Old San Francisco (1927)

Good , But It Is Overrated By Some

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Exactly the movie you think it is, but not the movie you want it to be.

Old San Francisco (1927) had to have been made with only its special effects and Vitaphone soundtrack as the major attractions, because the story is extremely old-fashioned by 1927 standards. It feels like the sort of plot one would see in a movie from the 1910s.The characters are flat as can be, especially the ingenue played by Dolores Costello. Warner Oland plays the yellow peril villain, who indulges in every crime: stealing the property of others, imprisoning his dwarf brother, oppressing Chinese Americans, and sneaking into Costello's house at night in an attempt to sully her virtue. It's just terrible.One reviewer scolded the other user reviews for projecting contemporary attitudes onto an old film. While this gives the film a little leeway and I think we should put more energy into the still prevalent racism of current Hollywood cinema, that does not make the overt racism against Asian-Americans in this film okay or any less uncomfortable to watch.The effects are unimpressive compared to other special effects-heavy films of the decade and the acting is barely competent. Skip it.

Accidentally came across this film on TCM as Sunday evenings were typically relegated for this film type. Against my better judgement, I decided to persevere since one cannot predict what film footage may be used from the 1920's that document the history of a world famous city. I was fascinated with the street scenes and especially the beautiful Dolores Costello. The prologue created an intrigue of mystery and history combined that hooked me into further viewing and with no misgivings! I found the treatment of the Asian community completely horrifying but know there was truth to this aspect of racism that hopefully has long passed. The secret tunnels underground, the 'trading' business, seemly characters and abusive brothers made for compelling drama.I enjoyed the love story between the Mexican girl and Irish boy. Have interacted with this ethic coupling once in my life and the match made for an eternal love affair. Enjoyed the sweet, simple yet heartfelt emotions portrayed on screen in silence, save for the perfectly sublime music score.The earthquake scene was most anticipated and worth waiting for as the special effects were profoundly realistic for this time period. I was absolutely amazed at the director's ability to shoot many difficult scenes i.e. underground chase scene, tunnel travel, exterior city shots, close ups, and more.Very pleased with this format and will give the silent treatment a thumbs up for future viewing!

1927 was only a few years after the real event, but Old San Francisco is far from anything real from history. The movie was just made to capitalize on the epic tragedy without any guide line on a real life story of survivable, so they made one up. That made up story was very racist, and it was written by Darryl F. Zanuck whom later became the producer of future anti-prejudice films in the 1940s. The film starts out with a lengthy prologue about the history of San Francisco. The opening felt like a lecture telling how Spanish aristocracy become to own the land by giving exampling by using one family name—the Vasquez. They show the history of the Vasquez with not needed scenes, until the story proper begins in 1906 at the hacienda of Don Hernandez Vasquez (Josef Swickard) and his lovely daughter Dolores (Dolores Costello). Already the film is lengthy, most of that prologue would better serve cut on the editing floor. The story should started with 1906, not 1700's. Don Hernandez is having financial problem with his ranch nonetheless refuses the entreaties of wealthy businessman Michael Brandon (Anders Randolf) and his lawyer Terrence O'Shaughnessy (Charles E. Mack) to purchase his property. Terrence became love struck by first sight with Dolores, but Vasquez refuse to sell the ranch, and send the two men away. The two men return to Chris Buckwell (Warner Oland), a rich powerful business man who ran illegal activities in China. Not only is he plotting to grab their land for himself, but also claim Dolores as his bride. Chris Buckwell has two big deep dark secrets under his skin. He's able to indulge in his illegal business without fear of retribution from his Chinese victims because people believe he is Caucasian status. Buckwell happens to Oriental. While, Warner Oland is really white and not Asian, Warner Oland was such a brilliant actor in this role, and pretty much help him get further roles playing Orientals such as Charlie Chan. While the movie shows some Asians in a negative light, it doesn't over do the stereotypes. While Buckwell might be over the top, with him trying to sell Dolores to white slavery and him keeping a midget brother in a cage. There are scenes where normal realAsians are trying to plead their case to the evil Buckwell. It wasn'tuntil ¾ of the film when the Earthquake came to play. It comes quick and end pretty much the same. It's really great to watch but it's not that long. Those special effects in 1927 were rather good in those days. It's still pretty interesting how they were able to do some of those scenes. Though beautifully photographed and consummately produced, the action in this historical drama moves the audience. Shot at the end of the silent era, Old San Francisco includes a Vitaphone soundtrack featuring synchronized music and sound effects that works well. The trouble with the film is its pace, it's over the top characters, and downright ignored of 1906 Earthquake itself. Check out the movie if you're a silent movie fan, if you want a better movie about the earthquake, check out 'San Francisco' 1938 film with Clark Gable.

The climax of the 1906 San Francisco earthquake might be model work made for the film, but it also looks like it might be stock footage (perhaps from Lon Chaney's movie THE SHOCK or something else). In any case, this film and THE SHOCK adopt the "cosmic retribution" angle that the dust-up was really a Gomorrah-like act of divine intervention against the Barbary excesses of Chinatown and such. Anna May Wong is thanklessly wasted as the sinfully exquisite assistant of future Charlie Chan Warner Oland, a ruthless land shark who doesn't let anyone know he's really Chinese. He keeps his jeering dwarf brother in a cage and terrorizes the heiress of an old Spanish family, whose righteous Christian iconography pierces his "mongol heart." He codifies the social and sexual threat of "passing" and miscegenation, which is depicted as repulsive to both races. But this is all articulated in religious terms. The anglos refer to his "heathen gods," while the Chinese get irate that he "betrays his ancestors." For a festival of Asian-American images in silent films, compare this with the more ambiguous sexual morality of Cecil B. DeMille's THE CHEAT with Sessue Hayakawa, the tragedy of Wong's role in THE TOLL OF THE SEA, the later films made by Hayakawa, or even Griffith's BROKEN BLOSSOMS.