Cramming a mammoth book, like Fyodor Dostoevsky's Crime and Punishment, into an hour and a half is not an easy job, but while it does fall short of being a great film Josef von Sternberg's 1935 version does ably with the adapting and makes for good entertainment in its own right.Understandably, it is very condensed with things omitted or introduced but quickly skimmed over, but the basic story, the basic themes and the psychological tension are very much intact and effectively so. The film's low budget does show at times, in some less than imaginative sets (time and place is not always very clear) and some editing that could have done with a little more tightness, and while omissions were inevitable the film could easily have been even better with a longer length to give the story more depth than there was (not that there wasn't already, just that for a story of this amount of complexity there could have been more). Marian Marsh's prostitute-with-a-heart-of-gold character did feel underwritten, there is much more to the character in the book (here, like the similarly blandly played Grilov- who is affected even worse-, the character is reduced to a stereotype), and her performance did come over as bland despite her radiant looks. The romantic subplot very wisely didn't overshadow the film, but the scenes it features in don't quite have the heart and warmth they could have done, and the final third is a touch too drawn out for that reason.However, despite the low-budget and that it's not a beautiful-looking film, Crime and Punishment has many parts where it still looks good. The lighting is appropriately shadowy, adding much to the atmosphere and psychological tension of the film, and the semi-Expressionist cinematography is wonderfully dark and striking. Von Sternberg directs with cracking efficiency and knack for suspense. Crime and Punishment is hauntingly scored and the script keeps to the tone and substance of Dostoevsky's writing style, the interplay between Raskolnikov and Porfiry is nail-biting in its tension and entertainment value. The story still is incredibly compelling and tautly paced and structured, even with the condensation this is classic Dostoevsky and his style still shines.Peter Lorre could be as over-theatrical in places, but actually it is more subtle than some of his other work. Raskolnikov's menacing characteristics are really quite haunting, and his anguish is even more convincing and very powerfully and movingly portrayed. Edward Arnold is similarly perfectly cast, he is an absolute joy to watch and gets even more enjoyable and intimidating as Raskolnikov feels more guilt and paranoia after being laid-back initially. Of the solid supporting cast, Mrs. Patrick Campbell stands out, in a formidably wicked performance as a loathsome character that you feel absolutely no sympathy or loss towards her when she's killed off.All in all, an entertaining and atmospherically effective film but could have been greater. 7/10 Bethany Cox

I read the book so long ago that I'd forgotten many details, which was fine - I watched it as a rainy afternoon film presented by Ted Turner, and it is indeed a Turner Classic Movie. Slammed by many, it is in fact very well written, extremely well acted, and a revelation of Peter Lorre's range. He carries the film brilliantly. It's essentially a long dialog between Raskolnikov, a brilliant, impoverished writer on crime, and Inspector Porphyry, nicely interrupted by Raskolnikov's thoughts on crime, interludes with his family, and his love-life. Made on a low budget, it proves yet again that money isn't everything. Intense, excellent acting, direction, editing and camera work do the job, as with so many low budget European films. It's about people and ideas, not special effects and stardom. What you get is a minor classic with no empty spaces and nothing extra. The narrative drive is cumulative and very human. Deprived of Dietrich, von Sternberg has no problem, and gets the best out of Edward Arnold and Marian Marsh (and everyone else) as well as Lorre. No weak spots, all class. It's also the perfect demonstration of how to find an excellent film in a great novel: by not trying to include everything, but going to the heart of the matter.

This very compelling film nevertheless leaves the impression it's "Crime and Punishment for Dummies." Peter Lorre and crew definitely keep your attention. Even my 8-year-old son wanted to see what would happen. Yet you feel you're viewing a precis.The stage actress who played the truly contemptible murder victim was a marvel to behold. And I savored every twist and turn in the cat-and-mouse game between Peter Lorre and the Tim Russert look-a-like police inspector. Less satisfying were the stereotypical stuffed shirt who wanted to marry Lorre's sister and the (albeit adorable) heart-of-gold prostitute.The police inspector makes the interesting observation in this film that sending an innocent man to Siberia amounts to a worse killing than fatally beating a loathsome pawnbroker. Much is made of the contention that one's conscience can be the worst prison. Except for psychopaths, I guess.This movie's a little superficial but definitely worth seeing.

Crime and Punishment (1935) *** (out of 4)Dostoyevsky's classic novel turned into a classic film by the legendary von Sternberg. In the film Peter Lorre plays a brilliant but poverty stricken criminalologist who resorts to murder when his mom and sister are threatened with being homeless. The crime seems to go off without a hitch until his conscience begins to haunt him and his fear of a detective (Edward Arnold) starts to cause more panic. This is an extremely impressive version of the novel and also features a terrific performance by Lorre but the real beauty here is the vision by von Sternberg. His stamp is all over this film and it's easy to see early on with the beautiful lighting, which creates some wonderful atmosphere and real tension. The way the cinematography picks up each and every shadow just makes the tension in the story build and build and this is especially true right after the murder when Lorre panics and tries to get away without being seen. This entire segments contains some great suspense and the director gets most of the credit. I found Lorre's performance to be one of the greatest of his career because he's actually got quite a bit too do here. Not only must he play a genius but he also must show fear, panic and even a comic tone. When Lorre's character loses his fear it turns into some comic touches and he delivers on all the notes. Arnold turns in another strong performance and his laid back approach is perfect opposite Lorre's breakdown. The one weak spot in the film for me is the final act, which seems to be drawn out too long due to Lorre's relationship with a poor woman (Marian Marsh). Mrs. Patrick Campbell is downright wicked in her role of the murdered pawnbroker. With a little bit of editing this movie could have been a real masterpiece of the genre but as it stands, this is a perfectly entertaining "B" movie that has plenty going for it.