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C The Crowd (1928)
The Crowd.jpg Image 1 of
The Crowd.jpg
The Crowd.jpg

The Crowd (1928)

£0.00


Country: US
Technical: bw 98m silent
Director: King Vidor
Cast: James Murray, Eleanor Boardman

Synopsis:

A centennial baby's optimism and zeal for life's opportunities is crushed by the facelessness of life in the big city, reduced to a number at work and domesticity offering little in the way of excitement.

Review:

Breathtaking in its pessimism but dramatically a bit disappointing now, this typically portentous Vidor creation has memorable moments, such as the kid begging from his father unbeknownst to him, and this is a brave and prescient film to be making at the height of the roaring twenties, looking ahead to Chaplin's Modern Times and beyond (The Apartment, Koyaanisqatsi). (This was the first film after the success of Napoléon to be restored and scored by Brownlow, Gill and Davis, in 1981.)

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Country: US
Technical: bw 98m silent
Director: King Vidor
Cast: James Murray, Eleanor Boardman

Synopsis:

A centennial baby's optimism and zeal for life's opportunities is crushed by the facelessness of life in the big city, reduced to a number at work and domesticity offering little in the way of excitement.

Review:

Breathtaking in its pessimism but dramatically a bit disappointing now, this typically portentous Vidor creation has memorable moments, such as the kid begging from his father unbeknownst to him, and this is a brave and prescient film to be making at the height of the roaring twenties, looking ahead to Chaplin's Modern Times and beyond (The Apartment, Koyaanisqatsi). (This was the first film after the success of Napoléon to be restored and scored by Brownlow, Gill and Davis, in 1981.)


Country: US
Technical: bw 98m silent
Director: King Vidor
Cast: James Murray, Eleanor Boardman

Synopsis:

A centennial baby's optimism and zeal for life's opportunities is crushed by the facelessness of life in the big city, reduced to a number at work and domesticity offering little in the way of excitement.

Review:

Breathtaking in its pessimism but dramatically a bit disappointing now, this typically portentous Vidor creation has memorable moments, such as the kid begging from his father unbeknownst to him, and this is a brave and prescient film to be making at the height of the roaring twenties, looking ahead to Chaplin's Modern Times and beyond (The Apartment, Koyaanisqatsi). (This was the first film after the success of Napoléon to be restored and scored by Brownlow, Gill and Davis, in 1981.)

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