The Informer
"Twenty Pounds for a Friend's Life!"
Plot
In the dark underbelly of revolutionary Dublin, Gypo Nolan, a down-on-his-luck Irishman, makes the fateful decision to betray his best friend Frankie McPhillip, a member of the Irish Republican Organization, to the British authorities for a £20 reward. Haunted by guilt and paranoia, Gypo attempts to spend his blood money on drinks and companionship, but finds no solace as the weight of his betrayal crushes his spirit. Meanwhile, Frankie's comrades within the organization begin their relentless hunt for the informant, closing in on Gypo as his conscience unravels. In a desperate attempt to redeem himself, Gypo confesses his crime to the organization's members, leading to a tragic conclusion where he becomes both victim and perpetrator in the cycle of violence. The film explores themes of loyalty, betrayal, and the psychological torment of a man torn between survival and morality in the midst of political turmoil.
About the Production
This was one of the early British sound films, produced during the challenging transition from silent to talking pictures. The production faced significant technical difficulties with early sound recording equipment, often requiring actors to remain stationary near microphones. The film's dark, atmospheric cinematography was achieved despite the limitations of early sound cameras, which were bulky and noisy. Director Arthur Robison, who had extensive experience in German Expressionist cinema, brought a distinctive visual style that blended German atmospheric techniques with emerging British film sensibilities.
Historical Background
The Informer was produced in 1929, a pivotal year in cinema history when the industry was rapidly transitioning from silent to sound films. This period, often called the 'talkie revolution', was causing massive disruption across the film industry worldwide. In Britain, studios were racing to develop their own sound systems to compete with American dominance. The film's setting during the Irish War of Independence (1919-1921) resonated with contemporary audiences, as the wounds of this conflict were still fresh in the collective memory. The late 1920s also saw the rise of psychological realism in cinema, moving away from the more melodramatic styles of the silent era. The Great Depression was beginning to affect global economies, making themes of betrayal for financial gain particularly relevant to audiences struggling with economic hardship. Additionally, the film's international cast reflected the increasingly global nature of film production, as European directors and actors found opportunities in Britain's burgeoning sound film industry.
Why This Film Matters
As one of the earliest British sound films and the first adaptation of Liam O'Flaherty's influential novel, 'The Informer' holds an important place in cinema history. Its production during the critical transition to sound represents a key moment in the evolution of British cinema, demonstrating how the industry was adapting to new technological challenges while maintaining artistic ambitions. The film's exploration of political betrayal and psychological guilt anticipated the more complex moral narratives that would become common in 1930s cinema. Although overshadowed by John Ford's 1935 remake, this version represents an important bridge between German Expressionist visual style and emerging British realist traditions. The film's international casting also exemplified the transnational nature of early cinema, before the rise of national film industries became more pronounced. Its loss makes it a significant missing piece in the history of early sound cinema and adaptations of Irish literature.
Making Of
The production of 'The Informer' took place during one of the most turbulent periods in cinema history - the transition from silent to sound films. British International Pictures, one of Britain's major studios of the era, invested heavily in sound technology to compete with Hollywood. The filming process was arduous, with early sound recording equipment requiring actors to deliver their lines while remaining relatively stationary near hidden microphones. This limited the camera movement that had characterized late silent films. Director Arthur Robison, who had honed his craft in the German Expressionist movement, struggled to adapt his visual style to these technical constraints. The international cast faced additional challenges, with Lya De Putti and Lars Hanson working in English, which was not their first language. Despite these obstacles, the production managed to create a dark, atmospheric thriller that captured the paranoia and moral ambiguity of O'Flaherty's source material. The film's editing was particularly complex, as early sound films had to synchronize dialogue with picture, a process that was still being refined in 1929.
Visual Style
The cinematography of 'The Informer' was handled by Claude Friese-Greene, who brought a distinctive visual style that blended German Expressionist influences with emerging British realist traditions. The film featured dramatic use of light and shadow to create an atmosphere of paranoia and moral ambiguity characteristic of the source material. Early sound cameras were bulky and noisy, limiting camera movement, but Friese-Greene compensated with careful composition and lighting design. The nighttime scenes of Dublin's streets were particularly effective, using practical lighting sources to create a sense of authenticity and danger. The visual style emphasized the psychological states of the characters through close-ups and carefully constructed mise-en-scène. Despite the technical limitations of early sound equipment, the cinematography maintained a high artistic quality that elevated the film beyond mere technical experimentation.
Innovations
As one of British International Pictures' early sound productions, 'The Informer' represented significant technical achievements in the emerging field of sound cinema. The film successfully utilized the Photophone sound-on-film system, which was considered one of the superior early sound technologies. The production team overcame numerous challenges associated with early sound recording, including camera noise that could interfere with audio pickup. The film demonstrated effective synchronization of dialogue with picture, a major technical hurdle of the era. The lighting design had to be adapted to accommodate the needs of early sound film stocks, which required more illumination than silent film. The production also showcased advances in post-production sound mixing, balancing dialogue, music, and effects. These technical accomplishments helped establish BIP as a major player in the British sound film industry and contributed to the rapid development of sound cinema in Britain.
Music
The film's soundtrack was recorded using the Photophone sound-on-film system developed by British International Pictures. As an early sound film, it featured synchronized dialogue, sound effects, and a musical score. The music was likely performed by studio musicians and conducted by Louis Levy, who was BIP's musical director at the time. The score incorporated traditional Irish melodies to reinforce the film's setting while using more contemporary musical styles to heighten dramatic tension. The sound quality was considered advanced for its time, with clear dialogue reproduction despite the technical challenges of early sound recording. The film's audio design emphasized the psychological states of the characters through careful use of ambient sounds and musical motifs. As was common in early talkies, the soundtrack also included periods of musical accompaniment during scenes without dialogue, maintaining a connection to silent film traditions.
Famous Quotes
Twenty pounds is a lot of money when you're starving
I've sold my best friend for twenty pounds
There's no escape from what I've done
Every shadow holds a accusation
The money burns in my pocket like hot coals
Memorable Scenes
- The climactic confession scene where Gypo breaks down and admits his betrayal to the organization members, surrounded by the dark, atmospheric streets of Dublin at night
- The tense pub sequence where Gypo first spends his blood money, his guilt manifesting in paranoid glances at every patron
- The haunting final moments as Gypo faces his fate, the weight of his betrayal crushing him both physically and spiritually
Did You Know?
- This was the first film adaptation of Liam O'Flaherty's 1925 novel, predating the more famous 1935 John Ford version by six years
- Lya De Putti, a Hungarian actress who was a major star in German silent cinema, was making one of her few English-language films before her untimely death in 1931
- The film was produced during the critical transition period from silent to sound cinema, making it a rare example of an early British talkie
- Swedish actor Lars Hanson, who had previously starred in Hollywood silent films like 'The Wind' (1928), returned to Europe for this production
- The film's sound was recorded using the Photophone sound-on-film system, developed by British International Pictures
- Despite being a British production, the film featured an international cast reflecting the global nature of cinema in the late 1920s
- The original novel by Liam O'Flaherty was controversial for its depiction of the Irish independence movement
- This version of the film is now considered lost, with no known surviving copies in any film archive
- The production was rushed to capitalize on the success of the novel and the growing demand for sound films
- Director Arthur Robison had previously directed the acclaimed German Expressionist film 'Warning Shadows' (1923)
What Critics Said
Contemporary reviews of 'The Informer' in 1929 were generally positive, with critics praising the film's atmospheric tension and strong performances. The Times (London) noted the film's 'powerful dramatic impact' and particularly praised Lya De Putti's performance as Katie. The film's sound quality was also commended, with several reviewers noting that British International Pictures had successfully mastered the new technology. However, some critics found the pacing slow compared to American productions, a common criticism of early British sound films. Modern critical assessment is limited by the film's lost status, but film historians who have studied production stills and reviews consider it an important early example of British sound cinema. The film is often mentioned in scholarly works about the transition to sound and early adaptations of Irish literature, though it remains in the shadow of its more famous 1935 counterpart.
What Audiences Thought
Audience reception to 'The Informer' in 1929 was generally favorable, particularly among viewers interested in serious dramatic fare. The film's themes of political intrigue and moral dilemma resonated with British audiences who were familiar with the recent history of Irish independence. The presence of international stars like Lya De Putti and Lars Hanson attracted cinemagoers who had followed their careers in silent films. However, the film's dark tone and serious subject matter limited its popular appeal compared to the more escapist entertainment that was becoming common in early sound films. The film performed moderately well at the box office but was not a major commercial success, which may have contributed to its subsequent loss and the decision to remake the story in 1935. Contemporary audience letters preserved in film magazines suggest that viewers appreciated the film's psychological depth and atmospheric tension, though some found the pacing deliberate compared to Hollywood productions.
Film Connections
Influenced By
- German Expressionist cinema
- Liam O'Flaherty's novel 'The Informer' (1925)
- Early Soviet psychological dramas
- British literary tradition of moral tales
This Film Influenced
- The Informer (1935)
- Odd Man Out (1947)
- The Long Memory (1953)
- The Fugitive Kind (1960)
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Film Restoration
The film is currently considered lost. No complete copies are known to exist in any film archive worldwide. Only a few production stills and promotional materials survive to document this early British sound production. The British Film Institute has classified it as a 'missing, believed lost' title, and it remains one of the most sought-after lost British films of the early sound era. Some contemporary reviews and production documents provide information about the film's content, but the visual experience of this adaptation of Liam O'Flaherty's novel is now inaccessible to modern audiences.