In 1929, talking pictures were still a novelty and some pictures in Hollywood were still coming out silent. So, it's not very surprising that this Josef von Sternberg movie comes off as a bit old fashioned. It's lack of incidental music* makes it seem a bit too quiet...but that was true of all the sound films of the day. Likewise, some of the acting is a bit stilted...and this was not at all unusual for 1929. So, I try to cut this and other movies from 1927-30 a bit of slack.

The title character, Thunderbolt Jim Lang (George Bancroft),is one of the most-wanted men in the country. He's been responsible for many bank robberies and deaths and the police are desperately searching for him. But their only lead is his old girlfriend, Ritzie (IMDB incorrectly spells it 'Ritzy' and she's played by Fay Wray). But she's sick of him and wants to go straight--and has taken up with a nice guy, Bob (Richard Arlen). But Thunderbolt has promised that if she takes up with ANYONE other than him, he'll get them...and he does this in a most peculiar way...while he's in prison! Huh? How does he do this and how does it all end? See the film and find out for yourself.

The film has some very good things going for it--particularly the mobster talk throughout the movie. It's all very tough and fun. Bancroft's performance is also quite entertaining (not necessarily GOOD but entertaining). Still, the movie's plot is very tough to believe though it is still entertaining to see today...even with its old fashioned style and bizarre scenes with Thunderbolt inexplicably in his cell with a pet dog!

*Instead of the usual background music, it's a quiet film--normal for 1929. But in all the death row scenes, there is often some sort of spiritual being sung...and wow were they annoying and overdone!

The High-Light of this "First-Year" of the All-Talkie Hollywood in Renowned Director Sternberg Film is the Harlem Night-Club.

This Takes Place in the First Half and while the Remainder of this Gangster-Romance is Peppered with a Few Interesting Flourishes,

None Equate the Impressive Opening and Once the Movie Gets to Prison the Film is Absent Sternberg's Signature Touches.

In Face the Movie Grinds to a Halt and is just Uninteresting Banter and Prison's Inanimate Existence.

The Dialog Deliveries are Pause Laden, Rhythmic Readings that are Stiff, Laborious, and so Wearily Dated as to be Painful.

Fay Wray is Hardly a Presence, Richard Arlen is OK, and George Bancroft (Oscar Nominated) is Domineering but Hardly Special.

Overall, a Curiosity and Film Historians Should Give it a Look for Context and the Director's Complete Filmography.

But Casual Movie Fans and Seekers of some "Old-Stuff" are Likely to be Bored to Death and Very Disappointed.

Von Sternberg's original 95-minutes cut was never released. Instead Zukor and Lasky ordered the movie to be cut down to a more exhibitor-friendly length – which turned out to be 85 minutes. So if you're looking for smooth continuity, you won't find it in this film which proceeds via a series of jumps until both the principals find themselves in the Death House. Needless to say, the scissors were not taken to George Bancroft's scenes. In fact, not a single frame was removed from these scenes, which was good in a way because it meant that the really enjoyable Curtis Mosby-Theresa Harris nightclub footage was also retained in full. However, the movie is definitely off balance (and even a little difficult to follow, let alone swallow) until we arrive at the Death House where the rhythm finally (and unexpectedly) settles down and even allows humor (of all things!) to be injected into the play. Nonetheless, if a comedian like Tully Marshall seems a strange choice for a Death House warden (Tully had played serious roles – and played them well – but here is definitely cast as the comic relief),George is always on top of his material and so totally in control that he can even make the plot twists sound credible and his final scenes unexpectedly moving. He is helped out here by Richard Arlen, an actor who started at the top, giving incredibly gripping performances in such films as Wings, Beggars of Life and The Virginian and then gradually working his way down to the Pine-Thomas side of Poverty Row and finally the formula westerns of A.C. Lyles. As for Fay Wray, I would use the adjective, "disappointing". Her nondescript portrayal would be more tolerable had she been more attractively dressed and presented. As it is, one wonders why the charismatic Thunderbolt is so possessive of such an average-looking girl who is also so totally lacking in personality. Opposites attract, I guess!