love wins out in the end -- to the energetic strains of Franz Von Suppé's "Light Cavalry Overture". Rumors to the contrary, the problem was not with Gilbert's voice but with screenwriter Willard Mack's overly florid dialogue, which might have been fine as subtitles but sounded downright embarrassing to audiences when spoken by a cast suffering from the stilted direction of a microphone-conscious Lionel Barrymore. His Glorious Night was rather more successful in three foreign-language versions: Olimpia featuring Maria Alba and José Crespo, Olympia with Nora Gregor and Theo Schall, and Si L'empereur Savait Ça featuring Françoise Rosay and André Luguet. The story was remade by director Michael Curtiz in 1960 as A Breath of Scandal starring Sophia Loren and John Gavin. ~ Hans J. Wollstein, All Movie Guide

Me, Gangster was director Raoul Walsh's third 1928 film -- and, according to some historians, the blueprint for such future Walsh crime dramas as Me and My Gal, The Roaring Twenties and White Heat. Told in the form of a diary, the story details the rise and fall of gangster boss Jimmy Williams, played by future serial favorite Don Terry. Shown to be a layabout and ne'er-do-well in his youth, Jimmy falls in with a gang of petty thieves, working his way up the professional ladder through a combination of brains and cold-blooded ruthlessness (not unlike the characters played by frequent Raoul Walsh collaborator James Cagney). He finally comes acropper when he tries to pull off a $50,000 heist by himself, which earns him a stiff jail term. The death of his beloved mother Lizzie (Stella Adams), combined with the good influence of heroine Mary Regan (June Collyer), prompts Jimmy to try to turn over a new leaf upon his arrest. Alas, he must now contend with his former gangland buddies, who don't cotton to "turncoats" and begin drawing up plans to put Jimmy "on the spot" for keeps. On the whole, Me Gangster is a bit more sentimental than one might expect from Raoul Walsh, but at least it's honest sentiment and doesn't weaken the picture as a whole. Filmed silent, Me, Gangster was released with a Fox Movietone music score. ~ Hal Erickson, All Movie Guide

Archduke Alexander (Clive Brook) is better known for his sexual conquests than his diplomatic triumphs. After a lifetime of loving 'em and leaving 'em, the Archduke finally meets a girl he can't leave, Hungarian lass Judith Peredy (Billie Dove). She resists his advances but can't hide the fact that she's in love with him. But Judith's brother Eugene (Nicholas Soussanin) resents the Archduke's presence, leading to the inevitable outbreak of violence. Judith and Eugene are thrown into prison, whereupon the conscience-stricken Archduke renounces his noble title, releases the brother and sister, and promises to be a good and faithful husband to the heroine. The Yellow Lily was the second of four cinematic collaborations between star Billie Dove and director Alexander Korda. ~ Hal Erickson, All Movie Guide

The smokily erotic ambience of Josef Von Sternberg's silent Docks of New York is best appreciated on a big theatrical screen--but only if the available print is at the very least second-generation. George Bancroft plays a two-fisted ship's stoker on shore leave. He saves Betty Compson from committing suicide; though the girl displays little gratitude, the inebriated Bancroft impulsively marries her. After he sobers up, Bancroft is prepared to set sail and leave his new wife waiting for him...perhaps forever. The story is secondary to the virtuosity of the direction and camerawork (one scene is framed in the eye of a needle!) Considered by many to be Von Sternberg's greatest film, Docks of New York is a prime example of the silent cinema at its zenith. ~ Hal Erickson, All Movie Guide