The Crowd (1928)

I recently watched this movie and was impressed. Here's my review.

The Crowd (1928). A classic silent film from director King Vidor. Reportedly, Vidor took a chance on a young unknown actor, James Murray, to play the lead opposite Eleanor Boardman. Apparently, he succeeded because Murray is excellent. The story is about a young couple and the incredible hard luck that befalls them once they are married.

Murray comes to the big city, New York, in the early Twenties hoping someone will 'give him an opportunity'. He gets a job in an insurance company. We are shown this in one of the most famous scenes in silent film history. First a montage of actual street scenes (Vidor hid cameras all over the City)--cars driving, people hurrying to work, then the camera moves to a tall skyscraper where it then begins a slow, dizzying climb up the walls till it stops at a single window, then enters the window where we then see a sea of desks where anonymous clerks work--the camera slowly zeroes in on one desk where John Sims 137 (Murray) works. A truly classic shot, emphasizing the little man, lost in The Crowd. Later, Murray is determined to succeed. He works hard, studies at night and doesn't go out. But one day after work his buddy, a rotund, fun loving fellow played by Bert Roach, cajoles him into going out with 'two wrens who are all dated up", e.g., two women ready for a date. Murray goes and hits it off with Boardman immediately. They go to Coney Island where we are treated to some truly vintage shots of the rides and attractions. Murray asks her to marry him, she agrees.

There is then some very funny and endearing scenes of the newlyweds on a train (where they share a cramped bed for the first time) and Niagra Falls (of course) where Murray declares that Boardman is the most beautiful woman in the world and he will love her for all time. Then, we are taken to their new flat, a small three room place with fold up bed and the roaring El train outside. But Murray is happy, strumming on his ukelele and singing, while Boardman cooks a big meal for her mother and successful brothers who are coming over for dinner. Everything is great--then the stern mother and arrogant brothers arrive. Murray is told to kiss 'mom' on the cheek, we get a very foreboding shot of the mother, glaring and tilting her head to be kissed, and Murray, unwilling to say the least, obliging...Later, they find they have no booze on hand so Murray goes out to find some (it's Prohibition). He can't find any, so he goes to his old pal Bert Roach's place where Roach is partying with two women. Murray gets drunk and doesn't come home to his wife and her family that night till very late. But, 'she understands him' and forgives.

Murray starts to become unhappy with his job, he is not getting anywhere and now his idyllic marriage shows cracks. He's not so happy with the El train roaring by the window, his wife seems to be forgetting to keep up the repairs on the flat and doesn't keep her hair nice everyday. They argue, he storms out, shouting that 'marriage isn't a word, it's a sentence!' But Boardman is pregnant, they make up and it appears 'all is roses' again. There is a classic scene at the hospital where Murray can't find his wife who just had the baby. He's frantic, but the doctors assures him that 'we have never lost a husband yet!'

Five years later, the happy family has two children, a boy and a girl. Then, finally, they win $500 when Murray wins a contest by submitting a catchy ad slogan. They are elated. Murray comes racing home with lots of presents. They open them and are dancing around the room celebrating. Murray notices the kids aren't there. He runs to the windows, sees them across the street and hollers for them to come and see all the new presents. They run across the street...but the little girl is hit by a speeding truck!! After a long, terrible night of waiting (where several classic Vidor scenes show the plight of the distraught parents and in particular, Murray's attempts to keep everyone quiet so the little girl can recover), she dies and they are hysterical with sorrow.

Murray goes back to work, but he can't concentrate, he sees the scene re-enacted in his mind over and over again (it is superimposed over his foreheard while numbers circle around the accident--the numbers he has to add in his ledger). Suddenly, he quits his job. His wife 'understands' and sticks by his side. She bravely carries on. But Murray becomes profligate and lazy. He can't succeed at any job. She is forced to sew dresses to make money. He gives up. The arrogant brothers come and offer him a job, he refuses, he can't take 'a charity job'. Boardman explodes, throws him out and claims it is all over. We see Murray, ruined and depressed, walking over a bridge where he climbs the sides and is ready to throw himself on a passing train underneath. But he changes his mind. His young son sees him and runs to him, asking him what's wrong. Murray doesn't answer. 'Doesn't mommy like you' the boy asks. 'No', says Murray. 'Well, I like you. I want to be just like you when I grow up!' says Murray's son. This energizes Murray. He decides to find a job--but the only thing he can find is a job as a clown juggler with a sign over him advertising a product. This is the same clown he made fun of when he and Boardman were on the way to Coney Island long ago. He said of the clown at that time, 'What a sap, I bet his mother thought he would be President someday!'. Now, he is in the same position. But he perseveres. He comes back to Boardman, asking for forgiveness, a few cents in his hand from the clown job. After much indecision--the brothers are there to take her away, she gives in. They play an old Victor record with their favorite song. They dance, just like the old times. They try to recapture what they had, what they loved about each other--and it works.

This movie is wonderfully filmed. One of the last great silents with active cameras, superb, subtle acting (not the wide-eyed kind of earlier silents), and astonishing editing ideas. In addition, it's pre Hayes, so we see some scenes that would not be shown a few years later in talkies. Vidor offers a rare and unusual look at the American Dream in the Twenties. This movie is a treat. I give it 4.5 stars.