Tod Browning was one of the most noteworthy filmmakers in early cinema, with a knack for infusing a sense of fantastical whimsy into his pictures even when they were straight dramas or crime flicks. Lon Chaney, "The man of a thousand faces," needs no introduction, for his immense versatility as an actor and skill as a makeup artist made him a great prize for any production. Just because two luminous figures team up does not guarantee success, however; likewise, some of the best films ever made hail from the silent era, but there are also many examples of contemporary fare that was more middling and unremarkable. There's much to appreciate in 'The Blackbird,' Chaney not least, and the story is duly engaging. Be that as it may, I don't think it's unfair to say that this 1926 flick rather swiftly makes an impression that's less than wholly dazzling. It's a reasonably good time, but not one of the more essential titles among its brethren.
There's nothing specifically wrong with the movie per se. The root story of crime, love, jealousy, and manipulation, penned by Browning himself, is suitably solid, if nothing that's especially grabbing and noteworthy; Waldemar Young's subsequent screenplay, and Joseph Farnham's intertitles, can similarly claim some fine ideas, including characters and scene writing. This is well made generally, including splendid sets, costume design, hair, and makeup. Some odds and ends, like the various acts seen in the music hall, come across as somewhat empty frivolities needlessly tacked onto the whole, but I still commend the contributions in and of themselves, and they'd have been just swell if included in another type of picture; then again, while some instances of sexism or racism can be passed off as part of the writing of characters that are meant to be unlikable, there's some language herein that simply hasn't aged well and would not (and should not) be acceptable today.
The primary strengths in 'The Blackbird' are almost certainly Browning's reliable direction, orchestrating shots and scenes and guiding his cast so as to maximize the impact, and that cast in and of itself. Even given material that doesn't necessarily leave much of a mark, all involved give admirable performances that inject some personality into the proceedings. Of course that goes for Chaney above all, master that he was and effectively given a dual role, but co-stars including Renée Adorée and Doris Lloyd are pretty much just as terrific. With all this having been said, inasmuch as one might pinpoint discrete faults with the feature, what it really comes down to is a sad dearth of vitality that would allow any of its best value to shine. Try as Chaney, his co-stars, and Browning might, there's all too little punch in the screenplay; the course of events just rather trundles along even on paper, dry and flat. From one reel to the next the realization on film doesn't get much further - be it a lack of dramatic timing, a lack of sufficient drama altogether, or inability of Browning or the stars to meaningfully convey that drama, the sum total is just too humdrum. It all looks good, and everybody did their part, but the flick is just regrettably missing the utmost heart and energy that would make any of it land, and matter.
It's not bad, not by any means, and it does ably provide some level of entertainment. Some moments are distinctly stronger than others, and certainly the narrative picks up more steam in the back end as events heat up and emotions run high. I just wish there were more such care taken throughout the length, and more vibrancy, for even as the last reel or so at last give us the compelling plot we desire, overall these seventy-odd minutes pass by without particularly sticking with us. 'The Blackbird' is enjoyable, and a credit to those who participated in its creation - it's also just not a title that stands nearly as tall as some of its contemporaries, and is best suggested for those who are already enamored of the silent era. Watch it, if you have the chance, and have a good time; just don't go out of your way for it, and save it for a quiet night rather than set time aside.
There's nothing specifically wrong with the movie per se. The root story of crime, love, jealousy, and manipulation, penned by Browning himself, is suitably solid, if nothing that's especially grabbing and noteworthy; Waldemar Young's subsequent screenplay, and Joseph Farnham's intertitles, can similarly claim some fine ideas, including characters and scene writing. This is well made generally, including splendid sets, costume design, hair, and makeup. Some odds and ends, like the various acts seen in the music hall, come across as somewhat empty frivolities needlessly tacked onto the whole, but I still commend the contributions in and of themselves, and they'd have been just swell if included in another type of picture; then again, while some instances of sexism or racism can be passed off as part of the writing of characters that are meant to be unlikable, there's some language herein that simply hasn't aged well and would not (and should not) be acceptable today.
The primary strengths in 'The Blackbird' are almost certainly Browning's reliable direction, orchestrating shots and scenes and guiding his cast so as to maximize the impact, and that cast in and of itself. Even given material that doesn't necessarily leave much of a mark, all involved give admirable performances that inject some personality into the proceedings. Of course that goes for Chaney above all, master that he was and effectively given a dual role, but co-stars including Renée Adorée and Doris Lloyd are pretty much just as terrific. With all this having been said, inasmuch as one might pinpoint discrete faults with the feature, what it really comes down to is a sad dearth of vitality that would allow any of its best value to shine. Try as Chaney, his co-stars, and Browning might, there's all too little punch in the screenplay; the course of events just rather trundles along even on paper, dry and flat. From one reel to the next the realization on film doesn't get much further - be it a lack of dramatic timing, a lack of sufficient drama altogether, or inability of Browning or the stars to meaningfully convey that drama, the sum total is just too humdrum. It all looks good, and everybody did their part, but the flick is just regrettably missing the utmost heart and energy that would make any of it land, and matter.
It's not bad, not by any means, and it does ably provide some level of entertainment. Some moments are distinctly stronger than others, and certainly the narrative picks up more steam in the back end as events heat up and emotions run high. I just wish there were more such care taken throughout the length, and more vibrancy, for even as the last reel or so at last give us the compelling plot we desire, overall these seventy-odd minutes pass by without particularly sticking with us. 'The Blackbird' is enjoyable, and a credit to those who participated in its creation - it's also just not a title that stands nearly as tall as some of its contemporaries, and is best suggested for those who are already enamored of the silent era. Watch it, if you have the chance, and have a good time; just don't go out of your way for it, and save it for a quiet night rather than set time aside.