Evengyny Thanks for the memories!

Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Jackson Booth-Millard I was interested to read, after finding this silent film in the book 1001 Movies You Must See Before You Die, that it flopped, due to the earlier release of The Jazz Singer, the first talkie, nevertheless this picture has been rediscovered and is recognised as one of the last few great non-speaking films, directed by Josef von Sternberg (The Blue Angel, Shanghai Express). Basically Bill Roberts (George Bancroft) works as a stoker on a coal-red barge, his ship has just pulled into port in New York City, the crew are given one night for shore leave. While the ship was pulling in, Bill saves the life of beautiful prostitute Mae (Betty Compson) from drowning, she was attempting suicide as she lost all her money, had almost no clothing and felt remorse about her life up to then. Bill steals some clothes for Mae to wear and invites her out of a "good night", they go together to a bustling wharf pub. While there Bill almost gets into a fight with one of the pub-goers, after only a short time of knowing each other, Bill spontaneously proposes marriage to her, and to prove he is serious he asks the minister invited to conduct it, to make it legitimate. Mae is surprised by this quick but heartwarming gesture, but she is the disappointed the next morning when he must return to the ship, he says to her that he couldn't be serious about staying with her and fulfilling his marriage vows, because his job keeps him at sea. The ship sets out to sea, but Bill makes a decision before it leaves the city harbour, following events, he cannot leave Mae, so he swims ashore to find her. Going to a tavern, a patron directs him to the local Night Court, Mae is accused of stealing the clothes that had in fact been stolen for her. The judge sentences Mae to spend 30 days in jail, but Bill shows up in time to confess that it was in fact him that stole the clothes. The irritated judge gives him 60 days in jail for theft, Bill says to Mae that he will do the time for her, as Bill is taken away Mae pledges to "wait forever" for him. Also starring Olga Baclanova as Lou, Clyde Cook as "Sugar" Steve, Mitchell Lewis as Andy the Third Engineer and Gustav von Seyffertitz as "Hymn Book" Harry. It is a slightly odd fast-paced love story, a ship worker falling for a street walker who he rescued from the waters, but the inevitable events that occur make for interesting watching, there is some memorable imagery, a worthwhile silent drama. Very good!

judy t This film is perfect. It's about 2 people meeting, falling into something like love, and deciding to spend their future together. It had a few more subtitles than needed, a common irritant with silents, but some of the dialogue cards actually - surprise - enhanced the viewing experience by highlighting Bill and Mae's basically decent characters.This is one of the 3 Von Sternberg silents reissued by Criterion. I like 'Underworld' a lot, but I'm head-over-heels with 'Docks', due primarily to George Bancroft. No one else could have played Bill as well. Not Beery, not McLaglen. This is an example of an actor and a role fitting like a glove. And the same goes for Betty Compson playing Mae, a gal who, to put it mildly, is down on her luck. Mutually attracted as they are, but each cautious, they circle around, taking the other's measure. As Mae says, "You ain't so bad, Bill." And she's spot on in summing him up.Bill is a hard-drinking, brawling big hunk of masculinity who's confident in who he is, his physical strength, and his chosen life. He's a no longer young man who's at peace with himself and his place in the world. He has a work ethic - "I've never missed a ship sailing in my life" - and pride in his job, back-breaking labor that will use him up before he's 40. When Bill says to Mae, "I never done a decent thing in my life", he looks like he means it when he says it, but we know differently.A few years earlier female hearts beat faster watching Valentino sweep Vilma Banky off her feet. But Valentino, wonderfully watchable as he is, is make believe, whereas Bancroft is the real thing. But how will Bill make a living after giving up his life at sea? That's not in the script, but because we care what happens to these 2, my guess is he and Mae will scrape together a few dollars somehow and open their own bar along the docks of New York.

chaos-rampant Some of my most cherished impressions come from filmmakers who have this unique ability, as I have discovered, to paint a beautiful image with the notions that give rise to it built-in; it has to do with how a source outsources itself to itself and in that space creates a visible illusion, that is to say creates a living theater in which she is both author and player. Tarkovsky. Mizoguchi minus the melodrama. Storytelling in these cases is nothing more than our proxy in a world made of stories; something's got to be unfolding on that stage for us to be able to sift inside. Sternberg has given me one such film before this, so that alone ensures I will be always interested in what he had to say. But now and then in my journeys through these otherwise visionary makers I encounter a film like this; perfectly well-drawn, with a story finely crafted, fine acting, but I just don't know what to do with it.It's a straight romance between these two people who were never too good and never all bad, who made they choices they could. They are hurt or embittered, but sail through as best they can. Before they meet she has already given up and let sink.The story behind is more interesting; the woman is saved by him from death, and is thus given a new lease, a new life to be reborn into - he tells her her sins were all washed away in the slush - and she then turns for guidance to this man with the life-wisdom of sailing; who toils in the coalblack bowels of a ship, and now and then surfaces above for a night in the shared life. What he can teach her is this: life as the transient cycle of constant renewal, between anonymous work and small pleasure, between suffering and grace. The world shared between these two people is an incredibly rich construct, it suggests passage inside. The passage begins with a watery reflection suddenly rippled as the woman jumps into water. We don't see the action, the life going out of the world, only how it ripples across the surface. It's magic cinema.Unfortunately for me, Sternberg doesn't swim in these dim reflections. The rest of the film is written in crystal-clear waters. You can look down and see everything swimming where it's supposed to. Oh, it's perfectly fine as is, but it's all floating on the surface; the hidden streams and ebbs that move these people are forgotten in lieu of the more pressing but ultimately mundane social anxieties of the waking world.Is he going to stick with her, is he going to leave? More importantly, has she learned what was worth for him to leave behind?

Igenlode Wordsmith For me, this comes a close second to "Underworld" in Sternberg's films: the twists and turns of the melodramatic plot become ultimately a little too much for me to swallow (a twist too far?), and I found some of the camera devices simply distracting, but even so the film is more or less won by virtue of the impressive acting from all concerned. Betty Compson (who was soon to receive a well-deserved Oscar nomination for her role in the part-talkie "The Barker") stands out as the fragile, cynical girl who has "had too many good times" already but allows herself to believe in the possibility of redemption; Baclanova is memorable as the petty officer's deserted wife, while George Bancroft is a cheerful, callous but not unkindly Colossus of a stoker. The weary, sensitive features of Gustav von Seyffertitz, in a small role as the threadbare Bible-basher who ministers to this godless 'flock', also make a strong impression. The film is almost all atmosphere, but it is atmosphere well-done.