That's not really sustainable, either... the gangster picture was well up and running by this time with gobs of archtypical entries in the well-established genre. The men who irrefutably created the archtype by having hits that they kept imitating, hammering the ingredients home that spawned the host of imitators beyond all doubt was Browning along with Chaney... The attribution about Underworld is essentially wrong from any angle. Gangster films by 1927 were nothing new.zedz wrote:That attribution for Underworld is pretty standard, and I think the distinction is that those earlier gangster films (let's add The Penalty too), which did indeed set up a lot of the ideas and tropes of the genre, didn't kickstart the genre as a genre - i.e. there wasn't a flood of imitators. Whereas Underworld was swiftly followed by so many features in the same vein that a recognizable genre developed.swo17 wrote:I'm very much looking forward to this release, but have to ask re: the claim that Underworld "is widely considered the film that launched the American gangster genre," is this accurate? From doing my pre-1920s list homework, it seems like either Griffith's The Musketeers of Pig Alley, Tourneur's Alias Jimmy Valentine, or Walsh's Regeneration hold claim to that title.
Browning's resume pre-27, beginning with the Wicked D is filled with stuff like The Blackbird, The Unholy Three, Outside The Law, Dollar Down, Man Under Cover, Silk Stocking Sal (allegedly a crime film, but lost), White Tiger, etc. Then you get Chaney's which is filled with pre-'27, non Browning crime/gangster films, running most notably from the already mentioned Wicked D, to the blazing Penalty, and onward.
Not to mention global entries from Germany, France (hell, what was Louis Feuillade doing in the teens?), etc.