GamerTab That was an excellent one.

BroadcastChic Excellent, a Must See

Orla Zuniga It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

Myron Clemons A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

earlytalkie This is it. The first all-talking feature film. Although at 57 minutes it barely qualifies as a feature. The Lights of New York has a reputation for being a pretty bad film. Even contemporary reports from back in the day rather kindly label it as experimental. Watching it today it does not seem nearly as bad as it's reputation. Sure, there are pregnant pauses between lines, and Mary Carr as the hero's mother appears to deliver her lines as though she had been drugged, but the film is more fun to see than I care to admit. The nightclub scenes are rather lively and there is a music score under a lot of the dialogue. Overall, it is considerably better than Paramount's Interference, released a few moths later. All these pioneer talkies are interesting for buffs to see today as their respective producers and directors felt their way through the first few years of a brand-new medium. The print of Lights of New York had really excellent Vitaphone sound. Much clearer than the sometimes muddy sound in Interference. I believe Interference used Movietone sound-on-film process, but I could be mistaken. You could find worse ways to spend an hour than to watch this.

lugonian When someone asks the question, "What was the first talking picture?" the answer that immediately comes to mind is THE JAZZ SINGER (1927) starring Al Jolson. Well, that's partially correct. For anyone who's never seen THE JAZZ SINGER might expect an all-sound motion picture with songs. In retrospect, THE JAZZ SINGER does include songs, but much of the scenario was silent accompanied by a Vitaphone orchestral score. With other major studios experimenting the methods of silent films by adding talking sequences to its existing underscoring and inter-titles, LIGHTS OF NEW YORK (Warner Brothers, 1928), directed by Bryan Foy, scripted by Murray Roth and Hugh Herbert, was a step in the right direction for being the first all-talking feature length movie. As with many Hollywood firsts, LIGHTS OF NEW YORK was and still is not a great film due to awkward acting and offbeat dialogue, yet the result is another landmark during the dawn of sound made essential to the history of motion pictures.Opening with a prologue, the first inter-title reads: "This is a story of Main Street and Broadway - a story that might have been torn out of last night's newspaper. Main Street - 45 minutes from Broadway - but a thousand miles away." Because his girlfriend, Kitty Lewis, has gone to New York and made a success for herself, Eddie Morgan (Cullen Landis), a barber yearning for a better life outside his small own where nothing ever happens, asks his mother (Mary Carr), proprietor of the Morgan Hotel, for a $5,000 loan so that he and his friend, Gene (Eugene Palette) can go into partnership with Jake Jackson (Walter Percival) and Dan Dickson (Jere Delaney), guests in Room 21. At first Mrs. Morgan relents loaning the money until she meets with these "gentlemen" before heading back to New York the following morning. Story: "Broadway - 45 minutes from Main Street, but a million miles away." Six months pass. Eddie and Gene, owners of the White Way Barber Shop on 46th Street, come to realize their big mistake for being talked into having their barbershop as a front for bootleggers. Unknown to Eddie, "Hawk" Miller (Wheeler Oakman), owner of the Night Hawk Club ("where anything can happen and usually does") is not only the ring leader of the bootleg operation, but out to get his Kitty, dancer at his club, for himself, much to the jealous nature of Molly Thompson (Gladys Brockwell), his rejected mistress. As Miller plots to do away with Eddie by placing the boxes of Old Century liquor in his barbershop, Miller is later shot and killed by a mysterious assassin, leaving poor Eddie as the prime suspect.A straightforward melodrama with an amusing bit reminiscent of a vaudeville routine where a drunk approaches a cop (Eddie Kane) on Broadway asking where the other side of the street is. For a motion picture that began as a two-reel Vitaphone short, LIGHTS OF NEW YORK, with its backstage musical sounding title, is basically an underworld melodrama with gangster types speaking in gangster lingo. The most memorable line comes from Wheeler Oakman giving an order to his boys, Sam and Tommy (Tom Dugan and Guy D'Ennery) about Eddie, to "Take him ... for ... a ride." This particular scene is the one usually clipped into documentaries of motion pictures, especially when the subject matter is about early talkies. The film is also historical in a sense in offering a inside glimpse of 1920s night clubs better known then as "speakeasies," consisting of chorus girls, dancing patrons and one vocalization of "At Dawning" by the master of ceremonies (Harry Downing). With no "major star" names in the cast, the only one of some familiarity is Eugene Palette, whose distinctive gravel voice made recognizable during his long range of character parts lasting through the late 1940s. His one crucial scene finds him trying to hide the fact from a couple of detectives (Robert Elliott and Tom McGuire) that the customer sitting in his barber chair with his face covered with a towel happens to be a recently murdered Hawk Miller. Aside from Palette and Tom Dugan, other members of the cast, namely silent screen veterans Cullen Landis and Helene Costello, have virtually drifted to obscurity shortly after this film's release. Gladys Brockwell as the girl "who's loved and lost," gives a type of performance of a middle-aged Joan Crawford from the 1960s. Sadly Brockwell passed away the following year (1929) from complications sustained in an automobile accident. For being 1928 production, LIGHTS OF NEW YORK has an advance appeal of one made in the 1940s, not by Warners but something out of a Monogram Pictures programmer. Visual effects with shadows of bootleggers committing their crimes at night simply has that 1940s film noir feel to it. Often labeled as a very bad picture by historians, this remains a real curio as it did way back when, as well as a great opportunity hearing the voices of actors of the silent screen.Never distributed on video cassette, LIGHTS OF NEW YORK can be found occasionally on Turner Classic Movies where it's been playing since May 13, 1995. So the next time someone asks, "What was the first talking picture?" chances are the reply may still be THE JAZZ SINGER, but the final answer remains THE LIGHTS OF NEW YORK. As far as silent films are concerned, there's no turning back now. (**)

calvinnme Lights of New York was the first all-talking feature film. There had been, of course, The Jazz Singer, released in Oct. 1927 as the first feature film incorporating synchronized dialog. However, this film released in July 1928 is virtually unremembered for its place in film history. It had started out as a short, but gradually more was tacked on until - clocking in at 58 minutes - it accidentally became the first all-talking feature film. It opened to a grind house run and to Warner Bros. surprise, made over a million dollars. That was good money back in 1928.The plot is quite simple. Two country barbers naively buy into a barber shop on Broadway that fronts as a speak-easy for "The Hawk", a gangster. When they learn the truth they can't afford to get out, because the younger barber, Eddie, has all of his mother's money tied up in the place. Kitty is the younger barber's girlfriend, and gangster Hawk (Wheeler Oakman) has an eye for turning in his older girlfriend (Gladys Brockwell) for a newer model - chorus girl Kitty(Helene Costello). A cop is killed while trying to stop the Hawk's men from unloading a shipment of bootleg liquor, and the Hawk sees it as an opportunity to frame Eddie, thus getting Kitty for himself.This early talkie is loads of fun for the enthusiast of these pioneering works. Sure, the plot is elementary and the dialog stilted, but there is something you don't see much of in early talkies - background musical scoring. Vitaphone had originally been used for this very purpose, and here they are still using it for musical accompaniment along with the dialog. And there are singing and dancing numbers! The scenes in Hawk's nightclub are used as an opportunity to show off what films could never do before - musical numbers. There is even a wild-eyed emcee with some heavy makeup left over from the silent era that is a hoot to watch.Vitaphone could not go outdoors at this point due to the static camera booths, so the scene in the park between the two lovers Eddie and Kitty is simulated - and cheaply. The greenery looks like something out of an Ed Wood movie or perhaps a high school production of "Our Town". Gladys Brockwell, as the Hawk's castoff girlfriend, delivers her lines with punch. She's a real trooper considering what lines she has to deliver. To the Hawk - "So you think you can have any chicken you want and throw me back in the deck!". Huh? mixed metaphors anyone? And then there are her final lines "I've lived, and I've loved, and I've lost!" Did someone get paid to write this dialog? Brockwell was making a good success of her talkie career after scoring some triumphs in silent films (the evil sister in "Seventh Heaven"), when a fatal car accident cut her career short.Then there is Eugene Palette - the older of the two barbers in our story. His frog voice, natural delivery of lines, and cuddly appearance gave him a long career as a character actor usually appearing as a put-upon family man/businessman with a gruff exterior and heart of gold. In fact, Mr. Palette is the only member of this cast who still has a notable career in films just three years after this movie is released.Finally there is the question of "where is that microphone hidden?" Microphones were still stationary at this point, and it's fun to figure out where they've hidden it. There is one famous scene, though, where everybody can pretty much figure it out. Hawk is in his office talking to his two henchman - who seem to comprehend as slowly as they talk - about "taking Eddie for a ride". If you watch this scene you'd swear the phone on the desk is a character in this film. It's front and center during the whole conversation. The microphone is likely planted in the phone.There is something heroic about these pioneers flying blind in the face of the new technology of sound. You have silent actors who are accustomed to using pantomime for expression, vaudevillians who know how to play to a live audience but don't know how to make the same impression on a Vitaphone camera booth, and you have dialog writers either trying to write conversation as compactly as they did title cards or filling up films with endless chatter. Check this one out. It is not boring, moves fast, and is loads of fun if you know what to look for. And no, I don't expect this one to ever be out on Blu-Ray, but I hope that the folks at Warner Brothers add it to the Warner Archive soon so everyone can see it.

drednm LIGHTS OF NEW YORK was the first "all-taking" feature film, coming in at a brisk 57 minutes and directed by Bryan Foy (of the famous vaudeville family).The story has two dopey barbers (Cullen Landis, Eugene Palette) yearning for a chance at "big city life" and getting involved with gangsters and bootleg booze. One of the guys gets framed for the murder of a cop but is saved at the last minute by a gun moll (Gladys Brockwell).Much of the story takes place in a night club called The Night Hawk, which is run by a crook named Hawk (Wheeler Oakman) who has his eye on a pretty chorine (Helene Costello) who is the girl friend of Landis. Costello gets to do a brief dance, and we hear Harry Downing (made up to resemble Ted Lewis) sing "At Dawning) in his best Al Jolson style.The acting ranges from good (Palette and Brockwell) to awful (Oakman). A couple of the actors muff their lines but then keep right on with the scene. As noted elsewhere this was intended to be a short 2-reeler and was made on a shoestring budget. Yet the sound quality is surprisingly good, the voices all register clearly, and there is a neat cinematic touch in the silhouette death.The film was a box-office smash even though it was shown as a silent film where theaters were not wired for the new sound technology. No one expected this little film to gross an amazing $1.3 million. It briefly made stars of Costello and Landis and certainly launched Palette on his long career as a star character actor.Co-stars include Mary Carr as the mother, Robert Elliott as the detective, Eddie Kane as the street cop, and Tom Dugan as a thug.