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The Crowd

The Crowd

Drama · Romance · 1928

John, an ambitious but undisciplined New York City office worker, meets and marries Mary. They start a family, struggle to cope with marital stress, financial setbacks, and tragedy, all while lost amid the anonymous, pitiless throngs of the big city.

Movie details

The Crowd

“A Motion Picture with a stirring message on Marriage! A Powerful Film, full of truths of life and love!”

1928 Drama · Romance 1h 38m

Critical arithmetic

One number, for now.

TMDB

7.6 / 10

Community rating

John, an ambitious but undisciplined New York City office worker, meets and marries Mary. They start a family, struggle to cope with marital stress, financial setbacks, and tragedy, all while lost amid the anonymous, pitiless throngs of the big city.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Crowd?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Falling in Love

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During shopping for Christmas, Frank and Molly run into each other. This fleeting short moment will start to change their lives, when they recognize each other months later in the train home and have a good time together. Although both are married and Frank has two little kids, they meet more and more often, their friendship becoming the most precious thing in their lives.

Where it lives

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Names above the title

The people responsible.

Directed by

King Vidor

Written by

King Vidor · John V.A. Weaver

Eleanor Boardman

Eleanor Boardman

Mary Sims

James Murray

James Murray

John 'Johnny' Sims

Bert Roach

Bert Roach

Bert

Estelle Clark

Estelle Clark

Jane

D

Daniel G. Tomlinson

Jim

Dell Henderson

Dell Henderson

Dick

Lucy Beaumont

Lucy Beaumont

Mary's Mother

Court is in session

Put The Crowd on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.