Underworld | |
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Film poster
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Directed by | Josef von Sternberg |
Produced by |
Hector Turnbull B. P. Schulberg |
Written by |
Ben Hecht Charles Furthman Robert N. Lee |
Starring |
George Bancroft Clive Brook Evelyn Brent Larry Semon Fred Kohler |
Cinematography | Bert Glennon |
Distributed by | Paramount Pictures |
Release date
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Running time
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80 minutes |
Country | United States |
Language |
Silent film English intertitles |
Underworld (also released as Paying the Penalty) is a 1927 silent crime film directed by Josef von Sternberg.
Boisterous gangster kingpin 'Bull' Weed rehabilitates the down-and-out 'Rolls Royce' Wensel, a former lawyer who has fallen into alcoholism. The two become confidants, with Rolls Royce's intelligence aiding Weed's schemes, but complications arise when Rolls Royce falls for Weed's girlfriend 'Feathers' McCoy.
Adding to Weed's troubles are attempts by a rival gangster, 'Buck' Mulligan, to muscle in on his territory. Their antagonism climaxes with Weed killing Mulligan and he is imprisoned, awaiting a death sentence. Rolls Royce devises an escape plan, but he and Feathers face a dilemma, wondering if they should elope together and leave Bull Weed to his fate.
Originally, it was to have been directed by Arthur Rosson, but he was fired by Paramount Pictures. It was written by Ben Hecht, adapted by Charles Furthman and Robert N. Lee, with titles by George Marion Jr.. It was produced by B.P. Schulberg and Hector Turnbull with cinematography by Bert Glennon and edited by E. Lloyd Sheldon.
Paramount Pictures initially predicted this film to be a failure and therefore released it in only one theater initially in New York. Ben Hecht even asked for his name to be taken off the credits. After strong word-of-mouth, the movie went on to become a hit.
The gangster role played by George Bancroft was modeled on "Terrible" Tommy O'Connor, an Irish-American mobster who gunned down Chicago Police Chief Padraig O'Neil in 1923 but escaped three days before execution and was never apprehended.
Time felt the film was realistic in some parts, but disliked the Hollywood cliché of turning an evil character's heart to gold at the end.