The Docks of New York

Plot

Bill Roberts, a rugged and good-natured stoker on a merchant ship, enjoys a rowdy night of carousing during shore leave in New York's waterfront district. He discovers Mae, a despairing prostitute, attempting to drown herself in the East River and heroically rescues her. Taking pity on the woman, Bill brings her to a boarding house where the two strangers quickly form a deep connection, leading to an impulsive marriage after just hours together. Their newfound happiness is threatened when Bill's ship is delayed, and complications arise with the arrival of both Bill's former flame, a sophisticated entertainer, and Mae's manipulative ex-lover. The film culminates in a dramatic confrontation that tests the authenticity of their love and Bill's capacity for redemption.

Historical Background

The Docks of New York was produced during a pivotal moment in cinema history, as the industry was rapidly transitioning from silent films to talkies following the success of 'The Jazz Singer' in 1927. This period saw enormous technological and artistic upheaval, with many studios scrambling to convert to sound production. The film represents the artistic pinnacle of silent cinema, created by filmmakers who had mastered the visual language of the medium. The late 1920s also saw significant social changes in America, including the culmination of the Roaring Twenties and the looming economic crisis of 1929. The film's focus on working-class characters and urban realism reflected the growing interest in social issues and authentic American stories. Von Sternberg's visual style and thematic concerns were influenced by German Expressionism, which had been making its impact on Hollywood through immigrant directors.

Making Of

Josef von Sternberg approached this film with the vision of creating a poetic and atmospheric study of human redemption against the gritty backdrop of urban life. He worked closely with cinematographer Harold Rosson to develop a distinctive visual style using dramatic lighting, deep shadows, and innovative camera movements. The famous waterfront set was one of the most expensive and elaborate ever constructed at Paramount at that time, featuring working cranes, moving trains, and a complex system of water pumps to create realistic wave effects. Von Sternberg was known for his meticulous attention to detail and often shot dozens of takes to achieve the perfect emotional tone. The director developed a close working relationship with George Bancroft, coaching him to deliver a more nuanced performance than his typical tough-guy roles. The film was rushed into production and completed in just over a month to beat the industry's full transition to sound, creating immense pressure on the cast and crew.

Visual Style

The cinematography by Harold Rosson is groundbreaking for its time, featuring sophisticated use of chiaroscuro lighting, deep focus shots, and atmospheric effects. Rosson and von Sternberg employed numerous innovative techniques, including extensive use of artificial fog and smoke to create mood and depth, complex lighting setups that simulated the harsh reality of waterfront life, and moving camera shots that followed characters through the elaborate sets. The film's visual style combines the dramatic lighting of German Expressionism with the emerging realism of American cinema. Notable sequences include the opening shots of the waterfront at night, the rescue scene in the rain-swept river, and the claustrophobic boarding house interiors. Rosson's work on this film earned him an Academy Award nomination and influenced generations of cinematographers, particularly those working in film noir.

Innovations

The film featured several technical innovations for its time, including sophisticated miniature work for the harbor sequences, advanced artificial fog and rain systems, and complex lighting setups that created depth and atmosphere. The production team developed new techniques for simulating water movement and reflections on the studio set. The film's editing, particularly during the action sequences, was ahead of its time in its rhythm and pacing. Von Sternberg experimented with subjective camera angles and point-of-view shots to enhance the emotional impact of key scenes. The film's special effects, while subtle by modern standards, were impressive for 1928, particularly in the creation of the waterfront environment. The production also pioneered certain sound recording techniques, as it was one of the last films shot before Paramount's full conversion to sound, requiring the crew to work around the installation of sound equipment on the lot.

Music

As a silent film, The Docks of New York was originally presented with live musical accompaniment that varied by theater. Paramount provided a detailed musical cue sheet with suggestions for appropriate pieces, including classical works and popular songs of the era. The score was designed to enhance the film's emotional arc, with romantic themes for the developing relationship between Bill and Mae, dramatic music for the rescue sequence, and tense underscoring for the confrontational scenes. Modern restorations have featured newly commissioned scores by composers such as Robert Israel, who created orchestral scores that reflect the film's 1920s setting while utilizing contemporary orchestration techniques. The Criterion Collection release includes a score by the Mont Alto Motion Picture Orchestra that recreates the authentic silent film experience using period-appropriate instrumentation and musical styles.

Memorable Scenes

• The dramatic opening sequence establishing the bustling, dangerous atmosphere of the New York waterfront at night, with its fog, shadows, and working machinery
• The rescue scene where Bill plunges into the dark, churning river to save Mae from drowning, shot with dynamic camera work and heightened emotional intensity
• The impulsive wedding scene in the boarding house parlor, capturing both the awkwardness and genuine emotion of two strangers committing to each other
• The tense confrontation in the boarding house when past relationships and jealousies come to a head, showcasing von Sternberg's masterful use of close-ups and composition

What Critics Said

Contemporary critics praised The Docks of New York as a masterpiece of visual storytelling. The New York Times hailed it as 'a triumph of cinematic art' and particularly praised von Sternberg's direction and Bancroft's performance. Variety called it 'one of the most powerful and moving pictures of the year' and noted its exceptional atmospheric qualities. Modern critics consider it one of the greatest American silent films, with the Criterion Collection release bringing renewed attention to its artistic merits. Film scholar Andrew Sarris included it in his seminal book 'The American Cinema' as part of von Sternberg's masterful body of work. The film is frequently cited for its innovative cinematography, sophisticated visual storytelling, and emotional depth. Contemporary reviews on Rotten Tomatoes and other aggregator sites consistently rate it as a classic, with particular praise for its atmospheric recreation of waterfront life and the nuanced performances of its leads.

What Audiences Thought

Upon its initial release, The Docks of New York resonated strongly with audiences who appreciated its authentic portrayal of working-class life and its romantic storyline. The film performed well in urban areas, particularly in cities with significant waterfront communities. Despite the growing popularity of talkies, audiences still embraced quality silent productions, and this film's emotional power transcended the lack of dialogue. Modern audiences, particularly those interested in classic cinema and film history, have rediscovered the film through revivals, home video releases, and streaming platforms. The film's themes of redemption and unconventional love continue to resonate with contemporary viewers, and its visual storytelling techniques are often cited as examples of cinema at its most pure and powerful. The film has developed a cult following among silent film enthusiasts and is frequently featured in classic film festivals and retrospectives.

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