I like the storyline of this show,it attract me so much

Simple and well acted, it has tension enough to knot the stomach.

Exactly the movie you think it is, but not the movie you want it to be.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Not being much of a fan of silent dramas I wasn't looking forward to this film. I was watching the movie merely for it's historical significance as the first gangster film and as a proto-noir. But I quickly was sucked into the love triangle with Bull, Rolls and Feathers, with names like those how could you not be? The great dialogue of later gangster films was already here, even if I could have done with a bit of a harder edge. Early on there were times when I thought the film felt a bit too light-hearted but it was punctuated by enough grit to force me to take the simple story seriously. Not the greatest gangster film, but perhaps the greatest surprise, which after-all, is why I watch movies.

Of the three silent classics made by Josef von Sternberg in the 1920s, "The Last Command" and "The Docks of New York" were declared part of the US National Film Registry, but according to my personal taste and appreciation of film art, the obvious choice for this distinction should have been "Underworld". Sternberg would later meet Marlene Dietrich for the classic early sound film "The Blue Angel" and become the creator of the "Marlene myth"; but in "Underworld" there are already hints of mastery of composition and framing, without the tendency to exotica through the eyes of Hollywood displayed in the Dietrich films ("Morocco", "Blonde Venus", "Shanghai Express", for example), although a couple of them are good. "Underworld" is the fascinating story of the rise, decadence and fall of a criminal (George Bancroft) in luscious black & white: for those who have seen Howard Hawks' "Scarface" (1932), the plot may seem familiar, because both films are based on a story by Ben Hecht, who won one of the first Oscars when there was an Academy Award for "Best Story", for his tale of "Underworld". Closer to Expressionism than Hawks' film, and away from the strident first experimentations with sound, "Underworld" is an elegant motion picture, with seductive silhouettes and aural suggestions, to evoke the climate of violence that determines the story. A must-see film.

A stylish late silent from Josef von Sternberg about a crime lord (George Bancroft) who makes over an alcoholic bum (Clive Brook) only to succumb to murderous jealousy when he suspects his girlfriend (Evelyn Brent) of falling for the reformed and refined gentleman.Von Sternberg makes active and imaginative use of his camera, and the film is crisp and dynamic. You can tell watching it that it influenced a thousand gangster pictures that came after it, and Warner Bros. pretty much adopted its gritty look wholesale for the slew of cheap crime fills it would go on to make throughout the 1930s."Underworld" brought Ben Hecht the very first Oscar for Original Story, which at the time was the closest thing to an award for Best Original Screenplay that the Academy doled out.Grade: A

One of the great joys of prohibition-era gangster films is the colorful dialogue spat out by the likes of James Cagney and Edward G. Robinson. As that element would, obviously, be missing from a silent film, I wasn't sure how I would react to Underworld.Not to worry. This is a great film, one of the best prohibition-era gangster films I've seen, ranking slightly ahead of Little Caesar and the Public Enemy, and maybe only slightly below Scarface (1932). Tough, tense, tightly written--interestingly, Howard Hawks is credited for the scenario--and with gorgeous DARK cinematography and Josef von Sternberg's usual excellence in direction. I barely missed the lack of gangster-speak.I suppose this film was a template upon which a lot of gangster films were based. It struck me while watching it how much it had in common with the Coen brothers' Miller's Crossing (1990)--a love triangle between a mob boss, his moll, and his right hand man. And it's all about the gangsters' peculiar code of ethics.I'd rate it a perfect 10, but for a muddled and badly-handled prison break sequence, which I watched three times and still couldn't figure out. Maybe I'm just dense; maybe it was actually a genius bit of filmmaking and it just flew over my head, but for now, 9/10.