Crime and Punishment

Probably thanks to the Hays Code, Sonya's being a prostitute is completely dropped from this adaptation. Apart from this, most of the script is tasteful, up until a ridiculously kitschy last 15 minutes. What weighs the film down most of all is the bad cast. The worst of it is Edward Arnold who irreparably crushes the novel's most delicately written character, Porfiry Petrovich, under utterly wrongheaded delivery. Lorre, another miscast, nails a few scenes but leaves much to be desired.

Slight and narrow perspective with nothing really to speak of in any field of it; not even that good of a Lorre role.

Not exactly Dostoyevsky, but powerful and atmospheric nonetheless. Lorre, Arnold and Marsh are very good, and Sternberg, master of shadows, casts his usual spell.

actually a pretty good movie, although peter lorre's accent is atrocious. i'd probably have liked it considerably less had i read the book, but even so the story alone warrents at the very least a watchable movie.

Transpôr obras-primas da literatura para a linguagem cinematográfica sempre foi tarefa árdua, mesmo dos grandes mestres do cinema como Sternberg e aqui não é diferente. O curioso é que o maior problema foi mesmo a escalação do Peter Lorre como Raskolnikov, Lorre é demasiado creepy para encarnar a angústia do personagem russo, aqui ele ficou parecendo um psicopata - o que obviamente o personagem do Dostoiévsky não era. Aparentemente o próprio Sternberg odiava esse filme. DVD OP.

É bem tosco e exagerado em vários momentos. Mas Peter Lorre está excelente e tem diálogos excepcionais (por razões óbvias). É uma má adaptação, mas se esquecermos de onde veio é um filme bem interessante.

Sternberg doing Dostoevsky had me very excited and it does look nice and it's kinda audaciously hilarious to turn Crime and Punishment into a pithy noir flick but it's been castrated because of the times. Maybe this story ain't meant to be filmed. I did always prefer Tolstoy tho.

Doesn't really do a lot with the meat of what makes the novel great. Just takes the idea and makes a sort of straight ahead thriller. Some great camera work, obviously, and the closeups on the faces in this film are especially well done.

Peter Lorre and von Sternberg make for a terrific pair. Lorre is as sweaty and strange as ever, and von Sternberg turns him into a beacon of paranoia, beauty and indecency. It's a thrilling film, one that does a nice job of mobilizing Dostoyevsky's interminably long, thoughtful novel into a tight and fun proto-noir.

Lorre plays a more sinister Raskolnikov, one whom we never doubt could be a killer. Moved along by those drop dead gorgeous von Sternberg close-ups.

Not bad for what it is, but I couldn't buy Peter Lorre in the title role. It sounds like if I'd read the book I would like it even less.

Just the thought that Josef von Sternberg collaborated with Peter Lorre brings water to my mouth! And it's a highly competent film of the Fyodor Dostoevsky's story of murder and the psychology surrounding it. Sadly it's far from either guys best work. But lets not let that take away from the quality that is there! The suspenseful mind games between Lorre the murderer and Edward Arnold the Police Inspector. The use of light, angles and shadows. The terrific acting by it's main characters.

What a sad bunch of miscasts and the directing is straight out embarrassingly bad more often than not. This could've served as an interactive summary on the back of the book if it didn't butcher the material so much.

Not exactly Dostoevsky, but instead an exceptional proto-noir crime thriller. Lorre is at top form in a role he always wanted to play.

Film Noir / Komedi arasi bir suc ve ceza- garip bi uyarlama.

Surprisingly good; cutting an 800-page novel down to 80 minutes means getting rid of a lot of the stuff that makes it a great story, but they keep enough of the moral confusion and the sparring between Raskolnikov and the inspector (Edward Arnold) to make it feel like they actually wanted to do right by Dostoevsky.

Not the best adaptation, but where von Sternberg falls short of the book in terms of narrative, he makes up for it in visual realization, painting vibrant images with space and light.