Bulldog Drummond (1929)

This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

This story has more twists and turns than a second-rate soap opera.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Bulldog Drummond was already a famous action/adventure hero by 1929, when this movie was produced. Nevertheless, it is obvious from the first scene that this movie was made with tongue firmly in cheek. Everything is presented in a manner so over-the-top, so heavy-handed, particularly the melodramatic aspects of the story, that it is clear that this film was meant to be as much a comedy as an action/adventure melodrama. It takes a deft hand to pull off the trick of presenting melodrama as comedy without looking foolish. In this case, the cast of able professionals is headed by two stars who would fo on to achieve legendary film careers: Ronald Coleman and a 19-year-old Joan Bennet. This movie was produced before Ms. Bennet changed her hair color from blond to black, so some film buffs might not recognizer her immediately. The change differentiated her from her equally-famous blond sister, Constance. However, it apparently also helped her to get more substantial roles. Joan Bennet would end up having one of the longest careers in film history, appearing in 98 productions over a period of well in excess of 60 years. Bulldog Drummond is an old-fashioned action adventure/melodrama. However, if viewed from the correct perspective, it is also quite funny. It is patently evident that was the perspective from which the filmmakers intended the film to be viewed.

I wonder how many film fans, for no one else would choose to watch a very early talkie, for they are a very bumpy watch with such stilted over the top acting, and rounded exaggerated word delivery, while the crude sound equipment of the era made moving and talking impossible, so the actors stand still and well talk, its all very much like filming a dull play, and so often, so very very dull. Off coarse, modern audience completely fail to get the thrill of seeing the silver screen talk. The poster makes the point Ronald Coleman "All Talking" Bulldog Drummond. Well i do believe this is the best early talkie i have ever seen by long way, the script from a stage play i assume, is witty and lively, and by switching from "Talkie" to "Silent" where we are treated to silent movie tricks such as shadows, the film makers deliver a very lively picture full of twists turns and some very gay old fashioned thrill's and spills. Ronald Coleman was Oscar nominated for this role and i can see why, for while all around him give perfectly fine period performances typical of the era, Coleman on the other hand is Bulldog Drummond and simply cruises through the movie by being totally natural, he is so good in fact, he could walk out of a 1929 film by instant time warp and be perfectly plausibly playing a role in a 2017 film, no bother at all. But, who and what is Bulldog Drummond, well i'm trying to work on this my self, he tells us he is to rich to work and he is bored. So ex army captain Drummond a very fine posh very rich beautifully spoken top rank English gentlemen, saves damsel's in distress, to relieve the boredom of it all. Well what else could he do? Most i think would, simply play cricket. To sum up, i loved it. A time warp 9 from 10. well no one's perfect, not even the British Bulldog!

The literary character of Bulldog Drummond has not worn well. Reading the books now, Drummond tends to come across as more of a fascist bully than as a hero. This 1929 movie was Ronald Colman's first in a talkie and he plays the character with his usual charm, honing down the more brutal aspects of the Drummond in the books (although in one scene he does gleefully choke a man to death with his bare hands).The movie is based on the stage play rather than on the book and the stage origins show. One can almost sense actors waiting for their cue to make an entrance. Colman and Bennett are pretty good in the lead roles but the over acting of Lawrence Grant as the mad doctor is painful to behold.For collector's it's worth seeing once for the record.

Melodramatic, overacted, and occasionally senseless, but who cares? Colman is almost devestatingly charming in his first talkie, Bennett is lovely (but a bit whiny at first), and Algy is a first class twit. The villains are vile, the action is fast once you adjust, and Colman is a sheer delight to watch. Why there hasn't been a major Colman revival is beyond comprehension.