Five Star Final

Five Star Final from 1931 is an American drama film directed by Mervyn LeRoy, notable particularly for its stirring and compelling portrayal of the corrosive effects of sensationalistic journalism. The gripping narrative stands as a significant critique of yellow journalism, a brand of sensationalistic reporting that was prevalent in the early 20th century. The film stars the legendary Edward G. Robinson, demonstrating his skills beyond his usual tough-guy image, alongside the impressive performances of Marian Marsh, H.B. Warner and others.

Edward G. Robinson's character, Joseph Randall, is the managing editor of a New York tabloid. Randall is a torn character, an experienced newsman aware of the moral compromises being made, but is forced to drive circulation numbers up by his corporate bosses. He delivers a compelling performance as a man struggling with his conscience, displaying impressive range, and revealing a more sympathetic side to contrast with his roles in classic gangster films.

Robinson's portrayal of the complexities of Randall is set against a plotline that reflects on the media's manipulation of truth and the personal lives of individuals. As the narrative plays out, the audience becomes privy to the extent the tabloid is willing to go to in order to craft a salacious story, even if it involves resurrecting a twenty-year-old murder case.

Marian Marsh, known for her work in Svengali and Crime and Punishment, leaves a strong impact as Jenny Townsend. She is the innocent young woman whose family becomes the major victim of the revived story. Jenny is the daughter of the supposed murderess Schwab, played by Frances Starr, around whose old story the entire narrative unfolds. Marsh brings a palpable sense of innocence and vulnerability to her role, making the consequences of the paper's actions all the more heartbreaking as her life is upturned because of the relentless, sensationalized coverage.

H.B. Warner complements the main cast with a solid performance as Michael Townsend, Jenny's devoted and righteous father. He delivers a convincingly emotive act when confronting the newspaper's malicious intentions.

Five Star Final is a commentary on the ethics of journalism, a timely theme that holds relevance even today, almost a century later. The narrative unfolds at a well-measured pace, allowing the audience to become invested in the lives of the characters, as well as the harsh realities they face. This engaging story line constitutes cinematic exploration into the darker facets of sensationalism and its devastating aftermath.

Mervyn LeRoy's direction capitalizes on the script's critical angle. He effectively uses the characters and the newspaper environment to develop a gloomy critique yet engages the audience with its melodramatic elements. His directorial style brings out the drama without losing the narrative's moral gravity, thereby enhancing the film's overall impact.

While the setting takes place within the confines of a newspaper office and encompasses New York's bustling city life, the cinematography and lighting effectively function to amplify the oppressive and intrusive nature of tabloid journalism. The performances, script, and cinematography all work together to deliver an impactful narrative that effectively functions as an indictment of unethical media practices.

In conclusion, Five Star Final is a stirring drama filled with raw emotion and pertinent themes. The performances of Edward G. Robinson, Marian Marsh, and H.B. Warner are undeniably powerful, managing to hold the film's ethical core intact. The film's critique of sensationalistic journalism and the tragic outcomes of such intrusive reportage make it a timeless movie that explores the boundaries of sensationalized truth and ethical journalism. With its dramatic storyline and critical societal commentary, Five Star Final remains a classic in the realm of early Hollywood.