source: Crime and Punishment

Peter Lorre stars in this fine adaptation of the Dostoyevsky novel, directed by Josef von Sternberg. Lorre plays a criminology student who murders an evil pawnbroker. He appears to have gotten away with it but his feelings of guilt and a police inspector's suspicions may do him in. It's a compelling crime drama with a great cast and creative direction from von Sternberg. Lorre gives a dynamic turn full of highs and lows. The highs are shades of his "M" greatness and the lows are when he gets a little campy. Edward Arnold makes a fun foil for him. The rest of the cast includes Marian Marsh, Elisabeth Risdon, Douglass Dumbrille, Gene Lockhart, and stage actress Mrs. Patrick Campbell in one of her few film roles as the pawnbroker, a completely unlikable character if there ever was one. Von Sternberg's direction is very polished by 1935 standards. His beautiful close-ups of Marian Marsh are enough to make anyone fall in love with her. Despite some pacing issues and a few oddly placed attempts at comedy, it's a strong effort from all involved. The usual 'book vs movie' complaints apply, of course, but none of them are deal-breakers to me. If you're a fan of the director or stars, it's a must-see.

The movie was entertaining. And it's really interesting to see Peter Lorre in an early film of his. But I had some trouble with the plausibility of the outcome...but, of course, who can change a classic from literature?

Along with "M" and "The Face Behind the Mask," this Raskolnikov is Peter Lorre's finest rôle. Unfortunately, it's not supported by the rest of the production. The stylized von Sternberg lighting and the Madonna look he gives Marian Marsh (Dietrich stand-in?) don't really suit the grim narrative. Edward Arnold is woefully miscast as Inspector Porfiry. He's ponderous and bombastic, in his usual manner. Aside from Mrs. Patrick Campbell, the rest of the cast play their stock Hollywood characters. The only Russian about them is "the long-winded names by which they address each other." (Kael) Coincidentally, a great French "Crime and Punishment" was made the same year. Harry Baur as Porfiry is sensational, and if he had been cast as Porfiry in the von Sternberg version, then it would have caught fire. I give it a 7 for Lorre.

This rather static and flat telling of Doestevski's classic novel is a turgid affair from the get go. Peter Lorre's Raskanikov is moodily over the top throughout while Joseph Von Sternberg's direction moves his characters listlessly through hazy sets that resemble abandoned buildings. The real crime in this picture is its construction. Raskonikov graduates at the top of his class being singled out for his uncanny ability to deduce with superior insight. It does not translate into a well paying job however and he is soon off to the vile pawnbroker to keep his family above water. At the shop he encounters a streetwalker,getting her fair share of abuse from the pawnbroker and a friendship ensues. Raskonikov furious of the inequity between his decent friend and the well heeled harridan decides to off her. Confident that his superior intelligence will keep him from getting caught he goes through with it but comes up against a worthy adversary inspector Poriphy and the battle of wits begins. Raskonikov is also fighting on a second front with his conscience. Without meal ticket Marlene and big studio Paramount's production values director Josef Von Sternberg's future got a good look at it with this stilted interpretation of minimalist set decoration and haphazard lighting. With the exception of a few scenes isolating Lorre this early master of light and shadow goes from artist to house painter with drab tableaux in a fog. Lorre is all over the place and his erratic lead lurches to and fro while a becalmed inspector, effectively performed by Edward Arnold, gives him more than enough rope to seal his fate. The underrated Marian Marsh as Sonya also shines but with Lorre chewing scenery in large bites and Von Sternberg without his Paramount perks Crime and Punishment has you doing time.

Director Josef von Sternberg had a long and distinguished career interrupted by "Crime and Punishment." Among his stellar performances are "The Blue Angel," "Morocco," "Blonde Venus," and "Duel in the Sun," to mention only a few. Many of his motion pictures starred Marlene Dietrich. In "Crime and Punishment," von Sternberg works with Peter Lorre, Edward Arnold, and Marian Marsh to get this gargantuan novel down to 99 minutes of screen time. Since I haven't read the novel, I have no clue what they left out. I'm sure it's a travesty. Since I haven't read the novel, however, I treat the movie on its own merits. I consider of plot of little importance in this movie version. Raskolnikov (played by Lorre) is introduced as a student with great promise. Our next scene shows him impoverished but too proud to accept a loan from a former school chum. Raskolnikov is slowly pawning all his belongings because he has no other means of supporting himself. The pawn broker (played by the famous Mrs. Patrick Campbell) is absolutely appalling, and her murder by Raskolnikov is, if not excusable, at least understandable. The irony is that Raskolnikov is famous in police circles because of his magazine article (for which he was not paid) called "On Crime." In this essay (if I understand the movie correctly) Raskolnikov advances the theory that there are two classes of people: those ordinary people who commit ordinary crimes, and an elite class, including Napoleon, whose crimes are somehow superior and above the law and therefore are not to be punished. The head of police, Inspector Porfiry, meets Raskolnikov and praises his work and asks for his help in solving the murder of the pawnbroker. It is not till this game begins that the movie gets interesting. Until the game between Raskolnikov and Porfiry, Lorre's acting has been random and muddled. In his scenes with Arnold, though, Raskolnikov takes shape and becomes hunted, haunted, angry, brave, cowardly, and a myriad of emotions that play across Lorre's entire body. Arnold is excellent as Porfiry, an old hand at the game of crime, and Porfiry plays the game superbly. In their scenes together, you get to enjoy Porfiry's knowledge that Lorre knows he knows, and we see Lorre's anguish as he realizes Porfiry knows, knows Lorre knows he knows, and we spiral down the hole of madness of he knows he knows he knows. Lorre is superb playing anguished men. I think he was at his best in "M" as Hans Beckert under the thumb of Inspector Lohmann. It's a shame Lorre was type cast as Sidney Greenstreet's sidekick in so many movies. I saw Peter Lorre on a 50s game show. The contestant was a blindfolded woman who was asked to chose which of three men was Peter Lorre doing a love scene with her. Each actor kissed her hand and murmured sweet nothings to her. The other two men were credible imitators, but the woman blurted out, "I want _him_!" as she picked Lorre. She didn't care whether he was the real Lorre or not; he was the man she believed in his lovemaking. Lorre was a great actor whose talent was not much used.

Josef von Sternberg's touch looms over CRIME AND PUNISHMENT--the dramatic lighting of shadowy photography, the Dietrich-like close-ups of its female star--but while he has captured the mood of the story with his photography, the film is flawed in many ways. PETER LORRE's performance is uneven, his actions sometimes implausible given that he's supposed to be an expert author of an essay on crime. His sudden bursts of temper to suggest that his conscience is nagging him are almost on the point of burlesque. Von Sternberg should have taken more care in directing Lorre--as much care as he took in lighting MARIAN MARSH for the camera. She looks radiant but is just so-so in performance as the street harlot. ELISABETH RISDON is well cast as Lorre's weak mother. MRS. PATRICK CAMPBELL makes a formidable pawnbroker and an unsympathetic victim of Lorre's crime. EDWARD ARNOLD, who gets top billing, makes a police inspector who is more jovial than crafty with a Santa Claus laugh that would have served him better if he were playing comedy rather than psychological drama. And yet, the story remains a compelling one and the moody atmosphere with its Germanic expressionistic photography is bound to keep a viewer interested in the proceedings. Summing up: Could have been a much better version of a tortured soul with more time spent on developing a plausible central character.

This isn't a very good adaptation of 'Crime and Punishment'. Admittedly, budget restraints hampered the film, so we are left with an overall unsatisfying product. Still, Stenberg's film holds interest because of Lorre's and it's original subject matter. The atmosphere is one thing that is handled well by Stenberg. Appropriately dark and gritty, it feels right. But it's not right. Lorre is ultimately miscast as regretful murderer Raskolnikov (But who else would they have got for the job In 1935?). The pivotal role of Sonia is played weakly by Marian Marsh. Stenberg seems to be bemoaning the loss of Dietrich by trying to make his leading lady into a clone of the glamour lady. It doesn't work, Marsh's screen presence is too weak and there is no disguising her 'Americanness'. The plot is fascinating because it is pure Dostoyesky genius. As the film is relatively short, most of the major thematic elements are quickly skipped over. Some are left out completely. Yet the general concept of Dostoyesky's psychological classic still remains, and that's the most interesting thing about this film. One must raise a smile at how Sonya's 'profession' is passed over in this film, because of the influence of that annoying Hayes Code. 6/10.

Crime and Punishment (1935) *** (out of 4) Dostoyevsky's classic novel turned into a classic film by the legendary von Sternberg. In the film Peter Lorre plays a brilliant but poverty stricken criminalologist who resorts to murder when his mom and sister are threatened with being homeless. The crime seems to go off without a hitch until his conscience begins to haunt him and his fear of a detective (Edward Arnold) starts to cause more panic. This is an extremely impressive version of the novel and also features a terrific performance by Lorre but the real beauty here is the vision by von Sternberg. His stamp is all over this film and it's easy to see early on with the beautiful lighting, which creates some wonderful atmosphere and real tension. The way the cinematography picks up each and every shadow just makes the tension in the story build and build and this is especially true right after the murder when Lorre panics and tries to get away without being seen. This entire segments contains some great suspense and the director gets most of the credit. I found Lorre's performance to be one of the greatest of his career because he's actually got quite a bit too do here. Not only must he play a genius but he also must show fear, panic and even a comic tone. When Lorre's character loses his fear it turns into some comic touches and he delivers on all the notes. Arnold turns in another strong performance and his laid back approach is perfect opposite Lorre's breakdown. The one weak spot in the film for me is the final act, which seems to be drawn out too long due to Lorre's relationship with a poor woman (Marian Marsh). Mrs. Patrick Campbell is downright wicked in her role of the murdered pawnbroker. With a little bit of editing this movie could have been a real masterpiece of the genre but as it stands, this is a perfectly entertaining "B" movie that has plenty going for it.

Arriving in the unlikely environment of action B movie studio Columbia, Von Sternberg, the ultimate aesthete, either by choice or circumstance fronted this project that was unlikely for him and for the company. He manages some striking images - the faceless rank of students from which Lorre emerges, the third story pawn broker's door which he furtively re-visits, the river reflection of Marsh's home, the tacky studio decors are enlivened by decoration (the stacked books in Lorre's room) and the attractive use of lighting (throwing curtain pattern over the action or * Marsh's hair). Even this decorative panache betrays it's creator at times - Painter Mark's arm raised awkwardly from his crouching position to follow a screen diagonal. The uninspired adaptation (the only one to preserve the Svedrigaylov character, represented murkily effectively by Dumbrille), conventional technique, serial sound score and erratic casting hold things back. Lorre is the screen's most menacing Raskolnikov. You expect him to produce a clasp knife and attack anyone rather than engage in philosophical debate. Arnold earns his top billing, turning Porphyry into Doctor Hibbard, but in a league table of interpretations of character he comes equal third with Warren William under Harry Baur and Frank Silvera