Paul
Muni (September 22, 1895 – August 25, 1967) was an Academy
Award-winning and Tony Award-winning American stage and
film actor.
He was born Meshilem Meier Weisenfreund to a Jewish family
in Lemberg, Galicia, a province of the Austro-Hungarian
Empire, now Lviv, Ukraine.
His family emigrated to the United States in 1902. Both
of Muni's parents were actors with the Yiddish theatre.
He made his stage debut at age 12. During his time in Yiddish
theater, he was known as Moony Weisenfreund (Moonie is a
common Yiddish name). He was quickly recognized by Maurice
Schwartz, who signed him up with his Yiddish Art Theater.
Edward G. Robinson and Paul Muni were cousins to Charles
M Fritz who was a notable actor and manager of The Little
Red Theater in Northport, Long Island, during the Great
Depression.
A 1925 New York Times article singled out his and Sam Kasten's
performances at the People's Theater as among the highlights
of that year's Yiddish theater season, describing them as
second only to Ludwig Satz.
Without a doubt, this is one of the finest
films I have seen. Paul Muni's performance
is so good, it's practically indescribable.
I thought he was extremely believable
as the unduly accused and convicted James
Allen. This story will rip your heart
out, and rightly so. The film is very
well done in every way, down to the smallest
detail (best example of this: the disgusting
looking prison food – if you can call
it that). The use of newspaper headlines
is extremely effective, as well as the
very realistic scenes in the prison and
work yard, and the whole environment in
which Allen must live. The viewer can
almost feel Allen's pain as the other
inmate hammers away at his leg chains
to give him a glimpse of hope toward freedom.
However, even the scenes of Allen's life
on the outside still evoke a sense of
foreboding. This is a very powerful film.
I saw it as part of the Essentials series
on Turner Classic Movies, and Robert Osborne
said that the real-life protagonist on
whom this film is based acted as a consultant.
Since he was still on the run, however,
he was not credited. The whole situation
is so sad, and this sadness and feeling
of oppression hang over the film with
such realism, that sometimes it is as
though you are watching Allen's life caught
on videotape, instead of a motion picture.
It is extremely gripping and downbeat,
with a killer ending. The fact that it's
a true story just adds to the pervasive
feeling of doom. Way ahead of its time,
and a brave picture to make in its indictment
of the justice system. WOW.
TWO FAVORITE MOMENTS: 1) Allen looking
directly at the policeman in the barbershop
with a determined, steely glare, as if
suddenly realizing that he will not be
recognized, and simply defying the cop
to recognize him. The barber doesn't recognize
him either, even though the cop and barber
have just been describing Allen. This
scene, I am sure, meant to emphasize the
incompetence of the police and justice
system, without using any words to do
so. Fantastically done. I am in awe.
2) Chain gang inmate Barney Sykes (played
by supreme character actor Allen Jenkins),
finally released from jail, is offered
a ride from the prison staff, who are
carting the coffin of a dead inmate off
the grounds. Very matter-of-factly, as
though he has done this before (and thus
demonstrating the de-humanizing effects
of prison life) Sykes hops up onto the
back of the truck and sits right on the
coffin. Upon seeing this out the window,
the other inmates ruminate on the fact
that there are only two ways to leave
the chain gang – `get let out, or die
out.'
I will not give the ending away, but if
it doesn't move you to tears, I don't
know what will. Haunting.
My ONLY (minor) problem with the film
is that all of the ladies in Allen's life
look so similar, I could barely tell them
apart!
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