that hour
by Douglas Messerli
Charles
Furthman and Robert N. Lee (writers, based on a story by Ben Hecht), George
Marion, Jr. (titles), Josef von Sternberg (director) Underworld / 1927
Only
the second film entirely directed by von Sternberg, Underworld, commentators have often declared, was the first of the
“gangster” films. Although Underworld certainly
does have many of the tropes of the genre, I would argue that von Sternberg’s
work is far less dark and much more comic than were later major gangster films.

In short, the director seems, from the
very beginning, more interested in a witty language than in the dark actions of
robbery and murder. Only “Buck” Mulligan (Fred Kohler) seems truly mean,
rolling up a ten dollar bill and throwing it into a spittoon while demanding
“Rolls Royce,” now working as a cleaning man in the gangster’s club, pick it
up. When “Rolls Royce” refuses and is struck by Mulligan, the relationship
between him and Weed becomes even closer, as “Bull” pays for his bodily
cleanup, taking him on almost as a kind of protective butler. In a hideout
lined with books—another of von Sternberg’s humorous vamps—“Rolls Royce” sits
quietly reading as his new sponsor proudly points out, “He likes to read!”
Fascinated by the now handsome man whom
her boyfriend has brought into her life, “Feathers” sits alone with “Rolls
Royce” in the hideout, as Weed speeds off to steal some jewels his girl has
eyed through a shop window. But after several steamy stares and a new layer of
makeup, “Feathers” is, at least temporarily, put in her place, as “Rolls Royce”
remarks, “I’m not interested in women.”
Despite this obviously “homosexual”
confession, however, given the way the two have visually assessed each other
over the edges of their books, we are not completely convinced. But there is
something in Weed’s quick acquisition of his new friend and his pride in his
cleaned-up appearance that is not sufficiently explained in the story—which
will matter a great deal at film’s end.
Even though this affair ends in the murder
of Mulligan by Weed in “Buck’s” flower shop (a store featuring, in another
slightly comic wink, floral wreaths), resulting in “Bull’s” arrest, trial, and
imprisonment, it is still hard to think of von Sternberg’s world as seriously
dark. If nothing else, it clears the way for the simmering romance between
“Rolls Royce” and “Feathers.” As they embrace, moving toward their first
on-screen kiss, however, “Rolls Royce,” always the gentleman (and perhaps truly
not interested in women), refuses to
betray his boss, while “Feathers” simultaneously backs off: “You taught me how
to be decent.” Together the two hatch a plot to help Weed escape before he is
executed that same night.
The plan goes bad, however, and, now
suspicious of their relationship and feeling betrayed, Weed makes his own
escape, returning to the hideout where the couple also meet up. Convinced his
friends have intended to betray him all from the beginning, Weed blocks the exits
and begins a wild shoot out with the cops, as they try to convince him of their
loyalty. Finally recognizing his mistake, Weed, his lover and friend briefly
are framed by von Sternberg in a scene that immediately calls up what we have
subliminally recognized all along: their relationship has been a kind of ménage a trois (clearly played out in
the image in the court room, where Weed’s shadow hovers over the couple
watching the trial). Weed closes the door to the escape route on himself,
freeing the other two and surrendering himself to the police.
When the police captain sarcastically
suggests that all that escape has provided Weed was another hour, Weed replies:
“That hour was to me worth more than my whole life.” For Weed, apparently, has
discovered in the selfless acts of both “Rolls Royce” and “Feathers” that he was
still loved. Weed’s execution thus seems to be more redemptive than judicially
educative. In von Sternberg’s slightly cynical and perverse world, it is almost
possible that “crime does pay.”
Los Angeles, October
2, 2013
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