The movie starts out with a ton of long shots and very dim lighting which made the stokers faces difficult to see when they were on the boat. The majority of the film takes place within a lively bar near the waterfront -- tracking shots were used to establish these scenes. It was difficult for me to follow what was going on. This may be a personal fault as I am not accustomed to silent films. What I did get a handle on was that the men were unable to keep their hands to themselves; I understand that it was a different time it was just highly uncomfortable to repeatedly see that type of interaction. Overall, it was an enjoyable movie with some dramatic scenes. They could have been shown a little better.

A blue-collar worker on New York's depressed waterfront finds his life changed after he saves a woman attempting suicide.In 1999, the film was deemed "culturally historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.We have to thank Criterion and everyone involved for this one. I have been watching so many 1920s films lately and see them in such shambles, both the picture and sound atrocious. But "The Docks" looks crisp and clean, and you can clearly read signs in the background.I was a bit surprised that a tattoo was visible. Not just because tattoos were likely rare in those days, but because it depicted full female nudity. Most be a pre-code thing, because even as a drawing I suspect a censor would have had an issue with that.This would make a great double feature with "On the Waterfront", the other big film about dock workers. The focus may be different, but they both capture a certain world that we never see anywhere else.

Bill Roberts is a stoker on a ship. While in port for one night, he finds prostitute Mae attempting to drown herself. He rescues her and steal some clothes for her. They spend the night at the bar. He tries to convince her that life is worth living and marries her. She abandons the life of prostitution. She hates that he's going back to his ship and struggles against her suicidal thoughts. He can't take his job and jumps ship. He returns to find Mae has been arrested. She gets sentenced 30 days for the stolen clothes. He arrives in time to take the blame. He gets 60 days and she vows to wait for him. It's a tough romance of two people with very little who find salvation with each other. It's simple but touching. The style isn't too melodramatic and the acting is surprisingly natural. I wouldn't call it gritty but it has a sense of the downtrodden.

It's the fine directing and good performances that really make the film worth watching. The story is interesting enough, covering one night ashore in the life of ship stoker, Bill Roberts (George Bancroft), and the mysterious beauty he meets (Betty Compson). Bancroft is all masculinity as Roberts, a man who won't let anything or anyone stand in the way of what he wants. He meets his match, though, in Compson, who is all sex appeal as Mea, the seductive but troubled blonde with a dark past. These two are backed up with good supporting performances from the rest of the cast, the only exception being Olga Baclanova, who hams it up more than necessary. Director Josef Von Sternberg handles the ensemble cast well, giving each character importance. He also does a good job of portraying and letting us experience the seedy life they live. Nonetheless, some of the main characters aren't fleshed out enough for us to understand their actions. The film also tries too hard at times to be shocking and edgy. All in all, it's not the best film ever, but it has enough good qualities to be enjoyable.