The Losing Game

source: The Pay-Off

For his second feature as an actor-director, Lowell Sherman hogs the limelight in the very stagily written, directed, acted, photographed and set, The Pay-Off. Based on a stage play which never made Broadway, little has been done to open it out for the screen. However, director Sherman has an advantage over the rest of the cast which be exploits to the hilt, hogging the camera unmercifully even when he is seated in a two-shot or a grouping of four or five. He also uses his penetrating voice to draw the audience's full attention his way and is the only actor to use such a generous amount of black-ringed eye make-up on his pancake-powdered face, so that you and I can easily pick him out in a crowd. The other players do what they can to upstage actor Sherman, but as he was also the director, they face a losing battle. I can't even remember what the chief villain looks like, but have no trouble recalling Sherman's image. I also remember Marian Nixon, who was one of the very few silent stars who had no trouble at all converting to sound, although she did retire after making her 73rd movie in 1936, after marrying director William A. Seiter in 1934. After Seiter died in 1964, she married Ben Lyon (of all people) in 1971. This was certainly news to me. I grew up with Ben Lyon and Bebe Daniels and when Bebe was forced to abandon "Life with the Lyons" for health reasons, the nation went into shock. So Ben returned to the U.S.A. and married Marian Nixon? The things you find out on IMDb! Anyway, getting back to the stagily directed "Pay-Off", it does admittedly hold the interest for its 71 minutes, despite Sherman's constant on-camera thesping. The only time he relaxes and throws a bit of meat to a fellow thespian occurs when he shares a scene with George Marion. Available on a very good Alpha DVD.

The Pay-Off (1930) ** 1/2 (out of 4) Young lovers (Marian Nixon, William Janney) run off to get married but while talking about the money they have saved, they're robbed by a thug (Hugh Trevor) who happens to be working under gangster Gene Fenmore (Lowell Sherman). Soon the two young ones attempt to hold up the gangsters and finding their effort good, Gene takes both of them under his wing to try and give them a better life. THE PAY-OFF is another one of those early talking pictures that deal with love, gangsters and of course a morality tale. The film certainly isn't a masterpiece or even very good but if you're a fan of this era of filmmaking then it's certainly worth watching at least once thanks to a decent story and a nice leading performance by Sherman. At just 71 minutes the film moves at a very good pace and for the most part it keeps you entertained throughout. The film does have some weak performances scattered throughout and that includes Trevor who comes across quite laughable at times. This is especially true during the scene where him and his girlfriend hold up the gangsters. The film also suffers from some pretty far-fetched, overly-cute moments that don't help anything. I thought Sherman was quite good in the lead role and that he was also very believable in the part of a gangster who tries to do things with the human life being respected. THE PAY-OFF is worth watching if you're a fan of films from this era but just don't expect a masterpiece.

Lowell Sherman offers up a more refined gang kingpin of the era in Payoff. Sophisticated, tasteful and the direct opposite of contemporary thugs Cagney and Robinson he rules with brains and not brawn. His success as a thief he believes is in leaving violence and bloodshed out of the equation. When an underling makes his move and resorts to brutality his empire begins to crumble. Directed as well as having the lead Sherman aquits himself marginally in both in this decently paced, lushly designed in art deco offbeat mobster flick. The dialog is trite however, displaying an obsession with the word "gat" (gun) and simply falls apart around the moronic supporting performance of Tommy by William Janney who mars the whole picture in more than one pivotal scene with his over the top gullible hayseed delivery. Marian Nixon ably assists in the cloying department. Pay Off comes up a few bucks short.

There are several crime dramas from the 1930s to chose from and this one is below average to me. If you want a good crime film from the 1930s you'll have to look elsewhere. This "drama" has it's "cutesy" moments with the wife and once in awhile the men so it's a cutesy drama at times - yea it's "one of those" you see fairly often from the 1930s. I found the story bland, the acting merely okay, cinematography and directing average. Really, look elsewhere for a GOOD crime drama from the 1930s - this one is very mundane, nothing special - doesn't have what it takes to really stand out from other films. Not a hidden gem. This is another film I wanted to like, or at least get into to a degree but I couldn't. Bored me to tears. 2/10

Please ignore the CGI Generation Comments – because – if you love silent films and early talkies – you'll love this. If this film does have a fault – it lies in the film's not being quite able to make up its mind whether to be one of those wonderful screwball comedies of the 30's – or – something a bit more serious. Watching actors/actresses who had survived the transition to talking films is always fascinating to me – and – we had our share here – with – Lowell Sherman being both actor and director. The plot is simple and straightforward – as it should be – without becoming overly melodramatic or silly. Had the direction moved in either direction toward a screwball comedy – or – a drama – (perhaps) – the film might have been a tad bit better – but – all-in-all – it did manage to strike a nice balance between the two. Some wonderful actors – many forgotten names – many of whom died young. Not the type of film that will tug at your heartstrings – but – an enjoyable film none-the-less. Highly recommend for old film buffs.

Catch that brief nightclub scene where the party-goers empty their flasks as the cops charge through. Yup, it's still Prohibition, 1930, though illegal booze doesn't figure in the plot. Instead, it's gangster Fenmore finding out just how much bad guy he is. That's courtesy the youthful innocents Nancy and Tommy who get implicated in his shenanigans. All in all, it's a tepid 65-minutes, without much suspense. Mainly, actor-director Sherman gets to show his skills in what amounts to more of a character study than a crime drama. Note how expressively Sherman uses his eyes to convey what's going on inside. It's really his showcase. I was also impressed by an unknown (to me) Hugh Trevor as tough guy Rocky. Too bad he had such a brief career. And what about plug-ugly George Marion as Mouse. Facially, he resembles Wallace Beery on a really bad day. Here, the cast outshines the plot. Since talkies are still fairly new, scenes are pretty much confined to indoor sets, though some like the mansion living room are striking. I guess my only real gripe is why they had to make the two kids so sweetly innocent. They fairly drip sugar. Anyway, the film amounts to a programmer, 1930's style, and not much more.

This film begins with New York's stupidest couple (Hugh Trevor and Marian Nixon) falling asleep on a park bench. When a cop wakes them, it's the middle of the night. Now you'd THINK a sane couple would immediately leave the park. Instead, dopey Rocky begins talking rather loudly and imprudently about the $200 plus that he's carrying on him!! It's really hard to believe anyone could be that dumb--and this is clearly a sign of poor writing. Not surprisingly, a thug overhears them and robs the young couple. Now if this happened to you, what would you do? Well, these rocket scientists decide to don masks and hold up a group of crooks to get the money they were saving in order to get married!! The plan, naturally, backfires and the big boss-man, Gene Fenmore (Lowell Sherman) feels sorry for them and takes him under his wing. They do not realize he's the local mob leader and think he's just a swell guy. At first, their good fortune seems assured but later Fenmore's shady dealings end up getting the couple arrested for a crime they didn't commit. So what's next? The only reason to watch this film is to watch Sherman. He was a fine actor and very few of his films are seen today. He had a very likable and natural style and "The Pay-Off" is no exception. Unfortunately, the film is full of silly writing and a decent idea for a film is squandered. Not great but still very watchable despite its many deficits.

Tommy and Nancy are "spooning" in the park, and dreaming of getting married on their savings of $260. Nancy is played by Marian Nixon, a versatile actress, who specialised in "sweet young things". Tommy was played by William Janney, who I suspect was the older brother of Leon Janney, who made a couple of Penrod films in the early 1930s. They play their roles convincingly. They are overheard by Rocky (Hugh Trevor) who robs them. He is the right hand man of racketeer Gene Fenmore (Lowell Sherman). Gene is a "Robin Hood" as he steals from unscrupulous people and never resorts to any rough stuff or gun play. He is very classy but Rocky wants to run the show. Tommy and Nancy follow Rocky and attempt to hold up Gene and Rocky. After getting to the bottom of things Gene takes them under his wing. Nancy thinks Gene is a good person but Tommy is not so sure. A bit of cross promotion - the dance music at the night club is a selection from "The Cuckoos" which starred Hugh Trevor. The gang is planning a big job but as usual Gene wants no bloodshed. Rocky is determined to implicate Tommy as he has never forgiven him for the "phoney" stick-up. The jeweller is killed and when Gene and Rocky confront each other Rocky is killed. The other gang members, who are fed up with Gene's "gentlemanly" ways believe Gene cold bloodedly murdered Rocky. The police have been trying to capture Gene for years and by arresting "the kids" they hope to appeal to his better nature. Debonair Lowell Sherman is the whole show, although Hugh Trevor shows that he could have been a big star. Hugh Trevor was very handsome, could sing and had such a presence in this film. He had been a hit in "The Cuckoos" (1930) and "Half Shot at Sunrise" (1930) but he left films in 1931 to go back into the insurance business. He was still getting movie offers right up to his untimely death in 1933.

There is something very John Barrymore-ish about Lowell Sherman, the middle-aged star of this movie who later played a Barrymore like star in "What Price Hollywood". It is ironic that in real life, they were once married to the Costello sisters and would co-star together in one movie, "General Crack". Sherman seems to be taking on a Barrymore persona here as the suave head of a racket of jewel thieves. He ain't no Ronald Colman of "Raffles" or William Powell of "Jewel Robbery", but a slightly portly lothario who seems to have forgotten that he's past the era of seducing young girls and taking them away from their same-aged boyfriends, which he attempts to do here with Marian Nixon and her fiancée, William Janney. "If it wasn't for men like me, there wouldn't be a necessity for men like you", he tells a detective out to bust up his racket, and you know he's dead serious. Even if he runs a seemingly legitimate nightclub, frequented by the well-dressed social set, he's uncontent in his lot, and continues to knock off jewelry shops when the right moment comes along. Hugh Trevor is the handsome but rather amoral pal who goes too far in Sherman's eyes when he robs the struggling Janney right after Nixon has agreed to marry him. This puts Sherman into a sort of George Arliss style plot; He takes the down on their luck lovers into his home, yet plans to steal Nixon for himself until Trevor takes matters into his own hands to get revenge for being humiliated by being exposed for what he claims was just a practical joke. Slightly creaky and extremely stagy, this early talkie crime drama with elements of drawing room comedy manages to entertain in spite of its constant shift in moods. It certainly isn't a rival to the big crime dramas of the time ("Little Cesar", "Public Enemy", "Scarface") yet isn't without merit. Sherman also directs this film which he would do for a few later films he starred in, which brings into question the man's ego, one seemingly as huge as Barrymore's yet without that unforgettable profile and over-sized personality.