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6.1/10
Senior Film Conservator
A definitive 6.1/10 rating for a film that redefined the boundaries of cult cinema. Big City Blues remains a cornerstone of transgressive art.
You know, some old movies, you just kinda stumble into them, and then you’re left wondering if they’re even worth your time today. Big City Blues is one of those. If you’re into early talkies, especially the ones with that rough-around-the-edges feel about chasing dreams in a big, unforgiving city, you might find something here. But if you're hoping for super tight pacing or a story that keeps you guessing, you’ll probably just shrug and move on. It’s really more about the vibe than a twisty plot.
Our lead, Bud (Eric Linden), is fresh off the farm, wide-eyed and full of hope for New York. He gets there, and the city just hits you – everything feels louder, faster. The film does a pretty good job showing him as this tiny fish in a huge pond, though sometimes the street scenes look a little… too neat, like the extras got a bit too much direction. Like they knew exactly where to stand.
He falls in with a quick crowd, naturally. This is where Joan Blondell pops up, and she’s just a blast, even in a role that isn’t huge. She has this way of making even throwaway lines feel important. You just can’t help but watch her whenever she’s on screen.
And Humphrey Bogart? He’s barely in it. Just a quick scene as “Mr. Fletcher,” almost a blink-and-you-miss-it cameo. But even then, he’s got this *presence*, you know? It's wild seeing him before he became, well, *Bogart*. He’s there for a moment, then gone.
The story itself is fairly simple: Bud tries to make good, bumps into some not-so-great folks, and a girl (Josephine Dunn) just makes everything more complicated. There’s a particular scene where he’s trying to talk his way out of trouble, and the dialogue just flies by, everyone practically talking over each other. It’s a messy kind of energy, almost frantic.
Sometimes, the camera just lingers on a face for a bit too long. You can almost feel the director asking, “Is he sad enough yet? Let’s hold it for another second.” It’s not terrible, just noticeable. Like a slightly awkward silence in a conversation. 😬
The whole “better life” thing Bud is after? It feels kinda empty by the end. The film doesn’t give him a grand success, just a messy learning curve. That’s actually a bit refreshing, no big shiny bow tied on things. Just… life.
There’s a moment in a speakeasy where the background music is just a little too loud in the mix. It gives the scene this raw, unpolished sound. Like you’re right there in that smoky room. You can almost feel the vibration from the bass drum.
Walter Catlett, playing the shifty pal, really dives into the whole “bad influence” bit. He has this crooked grin that just screams trouble. Honestly, he almost makes you *want* Bud to mess up, just to see what kind of chaos unfolds. He’s that good at being bad.
I swear, in one of the crowded street shots, I caught an extra way in the background, totally out of focus, just picking their nose. A tiny, easy-to-miss detail, but it made me chuckle. Real life, huh, even in a movie from way back when.
So, is Big City Blues a masterpiece? Nah, definitely not. But it’s got this weird, raw charm to it. It really captures a feeling of New York back then – gritty, hopeful, maybe a little dangerous. It’s not one of those movies you’ll obsess over for days, but it leaves a small, distinct mark. A pretty cool little peek into a bygone era, with some surprisingly human, kinda messy moments. Worth a casual watch if the mood strikes. 👍
IMDb 5.7
1929
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