User reviews

One thing you sure have to say about OLD SAN FRANCISCO is that it is a very lovely film to see. The print, though very old, is in almost pristine shape (at least the version they showed on Turner Classic Movies) and the soundtrack exceptional. In addition, the director and cinematographer were absolutely brilliant--making the most of every scene with the most artistic touch for a silent I have seen in a very long time. Delores Costello is simply luminous thanks to them and so many of the scenes were treats for the eyes--such as the scene between Costello and her suitor at the fountain. It just doesn't get much prettier than this.

As for the story, it was nice to see that Hollywood was trying to be sensitive towards Hispanic-Americans, as they are shown in a very sympathetic light. A major problem is that despite being so very pro-minority, none of the people playing these roles are Hispanic--a very common problem in Hollywood until the 1960s (and sometimes beyond). Today such a practice would be condemned--in 1927, it was par for the course. In this film, Delores Costello did a great job acting (she was terrific), but she looked about as Hispanic as Shirley Temple. If you don't believe me that such casting was common, try watching a Charlie Chan or Mr. Moto film---as these characters were repeatedly played by actors of European descent. In fact, Warner Oland who popularized the Chan role is even in this film playing the role of a big dumb jerk who happens to be a Mongolian man posing as a White man! Oh, and most of the Asians in this film are drug dealers, pimps or assorted low-lifes, so I am pretty sure Asian-Americans probably didn't line up to see this film!

The story is about a family of noble Spanish blood living in San Francisco in the early 20th century. Though they have lived there before the Americans arrived, they are continually treated like outsiders as the Anglos and Chinese gangs take advantage of them again and again. Thanks to a nice young Irishman who has fallen for sweet Delores, the family has a benefactor and things might work out for the better....or not! See it for yourself to see if sweet Delores manages to escape the lecherous clutches of the Chinese underworld white slavers and greedy land speculators (for a hint: God doesn't like what is happening and perhaps He'll have to intervene).

Despite the film's many shortcomings and overt racism as well as a sappy ending (all of which can be understood based on the age of the film and prevailing social mores), the film certainly IS exciting--mostly because of its scandalous subject matter and fast pace. This combined with the artistic nature of the film make it a film worth seeing. Just don't let your politically correct friends and co-workers know! The sight of Oland's midget brother kept locked in a cage throughout the film like a dog is just too much to bear.

This is one of the last silent films, made just before "The Jazz Singer" came out, and it is technically better than most of the other silent films as it used Warner Brothers Vitaphone technique.

It also benefits from a tour d'force by Dolores Costello (who was the wife of John Barrymore at the time) and is probably one of her best roles. She manages to go beyond the silent film melodrama, as does Anna May Wong, the busiest Asian woman in films in the first half of the 20th Century.

Warner Oland (a Swede who nonetheless almost always play an Asian, including his stint as Charlie Chan) shows up as a Chinese thug who masquerades as a White man, although Oland is not at the top of his game here.

The climax of the film is the 1906 earthquake and for the time it is spectacular. The version of the restored film I saw had both the beginning and the end in harsh sepia tones, but the middle was fine.

The film is well worth viewing as one of the last great silent films.

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.

Geez! People who try to project 21st century political correctness on those who were living their lives decades (sometimes centuries) ago give me a pain. Are they saying we've now achieved some level of perfection, or at least that now everything has been figured out? They have the advantage of being sure that years in the future when present-day man is criticized for events and attitudes that even those enlightened ones can't foresee, they'll not be around to hear it.

These attempts to ensure that anyone not holding some particular viewpoint must necessarily be dismissed as irrelevant and evil despite the level of talent of the offender (occasionally a genius) by the critics (usually possessing no talent).

I have seen this movie several times,and noticed things which other viewers have possibly overlooked.The main insults toward the Chinese come in a few tactless subtitles,and subtitles were often written by someone other than the plot writer.The Chinese are clearly shown as victims,particularly in the scene where the dignified leader of their businessmen stops his younger colleague,understandably enraged,from drawing his knife,reluctantly retreating before superior power.Certainly the Caucasians businessmen with whom Oland is in league are obviously no better than him.The scene with his brother is very telling.The brother is physically hideous,deformed to the point of seeming to be scarcely human.Oland is the epitome of the elegant,dignified "gentleman".Yet in that conversation,and later, it is obvious that it is Oland who is the dangerous monster,while his brother is the decent,honorable man.A very pointed lesson in not judging by appearances.What was obviously intended as irony is the part where Oland burns incense before the images of his gods,hypocritically begging "forgiveness" for the crimes against his own people ,including the ones that he intends to commit! His brother, his patience tried beyond endurance, sneers at him,"Monster,there is not enough incense in the world to hide the stench of your crimes from heaven!". HOW TRUE!And horribly common is such sickening hypocrisy today.Oland may not be in public office,but he is the very model of the typical POLITICIAN,a plague that afflicts all countries and all peoples.

Through 1906, the proud Vasquez family has prospered in San Francisco; it is the land the Spanish family helped conquer, and settle. The sweetest rose in the Vasquez Rancho's fair garden is dreamy Dolores Costello (as Dolores Vasquez). Senorita Costello catches the eye, and heart, of Irish gentleman Charles Emmett Mack (as Terrence O'Shaughnessy), a business acquaintance distrusted by patriarch Josef Swickard (as Don Hernandez de Vasquez). Mr. Swickard wants his grand-daughter to marry another Spaniard, preferably a rich one. Then, cruel and crafty Warner Oland (as Chris Buckwell) and his Chinese "Mongol" gang threaten Dolores' life, liberty, and pursuit of happiness.

A relatively well-produced Darryl F. Zanuck silent. The time and place of "Old San Francisco" gives away the ending; of course, it's the great 1906 earthquake. Photographer Hal Mohr and director Alan Crosland collaborate for some nice images; for example, the shadowy Oland/Mack fight, and Chinatown's underground labyrinth. Supporting player Anna May Wong barely appears; but, Angelo Rossita is cute as a caged dwarf related to the villainous Mr. Oland.

Unfortunately, the story wavers between ludicrous and despicable. If it weren't all so silly, it might have been even more offensive.

*** Old San Francisco (6/21/27) Alan Crosland ~ Dolores Costello, Charles Emmett Mack, Warner Oland

For those weary of political correctness and who pine for the "good old days" before racial sensitivity, this film is a good antidote. It apparently caused a riot by Chinese-Americans in San Francisco's Chinatown in 1927, for good reason. Asian characters are involved in every sort of illicit subterfuge, from the opiate trade to fraud to white slavery; they worship false gods and, being heathen, cannot withstand the pure, righteous sound of Christian church bells, nor overcome good old fashioned Christian prayer.

Yikes!

In turn of the the century San Francisco the noble Vasquez family are threatened with the loss of their property by the unscrupulous Mongol, Chris Buckwell. Buckwell, a Chinatown denizen holds considerable influence and sway in Frisco and does not hesitate to acquire by dubious means a piece of the action from local area merchants and land owners. The Vasquez family who has fought and died to keep their land over generations now must pin their hopes on the beautiful daughter Dolores (Dolores Costello) of the patriarch who aligns herself with a rambunctious Irishman (Charles Mack) to combat the diabolical Buckwell who in turn has lascivious designs on Dolores.

Despite being wrought with bias and ethnic stereotyping, Old San Francisco is a splendid example of visual poetry that displays the silent art form in all it's glory. Camera movement is minimal (but used brilliantly at the films climax) with nearly every image a beautiful tableaux of light and composition in group shot and close-up. The underground Chinatown that Buckwell moves between from his 112 Sierra avenue address is a dark, mysterious nether world, both exotic and threatening.

Warner Oland as Buckwell is a superb villain. In addition to desiring all things Vasquez he uses his formidable connections to shake down local Chinese merchants who claim that while "he is of the blood he is not of the breed". In addition to his greed and pursuit of power he worships false idols, exploits the religious fervor of others and keeps his dwarf brother in a cage. For the most part he remains stoic, utilizing an evil sneer that understatedly sums up his consummate villainy.

While director Alan Crosland (The Jazz Singer) is at best a footnote in film history he helms a work as good as any silent master. Once he gets past a boiler plate prologue his use of light and shadow, close-up and reaction shot as well as utilization of props as insignificant as a broken gate show the work of a storyteller in complete control. Combined with a beautiful musical score and title cards of polished prose Old San Francisco is a feast of esoteric ambiance and textbook silent film making.

A dastardly Chinese criminal in OLD SAN FRANCISCO schemes to possess a lovely señorita and her Spanish land-grant rancho.

Although replete with racial stereotyping, it must be admitted that this vintage Silent film is an awful lot of fun. Produced just before the onset of Talkies, the movie represents the high degree of expertise the Studios had attained in telling a story through the medium of filmed pantomime. Excellent production values, an exciting story and very good acting are all part of the mix in the film's success, while the climaxing special effects depicting the great 1906 San Francisco earthquake & fire are satisfying both visually and as plot development.

Beautiful Dolores Costello is exceptional as the privileged young lady who must survive a terrible adventure into San Francisco's criminal depths, her lovely face & eyes conveying every emotion her character experiences. Joseph Swickard gives a noble performance as her proud, patrician grandfather. High-spirited Charles Emmett Mack ably fills the requisite hero's role as the courageous young Irish lawyer who loves Miss Costello. Looking like evil incarnate, Swedish actor Warner Oland steals a few scenes as the malicious malefactor who plots Miss Costello's undoing.

Exotic Anna May Wong appears briefly as an Underworld minx. Tiny Angelo Rossitto is memorable as Oland's dwarf brother.

Movie mavens will recognize Sojin as a Chinatown elder, John Miljan as a slightly craven Spanish-Californian, and Willie Fung as a smiling servant, all uncredited.

Old San Francisco (1927)

** 1/2 (out of 4)

Fifth Vitaphone production from Warner is silent all the way through with the exception of some sound effects used in small places. The film tells the story of a Spanish family who moved to what would become San Francisco to set up their ranch but in 1906 an evil Chinese landowner (Warner Oland) tries to steal it away. The Spanish daughter (Dolores Costello) must try and save her land even though the odds are against here and all the fighting leads up to the famous earthquake. This is a decent movie at best, which works on some levels but is rather disappointing in others. This type of revenge story isn't anything new and had been going on as early as the Griffith shorts at Biograph. Storywise nothing new is really done here but a few nice things happen with the new setting of Chinatown. Today the racial stereotypes of the Chinese folks would be considered racist but what we see here was accepted in 1927. Costello is pretty good in the lead role as she brings some energy to her character that helps the film. Oland is also very good as the Chinese man who pretends to be white in order to try and steal the land. Charles Emmett Mack and Anna May Wong have supporting roles and are pretty good as well. I'm not 100% certain but the final earthquake sequence appears to have scenes borrowed from the Lon Chaney film The Shock, which was also set in San Francisco and featured the legendary earthquake. With that in mind, the final earthquake sequence really isn't that impressive but there are some newly filmed scenes mixed in of building burning and these effects look pretty good. The Vitaphone sound effects are all rather small and include a few gunshots early on, bells ringing and a few screams during the earthquake.

Yeah I can agree with most of what the other reviewer said. There's no defending a movie with the lines "and it pierced his wicked Mongol heart" from charges of racism. But you can get into the plot and appreciate some of the cinematography, especialy the rancho and the Chinamens shrine. Might also point out that in the end it is the other Chinam-- er, Asian Americans who put the evil slumlord to justice.