The Crowd (1928)
- General info
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- Synopsis:
- Young John Sims (James Murray) weathers the death of his father and travels to New York City in search of success. Instead, he becomes a low-level worker in an enormous office of a nameless corporation. After he meets a beautiful young woman (Eleanor Boardman), things seem to be looking up, but before long the newlyweds are sullen and bickering, and the arrival of their children leaves John feeling trapped in a dead-end existence. Then tragedy strikes, causing him to reassess his life.
- Actors:
- Eleanor Boardman, James Murray, Bert Roach, Estelle Clark, Daniel G. Tomlinson, Dell Henderson, Lucy Beaumont, Freddie Burke Frederick, Alice Mildred Puter, Sidney Bracey, Johnny Downs, Sally Eilers, Joseph W. Girard, Chris-Pin Martin, Claude Payton, Warner Richmond, Virginia Sale, Larry Steers
- Directors:
- King Vidor
- Writers:
- King Vidor, John V.A. Weaver
- Others:
- King Vidor
- Genres:
- Classics, Drama
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Reviews (1) of The Crowd
Silent Melodrama (spoiler). - The Crowd review by Steve
Legendary silent drama which tells the story of the anonymous face in the crowd. James Murray plays the ordinary man who lives a life of small triumphs but larger disappointments. Fate is either indifferent or cruel, leading to a genuine tragedy which destroys him.
We are introduced by one of the most famous edits in cinema, as the camera tracks up the numberless windows of a huge skyscraper and locks in on one opening in particular. It dissolves into an office interior with a vast number of geometrically positioned desks and locates by degrees the subject of the story. And the film concludes with an equally celebrated shot...
His life is ostentatiously ordinary. He goes to Coney Island, meets a girl and gets married and honeymoons in Niagara Falls... gradually he is robbed of his assumption of personal exceptionalism and absorbs conformity. The production was shot on the streets of New York, among real crowds. It surely anticipates neo-realism. There is quite a lot of The Bicycle Thieves in this.
It's easy to identify with Murray, who went into the production as an extra. King Vidor's visual storytelling is impressive, and while he doesn't eschew pathos, it feels realistic. Any Hollywood film maker who attempts to reflect the everyday experiences of ordinary people in the big city, does so in the shadow of this cinematic landmark.