The Docks Of New York full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

An American tramp steamer docks in New York harbor sometime in the early years of the 20th Century before prohibition. In the bowels of the ship, coal stokers are shutting down the furnaces and anticipating a night of shore leave. The bullying third engineer, Andy (Mitchell Lewis) warns the exhausted crew that they will be punished if they return drunk when the vessel sails the following morning. The stokers gather to leer at crude pornographic graffiti scrawled on the engine room wall before debarking to carouse at the local gin-mills.

On shore, Andy enters "The Sandbar", dance-hall saloon, craving a beer and female companionship. He has unexpected encounter with his estranged wife, Lou (Olga Bachonova). During his absence of three years, she has become a habitué of the saloon, where she freely enjoys male companionship. The “couple” joins one another for a drink: no love is lost between them.

The stoker Bill Roberts - a swaggering brawler when on leave - rescues a drowning prostitute named Mae (Betty Compson) who has leapt off the dock to end her sordid life. Bill, ignoring the admonishment of his sidekick “Sugar” Steve (Clyde Cook), impassively carries the semi-conscious woman to a room above "The Sandbar", indifferent to the protests from the proprietor's wife, Mrs. Crimp (May Foster). Lou intercedes to provide first-aid and revives Mae, a fallen angel like herself. Bill's growing awareness of Mae's physical beauty assumes a proprietary quality. He fetches her a beverage from the bar and presents her with a pretty dress he steals from a pawn shop next door. Bill exhorts her to join him for the evening, and Mae, distraught and vulnerable, accepts his invitation. They meet downstairs in the raucous tavern.

Andy attempts to pull rank and cut in on the couple, but the powerful stoker drives him off with blows. Lou, observing her husband's boorishness, looks on with contempt. Mae and Bill mutually confess their sexual histories to one another, she with regret, he with masculine pride. So as to win Mae's favors for the night, Bill consents to marry her on the spot and Mae wistfully obliges.

The local missionary “Hymn Book” Harry (Gustav von Seyffertitz) is summoned and sternly delivers the sacrament. Lou provides Mae with a ring: her own, now superfluous wedding ring. The couple takes their vows, each shamefacedly, while the formerly boisterous patrons observe with mock solemnity, then erupt in cheers when the newlyweds kiss.

The following morning, Bill slips quietly from the flophouse honeymoon suite, without a word to Mae. Andy, observing that the stoker is abandoning his “wife”, goes to Mae's room, where she has just discovered Bill's desertion. Andy attempts to force himself on her, but Lou arrives and guns him down. The police suspect Mae of the murder, but Lou confesses and is arrested.

Under the blandishments of “Sugar” Steve, Bill takes leave of Mae - the influence of the possessive "Sugar" Steve. Driven to distraction by his perfidy, she angrily drives him from her room.

Aboard the steamer, Bill has an epiphany. He bolts from the subterranean furnaces to the sunny deck, leaps overboard and swims to shore. There he inquires as to Mae's whereabouts and discovers that she is in custody at Night Court, charged with stealing the clothing he had bestowed on her. Moments after the judge sentences her to jail, Bill presents himself and confesses to the crime, exonerating Mae. He pledges to reunite with Mae after he serves his 60-day sentence, and she agrees to wait for him.

• George Bancroft – Bill Roberts
• Betty Compson – Mae
• Olga Baclanova – Lou (Andy's wife)
• Clyde Cook – "Sugar" Steve (Bill's buddy)
• Mitchell Lewis – Andy (the third engineer)
• Gustav von Seyffertitz – "Hymn Book" Harry

Uncredited

• Richard Alexander – Lou's Sweetheart
• May Foster – Mrs. Crimp
• George Irving – Night Court Judge
• John Kelly – Sailor Barfly
• Charles McMurphy – Policeman
• Guy Oliver – The Crimp
• Bob Reeves – Court Bailiff
• Lillian Worth – Steve's Girl

On May 5, 1928 Paramount Pictures announced their next picture would be The Docks of New York; with Josef von Sternberg enlisted to direct and George Bancroft to star with an adapted script of Monk Saunders's The Dock Walloper provided by Jules Furthman. Before production von Sternberg and Furthman went to New York to conduct research for the film.

A highly collaborative work, The Docks of New York benefited from the screenwriting of Jules Furthman, such that “the director’s vision...cannot be easily distinguished from Furthman’s scenarios." Scripting for Sternberg's most celebrated movies, among them Morocco (1930), Shanghai Express (1932) and Blonde Venus (1932) was provided by Furthmann. Sternberg also benefited from the cinematography of Harold Rosson, who was inspired by the director's “fresh, innovative ideas.” Rosson would be contracted by MGM studios and win the Oscar for Cinematography for The Wizard of Oz. Art director Hans Dreier, formerly of Germany's UFA, created the evocative set for the Sandbar saloon with its subjective demimonde atmosphere of Sternberg's New York waterfront. Dreier would subsequently oversee studio production design for decades as head of Paramount's art department.

Production began on the film on June 25, with principal photography beginning on July 10, 1928. The production was shot entirely at Paramount Studios where they created sets to resemble the New York City waterfront.

The film opened in New York City on September 16, 1928, at the Paramount Theatre and was released on September 29 throughout other parts of the country. The film earned $88,000 thousand in its first week of release at the Paramount Theatre, breaking a record set previously by von Sternberg's 1927 film Underworld.

Variety called the film “a corking program picture” and says the film misses greatness by a “whisker”. They also praised the performance of Bancroft, the direction of von Sternberg, the cinematography of Harold Rosson, and the intertitles from Julian Johnson.

Film critic John Baxter observed that "The Docks of New York...is today the most popular of Sternberg's silent films, although it did poorly at the box-office on its release."

The Docks of New York was one of the last films of the silent era. Previewed by the New York City press during the same week that saw the fanfare opening of Al Jolson’s The Singing Fool, Sternberg’s film was “completely passed over in the clamor” that accompanied the advent of talking pictures. Film critic Andrew Sarris lamented that Sternberg's film “quickly vanished in undeserved oblivion...confirm Chaplin’s observation that the silent movies learned their craft just about the time they went out of business.”

Museum of Modern Art film curator Charles Silver ranked The Docks of New York as “probably the last genuinely great silent film made in Hollywood Chaplin’s masterpieces of the 1930s.” With respect to Sternberg's oeuvre, The Docks of New York was “the first in which his prodigious pictorial genius was fully realized.” A “deceptively simple” and ‘emotionally affecting film”, Sternberg combined spectacle and emotion, where "his characters gain in clarity what they lose in complexity."

The film currently holds a score of 100% of the review site Rotten Tomatoes. The Docks of New York was added to the Criterion Collection in 2010 as part of the “Three Silent Classics by Josef von Sternberg” series.

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