Josef von Sternberg

The Docks of New York

The Docks of New York

Roughneck stoker Bill Roberts (George Bancroft) gets into all sorts of trouble during a brief shore leave when he falls hard for Mae (Betty Compson), a wise and weary dance-hall girl, in Josef von Sternberg’s evocative portrait of lower-class waterfront folk. Fog-enshrouded cinematography by Harold Rosson (The Wizard of Oz), expressionist set design by Hans Dreier (Sunset Boulevard), and sensual performances by Bancroft and Compson make this one of the legendary director’s finest works, and one of the most exquisitely crafted films of its era.

Film Info

Special Features

  • New, restored high-definition digital transfer
  • Two scores, one by Robert Israel and another by Donald Sosin and Joanna Seaton
  • Swedish television interview from 1968 with director Josef von Sternberg

Available In

Collector's Set

3 Silent Classics by Josef von Sternberg

3 Silent Classics by Josef von Sternberg

DVD Box Set

3 Discs

Ships Jul 13, 2018

$63.96

Out Of Print

Special Features

  • New, restored high-definition digital transfer
  • Two scores, one by Robert Israel and another by Donald Sosin and Joanna Seaton
  • Swedish television interview from 1968 with director Josef von Sternberg
The Docks of New York
Cast
George Bancroft
The Stoker
Clyde Cook
His Pal
Betty Compson
A Girl
Mitchell Lewis
The Third Engineer
Olga Baclanova
His Wife
Gustav von Seyffertitz
Hymn-book Harry
Credits
Director
Josef von Sternberg
Photographed by
Harold Rosson
Story and screenplay
Jules Furthman
Suggested by
John Monk Saunders' "The Dock Walloper"
Titles by
Julian Johnson
Editing
Helen Lewis

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Explore

Hans Dreier

Art Director

One of the most prolific film artists in Hollywood history, the German-born art director Hans Dreier worked on more than five hundred films from 1919 to 1951, amassing twenty-three Academy Award nominations and three Oscars. A student of engineering and architecture, Dreier began his career as an architect for the German government before being hired to design sets for UFA, the home of the German film industry, during the silent era. Like many of his moviemaking countrymen, Dreier eventually moved to Los Angeles, bringing with him all the expressionist tools of his trade—dramatically exaggerated spaces and chiaroscuro—and working closely with cinematographers like Victor Milner and such directors as Josef von Sternberg and Ernst Lubitsch to create vivid visual experiences. Dreier’s astonishingly vast and varied body of work extends from the intense, romantic shadows of early von Sternberg to the psychological grit of Anthony Mann’s American West, with many lighthearted pit stops in between, from Lubitsch's Ruritanian comic-musical landscapes to Preston Sturges’ just-off-center, whacked-out Americana.