ReaderKenka Let's be realistic.

XoWizIama Excellent adaptation.

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

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

utgard14 Peter Lorre stars in this fine adaptation of the Dostoyevsky novel, directed by Josef von Sternberg. Lorre plays a criminology student who murders an evil pawnbroker. He appears to have gotten away with it but his feelings of guilt and a police inspector's suspicions may do him in. It's a compelling crime drama with a great cast and creative direction from von Sternberg. Lorre gives a dynamic turn full of highs and lows. The highs are shades of his "M" greatness and the lows are when he gets a little campy. Edward Arnold makes a fun foil for him. The rest of the cast includes Marian Marsh, Elisabeth Risdon, Douglass Dumbrille, Gene Lockhart, and stage actress Mrs. Patrick Campbell in one of her few film roles as the pawnbroker, a completely unlikable character if there ever was one. Von Sternberg's direction is very polished by 1935 standards. His beautiful close-ups of Marian Marsh are enough to make anyone fall in love with her. Despite some pacing issues and a few oddly placed attempts at comedy, it's a strong effort from all involved. The usual 'book vs movie' complaints apply, of course, but none of them are deal-breakers to me. If you're a fan of the director or stars, it's a must-see.

TheLittleSongbird Cramming a mammoth book, like Fyodor Dostoevsky's Crime and Punishment, into an hour and a half is not an easy job, but while it does fall short of being a great film Josef von Sternberg's 1935 version does ably with the adapting and makes for good entertainment in its own right.Understandably, it is very condensed with things omitted or introduced but quickly skimmed over, but the basic story, the basic themes and the psychological tension are very much intact and effectively so. The film's low budget does show at times, in some less than imaginative sets (time and place is not always very clear) and some editing that could have done with a little more tightness, and while omissions were inevitable the film could easily have been even better with a longer length to give the story more depth than there was (not that there wasn't already, just that for a story of this amount of complexity there could have been more). Marian Marsh's prostitute-with-a-heart-of-gold character did feel underwritten, there is much more to the character in the book (here, like the similarly blandly played Grilov- who is affected even worse-, the character is reduced to a stereotype), and her performance did come over as bland despite her radiant looks. The romantic subplot very wisely didn't overshadow the film, but the scenes it features in don't quite have the heart and warmth they could have done, and the final third is a touch too drawn out for that reason.However, despite the low-budget and that it's not a beautiful-looking film, Crime and Punishment has many parts where it still looks good. The lighting is appropriately shadowy, adding much to the atmosphere and psychological tension of the film, and the semi-Expressionist cinematography is wonderfully dark and striking. Von Sternberg directs with cracking efficiency and knack for suspense. Crime and Punishment is hauntingly scored and the script keeps to the tone and substance of Dostoevsky's writing style, the interplay between Raskolnikov and Porfiry is nail-biting in its tension and entertainment value. The story still is incredibly compelling and tautly paced and structured, even with the condensation this is classic Dostoevsky and his style still shines.Peter Lorre could be as over-theatrical in places, but actually it is more subtle than some of his other work. Raskolnikov's menacing characteristics are really quite haunting, and his anguish is even more convincing and very powerfully and movingly portrayed. Edward Arnold is similarly perfectly cast, he is an absolute joy to watch and gets even more enjoyable and intimidating as Raskolnikov feels more guilt and paranoia after being laid-back initially. Of the solid supporting cast, Mrs. Patrick Campbell stands out, in a formidably wicked performance as a loathsome character that you feel absolutely no sympathy or loss towards her when she's killed off.All in all, an entertaining and atmospherically effective film but could have been greater. 7/10 Bethany Cox

st-shot This rather static and flat telling of Doestevski's classic novel is a turgid affair from the get go. Peter Lorre's Raskanikov is moodily over the top throughout while Joseph Von Sternberg's direction moves his characters listlessly through hazy sets that resemble abandoned buildings. The real crime in this picture is its construction.Raskonikov graduates at the top of his class being singled out for his uncanny ability to deduce with superior insight. It does not translate into a well paying job however and he is soon off to the vile pawnbroker to keep his family above water. At the shop he encounters a streetwalker,getting her fair share of abuse from the pawnbroker and a friendship ensues. Raskonikov furious of the inequity between his decent friend and the well heeled harridan decides to off her. Confident that his superior intelligence will keep him from getting caught he goes through with it but comes up against a worthy adversary inspector Poriphy and the battle of wits begins. Raskonikov is also fighting on a second front with his conscience.Without meal ticket Marlene and big studio Paramount's production values director Josef Von Sternberg's future got a good look at it with this stilted interpretation of minimalist set decoration and haphazard lighting. With the exception of a few scenes isolating Lorre this early master of light and shadow goes from artist to house painter with drab tableaux in a fog. Lorre is all over the place and his erratic lead lurches to and fro while a becalmed inspector, effectively performed by Edward Arnold, gives him more than enough rope to seal his fate. The underrated Marian Marsh as Sonya also shines but with Lorre chewing scenery in large bites and Von Sternberg without his Paramount perks Crime and Punishment has you doing time.

Jem Odewahn This isn't a very good adaptation of 'Crime and Punishment'. Admittedly, budget restraints hampered the film, so we are left with an overall unsatisfying product. Still, Stenberg's film holds interest because of Lorre's and it's original subject matter.The atmosphere is one thing that is handled well by Stenberg. Appropriately dark and gritty, it feels right. But it's not right. Lorre is ultimately miscast as regretful murderer Raskolnikov (But who else would they have got for the job In 1935?). The pivotal role of Sonia is played weakly by Marian Marsh. Stenberg seems to be bemoaning the loss of Dietrich by trying to make his leading lady into a clone of the glamour lady. It doesn't work, Marsh's screen presence is too weak and there is no disguising her 'Americanness'.The plot is fascinating because it is pure Dostoyesky genius. As the film is relatively short, most of the major thematic elements are quickly skipped over. Some are left out completely. Yet the general concept of Dostoyesky's psychological classic still remains, and that's the most interesting thing about this film.One must raise a smile at how Sonya's 'profession' is passed over in this film, because of the influence of that annoying Hayes Code.6/10.