Accidentally came across this film on TCM as Sunday evenings were typically relegated for this film type. Against my better judgement, I decided to persevere since one cannot predict what film footage may be used from the 1920's that document the history of a world famous city. I was fascinated with the street scenes and especially the beautiful Dolores Costello. The prologue created an intrigue of mystery and history combined that hooked me into further viewing and with no misgivings! I found the treatment of the Asian community completely horrifying but know there was truth to this aspect of racism that hopefully has long passed. The secret tunnels underground, the 'trading' business, seemly characters and abusive brothers made for compelling drama.I enjoyed the love story between the Mexican girl and Irish boy. Have interacted with this ethic coupling once in my life and the match made for an eternal love affair. Enjoyed the sweet, simple yet heartfelt emotions portrayed on screen in silence, save for the perfectly sublime music score.The earthquake scene was most anticipated and worth waiting for as the special effects were profoundly realistic for this time period. I was absolutely amazed at the director's ability to shoot many difficult scenes i.e. underground chase scene, tunnel travel, exterior city shots, close ups, and more.Very pleased with this format and will give the silent treatment a thumbs up for future viewing!

In turn of the the century San Francisco the noble Vasquez family are threatened with the loss of their property by the unscrupulous Mongol, Chris Buckwell. Buckwell, a Chinatown denizen holds considerable influence and sway in Frisco and does not hesitate to acquire by dubious means a piece of the action from local area merchants and land owners. The Vasquez family who has fought and died to keep their land over generations now must pin their hopes on the beautiful daughter Dolores (Dolores Costello) of the patriarch who aligns herself with a rambunctious Irishman (Charles Mack) to combat the diabolical Buckwell who in turn has lascivious designs on Dolores.Despite being wrought with bias and ethnic stereotyping, Old San Francisco is a splendid example of visual poetry that displays the silent art form in all it's glory. Camera movement is minimal (but used brilliantly at the films climax) with nearly every image a beautiful tableaux of light and composition in group shot and close-up. The underground Chinatown that Buckwell moves between from his 112 Sierra avenue address is a dark, mysterious nether world, both exotic and threatening.Warner Oland as Buckwell is a superb villain. In addition to desiring all things Vasquez he uses his formidable connections to shake down local Chinese merchants who claim that while "he is of the blood he is not of the breed". In addition to his greed and pursuit of power he worships false idols, exploits the religious fervor of others and keeps his dwarf brother in a cage. For the most part he remains stoic, utilizing an evil sneer that understatedly sums up his consummate villainy.While director Alan Crosland (The Jazz Singer) is at best a footnote in film history he helms a work as good as any silent master. Once he gets past a boiler plate prologue his use of light and shadow, close-up and reaction shot as well as utilization of props as insignificant as a broken gate show the work of a storyteller in complete control. Combined with a beautiful musical score and title cards of polished prose Old San Francisco is a feast of esoteric ambiance and textbook silent film making.

Through 1906, the proud Vasquez family has prospered in San Francisco; it is the land the Spanish family helped conquer, and settle. The sweetest rose in the Vasquez Rancho's fair garden is dreamy Dolores Costello (as Dolores Vasquez). Senorita Costello catches the eye, and heart, of Irish gentleman Charles Emmett Mack (as Terrence O'Shaughnessy), a business acquaintance distrusted by patriarch Josef Swickard (as Don Hernandez de Vasquez). Mr. Swickard wants his grand-daughter to marry another Spaniard, preferably a rich one. Then, cruel and crafty Warner Oland (as Chris Buckwell) and his Chinese "Mongol" gang threaten Dolores' life, liberty, and pursuit of happiness.A relatively well-produced Darryl F. Zanuck silent. The time and place of "Old San Francisco" gives away the ending; of course, it's the great 1906 earthquake. Photographer Hal Mohr and director Alan Crosland collaborate for some nice images; for example, the shadowy Oland/Mack fight, and Chinatown's underground labyrinth. Supporting player Anna May Wong barely appears; but, Angelo Rossita is cute as a caged dwarf related to the villainous Mr. Oland.Unfortunately, the story wavers between ludicrous and despicable. If it weren't all so silly, it might have been even more offensive. *** Old San Francisco (6/21/27) Alan Crosland ~ Dolores Costello, Charles Emmett Mack, Warner Oland

This movie was probably a little stale when it was first released in 1927. Dolores Costello is beautiful, but doesn't seem to really be trying to act (from this effort, you can't tell whether she was a good or a bad actress). Oland is sinister but he is only going through the motions of his basic "sinister act". Charles Mack is a typical perky 1920's leading man, but appears just average and generic for the times.In contrast, the old actor who portrays Costello's grandfather does a great job of overcoming the general flatness of the production and the other stars (in addition to being a very competent actor, he is really trying to emote and you can see the good result). His strong acting contrasts with Costello's no-effort, pretty-smile stroll and makes their scenes together noticeably out of sync for me. The production values are as good as any high-quality "costume drama" of the era but somehow the writing and the general production has a staleness and lack of originality. Also, the racial slurs are uncomfortable to watch.