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career during the final years of the silent era, dazzling audiences and critics with his films' dark visions and innovative cinematography. The titles in this collection, made on the cusp of the sound age, are three of Sternberg's greatest works, gritty evocations of gangster life (Underworld), the Russian Revolution (The Last Command), and working-class desperation (The Docks of New York) made into shadowy movie spectacle. Criterion is proud to present these long unavailable classics of American cinema, each with two musical scores. UNDERWORLD Sternberg's riveting breakthrough is widely considered the film that launched the American gangster genre; it earned legendary scribe Ben Hecht a best original story Oscar the first year the awards were given. 1927 - 81 minutes - Black & White - Silent with stereo scores - 1.33:1 aspect ratio THE LAST COMMAND Emil Jannings won the first best actor Academy Award for his performance as an exiled Russian military officer turned Hollywood actor, whose latest part--a czarist general--brings about his emotional downfall. 1928 - 88 minutes - Black & White - Silent with stereo scores - 1.33:1 aspect ratio THE DOCKS OF NEW YORK A roughneck stoker falls hard for a wise and weary dance hall girl in this expressionistic portrait of lower-class waterfront folk, one of the most exquisitely crafted films of its era. 1928 - 75 minutes - Black & White - Silent with stereo scores - 1.33:1 aspect ratio SPECIAL EDITION THREE-DVD SET FEATURES - New, restored high-definition digital transfers - Six scores: one by Robert Israel for each film; two by the Alloy Orchestra, for Underworld and The Last Command; and a piano and voice piece by Donald Sosin for The Docks of New York - Two new visual essays: one by UCLA film professor Janet Bergstrom and the other by film scholar Tag Gallagher - 1968 Swedish television interview with director Josef von Sternberg, covering his entire career - PLUS: A ninety-six-page booklet featuring essays by film critic Geoffrey O'Brien, film scholar Anton Kaes, and author Luc Sante; the original film treatment for Underworld by Ben Hecht; and an excerpt from Sternberg's autobiography, Fun in a Chinese Laundry, on Emil Jannings.
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