(1929)
3
Craig Butler
A "transition" film as the movies tried to adapt to the new medium of sound, Alibi was critically hailed when first released but is less impressive when seen today. Like many films of the period, Alibi was trying to find a way of reconciling the cinematic freedom that had developed in the silent films with the demands of filming in sound, which at the time largely precluded much camera movement. Thus, there are several impressive segments with no dialogue (sound effects being added in later) which demonstrate director Roland West and cinematographer Ray June's considerable talents; there are also many more (and much longer) dialogue-heavy scenes that are largely of the point-and-shoot variety. These latter scenes weigh the movie for modern viewers, especially as they seem so clichéd and trite. At the time of the film's release, however, they were striking some new chords, both in the manner in which the characters were presented as essentially all lacking in morals (e.g., the cops are not really a whole lot better than the robbers) and in which conventions of the gangster film were being set that would become important in later, more lasting films. When allowed to run free with the camera, West is impressive, creating expressionistic angles that, with June's careful, evocative lighting and William Cameron Menzies' striking sets, make quite an impact. But too much of the film is static, and the over-the-top performances, especially from Regis Toomey, are a distraction.
cast-crew for Alibi on AllMovie
Alibi (1929)
/_derived_jpg_q90_80x60_m0/MarieAntoinette1938-Still3.jpg?partner=allrovi.com){kind=small}
