Underworld

Plot

Bull Weed (George Bancroft) is a powerful and arrogant Chicago gangster who rules the city's criminal underworld with an iron fist. When he discovers 'Rolls Royce' Wensel (Clive Brook), a once-prominent lawyer who has fallen into alcoholism and despair, Bull takes him under his wing and rehabilitates him, making him his trusted right-hand man. Complications arise when Rolls Royce falls deeply in love with Bull's sophisticated girlfriend Feathers (Evelyn Brent), creating a dangerous love triangle within the criminal empire. As tensions escalate and betrayals unfold, Bull's jealousy and rage lead to violent confrontations that threaten to destroy everyone involved. The film culminates in a dramatic showdown where loyalties are tested, sacrifices are made, and the characters face the consequences of their choices in the gritty world of organized crime.

Historical Background

Underworld was produced during the height of Prohibition in the United States (1920-1933), when organized crime syndicates were gaining power and public fascination with gangsters was at its peak. The film reflected the real-life criminal underworld that had emerged in cities like Chicago, led by figures such as Al Capone. 1927 was a pivotal year in cinema, marking the transition from silent films to 'talkies' with The Jazz Singer's release. Underworld represented the pinnacle of silent filmmaking sophistication, just before the industry would be revolutionized by sound. The film's sympathetic portrayal of criminals reflected America's complex relationship with gangsters, who were simultaneously seen as violent criminals and folk heroes who defied Prohibition laws. The stock market crash of 1929 was still two years away, and the film captured the decadent, prosperous atmosphere of the Roaring Twenties that would soon come to an end.

Making Of

Josef von Sternberg, then a relatively unknown director, fought hard for creative control over the project. He insisted on filming in a realistic style that contrasted with the more theatrical approach common in silent films. The casting process was extensive; Bancroft was chosen for his imposing physical presence and ability to convey menace, while Brent was selected for her sophisticated, world-weary quality. Von Sternberg and Brent began a romantic affair during filming that lasted several years. The director used innovative lighting techniques, including backlighting and dramatic shadows, to create a moody, atmospheric look that would later influence film noir. The film's violent content caused concern with studio executives and censors, requiring von Sternberg to carefully balance the film's brutal elements with moral consequences for the characters. The production featured elaborate sets designed by Hans Dreier that authentically recreated the speakeasies and opulent headquarters of 1920s gangsters.

Visual Style

The cinematography, by Bert Glennon, was revolutionary for its time and established visual techniques that would influence film noir decades later. Von Sternberg and Glennon pioneered the use of dramatic shadows and high-contrast lighting to create mood and tension. They employed extensive backlighting to create silhouettes that emphasized the characters' mysterious and dangerous nature. The film featured innovative camera movements, including tracking shots that followed characters through the elaborate sets, creating a sense of immersion in the criminal underworld. The use of low angles made Bull Weed appear more imposing and powerful, while softer lighting was used for romantic scenes with Feathers. The cinematography also incorporated reflections and mirrors to suggest the dual nature of the characters and the deceptive nature of their world. These techniques were particularly advanced for a silent film, where visual storytelling had to convey complex emotions and relationships without dialogue.

Innovations

Underworld pioneered several technical innovations that would influence cinema for decades. The film's use of chiaroscuro lighting was revolutionary, creating dramatic shadows that enhanced the story's moral ambiguity. Von Sternberg employed innovative camera angles and movements that were unusual for the period, including low-angle shots to emphasize power dynamics and tracking shots that created a sense of momentum. The film featured some of the earliest uses of subjective camera techniques, placing the audience in the characters' perspectives during key moments. The production design by Hans Dreier created elaborate, realistic sets that could be filmed from multiple angles, allowing for more dynamic cinematography. The editing rhythm, particularly in action sequences, was faster and more sophisticated than most films of the era. These technical achievements were particularly impressive given the limitations of silent film equipment and the relatively primitive state of cinematography technology in 1927.

Music

As a silent film, Underworld originally featured live musical accompaniment in theaters. The score was typically provided by theater organists or small orchestras using cue sheets provided by Paramount. The musical selections emphasized the film's dramatic moments with popular songs of the era like 'St. Louis Blues' and original compositions that underscored the tension and romance. For modern screenings, various composers have created new scores, including a 2005 score by the Mont Alto Motion Picture Orchestra that attempts to recreate the authentic 1920s theater experience. The original cue sheets suggested specific musical pieces for different scenes, using jazz and blues elements to reflect the film's urban, criminal setting. The absence of dialogue meant that the musical accompaniment was crucial in conveying emotion and driving the narrative forward.

Memorable Scenes

• The opening sequence introducing Bull Weed's power and control over the criminal underworld
• The dramatic confrontation between Bull Weed and Rolls Royce in the speakeasy
• The emotional farewell scene between Feathers and Rolls Royce on the train platform
• The final shootout sequence where Bull Weed faces his enemies and his fate
• The scene where Bull Weed discovers the betrayal and his world begins to collapse

What Critics Said

Contemporary critics praised Underworld as a groundbreaking achievement in cinema. The New York Times hailed it as 'a masterpiece of its kind' and specifically commended von Sternberg's direction and Bancroft's performance. Variety called it 'one of the most powerful and realistic crime pictures ever produced' and noted its technical innovations in lighting and cinematography. Modern critics continue to regard the film highly; it holds a 100% rating on Rotten Tomatoes based on critical consensus. Film historians consider it a pivotal work that established the visual and narrative vocabulary of the gangster genre. The British Film Institute includes it among the most important American films of the 1920s, and it's frequently cited in film studies courses as a foundational text for both gangster films and visual storytelling techniques.

What Audiences Thought

Underworld was a major box office success upon its release, becoming one of Paramount Pictures' highest-grossing films of 1927. Audiences were captivated by its realistic depiction of gangster life and its sophisticated storytelling. George Bancroft became a major star following the film's release, receiving fan mail from across the country praising his portrayal of Bull Weed. The film's popularity led to increased public fascination with real-life gangsters, with many viewers drawing parallels between Bull Weed and figures like Al Capone. Despite its violent content, the film was embraced by mainstream audiences and played in theaters across America for months. Its success demonstrated that audiences were ready for more complex, morally ambiguous characters in cinema, challenging the simplistic hero-villain dichotomy that had dominated earlier films.

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