In Every City There Is One Man


One of the standouts at Bologna was Dave Kehr’s series of films produced by Carl Laemmle Jnr., lesser-known movies excluding the James Whale horror masterpieces. Pal Fejos’ LONESOME was likewise left out in favour of the slightly more obscure, flawed BROADWAY and also the bizarre, grotesque and highly entertaining KING OF JAZZ, which Fejos worked on in some unspecified capacity (perhaps explaining why both those films feature outsize figures Godzilla-cavorting down miniature New York streets). Dave mentioned, though, that LONESOME is the real masterpiece, and I remembered that I own Criterion’s Blu-ray and hadn’t watched it.

BROADWAY is a tricky early talkie, given the stilted nature of much of the dialogue delivery (“new-minted clichés” as Mark Fuller put it). It’s a backstage musical gangster story, in which the musical numbers, staged on a cavernous sound stage, were shoehorned in at Fejos’ behest. Spectacular in themselves, thanks to the towering sets and the elaborate crane shots, they slow the narrative down even further than the flaccid speech. Any movie where Evelyn Brent gives the best performance is arguably in trouble. But Fiona was very taken with the slow-talking detective, Thomas E. Jackson, who actually drawls like he’s parodying an early talkie. It’s disconcerting to find Jackson actually had a long career, and was seen in other film. Hell, it’s disconcerting to find he wasn’t a hallucination.

The movie is a combination of pleasures and irritants, and in the irritant camp fall the two lead performances. Both characters are written as dopes — Merna Kennedy redeemed herself elsewhere in the fest with a spirited turn in LAUGHTER IN HELL (“He’s ma maan!”)– Glenn Tryon redeems himself in LONESOME. In BROADWAY he’s so whiny, insecure, yet at the same time obnoxiously egotistical, like a tap-dancing George Costanza, it actually takes a while to get used to how effective he is in LONESOME.


One of the delights of Bologna was seeing actors in contrasting roles — Pat O’Brien yaps a very precise Lee Tracy impersonation in THE FRONT PAGE, yet walks through LAUGHTER IN HELL like a man in a dream (he can maintain audience sympathy after committing a double murder because his somnambular perf makes clear that he isn’t responsible — for anything), and see above for Merna Kennedy’s development. Barbara Kent isn’t so versatile, playing ingenues in both LONESOME and FLESH AND THE DEVIL. She’s cuter in modern dress, though, and can hold more interest when not competing with a young, newly-styled Garbo.

LONESOME experiments with model shots, location filming, camera movement, sound, dialogue and colour — there’s stencil painting and some kind of dye process which tints the highlights one hue and the shadows another. Fejos is running amuck, and the slender story is the perfect vehicle for such stylistic exuberance. Think THE LAST LAUGH: small-scale stories can sometimes support colossal artistic ebullience.


LONESOME is a magnificent one-off — I wish the part-soundie era had lasted another five years. When the two leads abruptly start speaking to each other in live sound on the beach at Coney Island, the jarring transition from one medium to another is beautiful. You can’t get that in a perfect film, only in a makeshift masterpiece like this one, a superproduction assembled on shifting sands. When the film reaches its tearful conclusion, sudden nitrate decomposition afflicts the footage, with PERFECT artistic timing — it drives home the fragility of what we’ve been watching.



4 Responses to “In Every City There Is One Man”

  1. Have LONESOME on a DVD. A wonderful film, but I wished they’d included the all-silent version. To me, the dialogue sequence felt annoyingly artificial in contrast to the rest, and, ironically, far more dated.

    See also the semi-silent THE MYSTERIOUS ISLAND, a crazed sci-fi mess capped by a civilization of cute li’l alien things at the bottom of the sea.* You actually resent the talkie scene of Lionel Barrymore describing his findings; even in THIS film it feels like a violation of form.

    *A publicity photo of one appears at the beginning of animator Sally Cruickshank’s “Fun on Mars”; evidently the inspiration for the character “Quasi”.

  2. Does an all-silent version exist? The Blu-ray includes Broadway and The Last Performance, so it’s a pretty generous package.

    I was fascinated by the stills I saw of those little aquarians — then found the movie somewhat unwatchable until the giant effects climax. But I might watch it again because I’ve started to enjoy disruption.

    That was the film that sent Maurice Tourneur back to France: the day a production supervisor showed up on set, he packed his bags.

  3. ” I wish the part-soundie era had lasted another five years”

    Aleksei German thought sound was invenred a hundred years too soo and colour two hundred years too soon, so he’d probably argue for another fifty years.

  4. We could definitely have benefitted from ten more years of silents, as they kept getting more sophisticated through the twenties. But I wouldn’t want to lose the early talkies which I love — the good ones, anyway.

    I would love more soundies and part-talkies, just as I would love for the period when b&w and Cinemascope were both in regular use to have lasted longer.

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