RyothChatty ridiculous rating

SoftInloveRox Horrible, fascist and poorly acted

Dotbankey A lot of fun.

Tayloriona Although I seem to have had higher expectations than I thought, the movie is super entertaining.

JohnHowardReid Copyright 18 July 1929 by Samuel Goldwyn. Released through United Artists. New York opening at the Apollo: 2 May 1929 (sic). U.S. release: 3 August 1929. 10 reels. 8,376 feet. 93 minutes. SYNOPSIS: Bored British ex-army officer decides to hire himself out as a private detective. His first assignment is to rescue an American millionaire from the clutches of an evil doctor in an insane asylum.NOTES: Samuel Goldwyn's first 100% talkie. Talkie debuts of Ronald Colman, Joan Bennett, and Donald Novis. The stage play opened at Wyndham's Theatre in London on 29 March 1921; and on Broadway at the Knickerbocker on 26 December 1921 where it ran a most satisfactory 162 performances. H.B. Warner took over the lead from A.E. Matthews when the American production went on tour. Third of the twenty-four picture Bulldog Drummond series. Only sound film made by famed silent director (Molly O', The Extra Girl, The Gaucho), F. Richard Jones. Nominated for two Academy Awards: Best Actor, Ronald Colman, and Art Direction, William Cameron Menzies. Shooting from 28 January 1929 to 18 March 1929. Negative cost: $550,000. With prints, advertising and interest on Goldwyn's bank loan, the total cost came close to $700,000. Twelfth top ticket-seller at the U.S./Canadian box-office for 1929. The movie was equally popular in England and Australia, with Colman easily making the lists of top money-making stars.COMMENT: Ronald Colman and John Barrymore were the only matinee idols of the silent era to make the transition to sound with their reputations enhanced. (What about William Powell, I hear someone objecting. Well, Powell in the 1920s was rarely the man audiences cheered on, as he was most often cast as the heavy. Ditto Wallace Beery). Although cultists of the 1960s would find it hard to believe, Colman was far more successful than Barrymore who by the mid-1930s was reduced to playing character parts. With one famous exception (for which he won an Academy Award), Colman continued to play the debonair, dashing hero right throughout his career. Here we find him so perfectly cast as Bulldog Drummond, future interpreters modeled their portraits on Colman rather than "Sapper" McNeile. Deservedly, Colman was nominated for an Oscar for Best Actor. William Cameron Menzies was nominated too. The sets are marvelous, no mistake about that. So is the cinematography which brilliantly overcomes the limitations of soundproof-booth filming to provide images of suitably noirish quality rather than the diffused, over-lit blur that usually resulted from shooting through thick glass. Whilst the camera of necessity is usually stationary, we get an illusion of movement through quick cutting and/or rapid pacing joined to a striking variety of camera angles. The director and the photographers have also managed to pull off two marvelous effects: a brilliant tracking shot (and its reverse) in the opening scene at the club and an atmospheric dolly shot back from the evil doctor's face in his cluttered laboratory. Sound effects and even a couple of songs are effectively utilized to augment the bizarre mood. Most of the support players lend their own charisma to the thrill-a-minute plot. Lilyan Tashman and Montagu Love are particularly appealing as a couple of true-blue heavies who yet have something in the way of dastardly charm to offset their villainy. On the other hand, Claud Allister way overdoes the silly ass, Joan Bennett has a rather grating voice and is obviously out of her depth at this stage of her just-started career; whilst Lawrence Grant is so ridiculously emphatic as the villain one could be excused for thinking that he meant his performance as a parody. But there are so many exciting things in this well-produced and highly cinematic adaptation, Allister and company are mere bagatelles. Full marks. Well, almost.

calvinnme Captain Bulldog Hugh Drummond (Ronald Coleman) is bored. He is bored of peace in a contracting British empire made so by the decimation of everybody who was of fighting age in WWI. Hugh is one of the few survivors of that war and he longs for adventure. So he puts an ad in the paper saying he is looking for adventure, and would rather crime not be involved but won't rule it out.He gets tons of responses, but the letter of Phyllis (Joan Bennett) asking for help strikes his fancy and especially the mystery she puts around their meeting. She has reserved a room for them in a local inn. On the appointed day Drummond arrives at the inn, goes to the room, and soon in walks a woman dressed from head to toe in black. She uncovers her face, and Drummond is instantly smitten. She tells a rather fantastic tale of how her fabulously wealthy uncle is being held captive in an asylum in a plot to rob him of his assets and how she is being watched by the people who run the asylum. That was why she chose the remote inn in the middle of the night. Now Drummond's friend Algie and Drummond's butler have followed Drummond to the inn, and prior to Phyllis' entry Drummond has locked them in the bedroom. While all of this conversation is going they are listening in.Now Phyllis could have been a complete crackpot, but in the middle of their meeting in come the people running the asylum and fetch Phyllis back, validating her story. Drummond follows them, gets Phyllis out, manages to grab the uncle too, and then after some clever maneuvers in a high speed chase, makes a bone headed mistake - he takes them BOTH BACK to the inn where the villains found them in the first place. Of course they show up AGAIN. How will all of this work out? Watch and find out.This is not to say that the villains do not make mistakes or strange decisions. They seem to be running an asylum in a huge castle like structure in which Phyllis' uncle is the only inmate. Nice work if you can get it. This was a very well done early talkie. The entire film takes place at night, the architecture looks like something straight out of a German expressionist film, and the dialogue and performances are not static or stilted at all. There is clever use of the camera to give the illusion of motion where there really cannot be any, and the same is true for Colman's performance - he was actually wounded badly in WWI and could not use one leg hardly at all. Yet when you think back after watching, you'll swear he was climbing and swinging about like Errol Flynn.Lilyan Tashman steals the show as the villainess, who for some reason is dressed up in an evening gown for all of this skulking about. Drummond may be her technical enemy, but you can tell by every word she says she is sexually attracted to him, if only she could get him under her spell.This film was Joan Bennett's first talking film, Ronald Colman's second talking film and first surviving one, and Lilyan Tashman's second talking role. For these three actors, the coming of sound was a boost to their careers rather than the end of them. Of course, Colman had been a star for some years, but his marvelous voice would have made it a pleasure to listen to him recite the dictionary. Watch it for the fun, romance, and adventure of it all.One more thing, unlike James Bond, apparently Bulldog Drummond was extremely monogamous. In the later low budget Drummond pictures of the late 30's with John Howard in the starring role Drummond is engaged to a girl named Phyllis. The joke of the series is how the planned wedding just never manages to come off because of some mystery into which Drummond becomes entangled. It's good B fun but this is the first and the best of the talking Bulldog Drummond films, largely because of the charming Ronald Colman.

theowinthrop When the first "Bulldog Drummond" stories came out in the 1920s, Great Britain was trying to come to grips with an anomaly: it had been one of the main allied victors in the Great War but the country did not feel like it won anything. It felt it had sacrificed too much.Britain in 1914 had ruled the waves. It had a small (but apparently competent) standing army. It had a history of democracy that was stable and unmatched by any of the major continental powers of Europe. It had a very highly industrial economy and was commercially quite important on the globe. Finally, it's empire stretched around the world that the boast that "the sun never set on the British Empire" was true - it was also the world's largest empire.In truth Britain's empire was actually wearing away. Though the British technically won the Boer War Boer Leaders ended up running South Africa. Ireland was getting hotter. The Germans helped stimulate the Easter Rebellion with arms. The British Navy did control the seas but the u-boats almost beat Britain during the war. The naval battles were marred by a total German triumph under Von Spee in the Pacific (Coronel)and the lopsided British ship and men losses at their "victory" at Jutland. Finally, Germany and the U.S. had outstripped British commerce and industrial output by 1914. With the huge losses of a generation of men, and no tangible gains, Britain was in for a serious period of reactionary feelings and even race baiting. Anti-Semitism (always under the surface) reemerged in the 1920s, mostly due to the rise of Bolshevism in Russia after the 1917 revolutions. The political landscape did not reduce this hysteria. Lloyd George was booted out of the Prime Minister's seat forever in 1922. His successor, Andrew Bonar Law, died after nine months in office. Stanley Baldwin was not fully ready to be Prime Minister in 1923, and would blow his administration by a public hissy fit. His rival, James Ramsay MacDonald, would be the first Labor Prime Minister. But he'd been an outspoken pacifist in the war, and he was suspect of Bolshevistic sympathies (he actually had none). In the 1924 General Election a forged letter (supposedly from Gregory Zinovieff, the head of the Russian Comintern) urged MacDonald's election as an agent of the Russians. Baldwin regained office with a large majority.It is this background that explains the popularity of "Bulldog Drummond". With governmental drift and doldrums, a declining economy, a feeling of loss of face on the international scene, and a feeling of loss due to immense death toll, the search for easy answers, easy suspects, easy enemies was ready for Sapper's poison. So the public cheered Col. Hugh "Bulldog" Drummond as he created a fascistic group of ex soldiers (like the German Freikorps) to "control" the internal enemy (i.e., Bolsheviks, Jews, Irish). I might add this was not totally made up. Lloyd George gave the go ahead while Prime Minister to create a paramilitary group in Ireland, the "Black and Tans", to combat the Irish revolutionaries. This group was finally decimated by Michael Collins' men on "Bloody Sunday" in 1921.That Samuel Goldwyn, a Jewish American film producer, produced BULLDOG DRUMMOND, is highly ironic. But it illustrates the care Goldwyn brought to his projects. He had been producing the silent film hits that Ronald Colman appeared in in the late 1920s. Goldwyn wanted Colman to make the transition to sound carefully, and not fall on his face like Colman's rival John Gilbert. Instead of "Darling, I love you!" in HIS GLORIOUS NIGHT, Goldwyn found an exciting adventure part for Colman, which allowed him to display his wonderful, gentleman's speaking voice. As an introduction for a talking Colman, BULLDOG DRUMMOND could not be beaten. The role had everything to show Colman's versatility. There was his humor, shown at the beginning when he is dismayed at the ridiculously boring men's club he belongs to (full of old fogies). There was his romantic side, with the youthful Joan Bennett. There is his confrontations with the sinister Lawrence Grant (Dr. Lakington) and Grant's two assistants Montague Love and Lilyan Tashman (Carl Peterson and Irma), and his handling of his impossibly stupid friend Algy (Claude Allister). As a "coming out" role for talkies, BULLDOG DRUMMOND did the trick, winning Colman the audience he feared talking films would cost him.In terms of plot it creaks, with incredible coincidences and twists that allow plot points to fall apart for the creation of new plot points. Still the cast is game, and the script surprises us. Lakington, briefly having Drummond tied up, is speaking to him pretty closely. Colman turns his face from Grant, who accuses him of being more cowardly than he'd admit. Colman rejects this excuse. Then why turn your face away, demands Grant. "Haven't your best friends told you?", says Colman, leaving Grant turning crimson at the thought of halitosis. A later bit of business, allowing Love and Tashman to escape is also unexpected. Yes, it is an antique, but it is a charming one. And as it has none of Sapper's racist crap in it, it is highly recommended.

Nazi_Fighter_David Ex-army captain Hugh Drummond, first introduced by Hector McNeil (Sapper) in 1920, was, at the time of his first appearance in print, meant to be the embodiment of everything that was good and upright in the English character, but closer examination reveals someone distinctly less appealing, an educated fascist thug who is constantly seeking an outlet for his built-in violence… Finding it in a kind of moralistic crusade against crime, he delights in the suffering imposed by his brutal methods, nonchalantly breaking people's necks and organizing the military Black Gang to terrorize Bolshevik agitators…Drummond's first screen appearance was in 1922 when Carlyle Blackwell (as Drummond) and Gerald Deane (as his resourceful companion Algy Longworth) starred in a straight adaptation of the original novel: Singer/dancer Jack Buchanan came next in "Bulldog Drummond's Third Round" (25) but it was Colman's restrained and immaculately well-timed performance in Sam Goldwyn's first talkie "Bulldog Drummond" that proved the most popular of all… He was a character far removed from Sapper's original... In place of an upper class thug was a twentieth-century adventurer, a gentleman amateur complete with tweed jacket, white scarf and open sports car who, to relieve the boredom of his life, advertises in 'The Times' for his cases.He receives a large number of letters, the most promising coming from a beautiful young woman (a lovely Joan Bennett in her movie debut) who tells him that her uncle is being held prisoner in an insane asylum by doubtful doctors – who are in reality a gang of international crooks…So enduring was Drummond's popularity that an eight-film series (with John Howard) was made between 1937-1939 and the character was played by such famous stars as Sir Ralph Richardson and Ray Milland... Even the Sixties saw him in action with Richard Johnson in "Deadlier Than the Male" (1966) and "Some Girls" (1988).