Sins of Man (1936)

79 or 85 mins | Melodrama | 19 June 1936

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HISTORY

The working titles of this film were Job and Turmoil . At the conclusion, a note reads "This picture has introduced to you a new Twentieth Century-Fox screen personality Mr. Don Ameche." In reviews, Ameche was described as the "star of the 'First Nighter' radio programs" and "a semi-obscure Chicago radio actor." According to HR , Zanuck bought the novel for Twentieth Century-Fox for $10,000 from Gregory Ratoff, who had "treasured" it for the three years since its publication and had planned to produce it the previous winter in England. In a separate deal, according to HR , Ratoff was hired in an advisory capacity during preparation of the film; he subsequently became co-director. According to NYT , it took Jean Hersholt nearly three hours every day to put on his makeup. According to Twentieth Century-Fox publicity at the AMPAS library, stunt flyer Paul Mantz built a 1912-vintage "pusher" plane of silk and bamboo to fly and crash for the ... More Less

The working titles of this film were Job and Turmoil . At the conclusion, a note reads "This picture has introduced to you a new Twentieth Century-Fox screen personality Mr. Don Ameche." In reviews, Ameche was described as the "star of the 'First Nighter' radio programs" and "a semi-obscure Chicago radio actor." According to HR , Zanuck bought the novel for Twentieth Century-Fox for $10,000 from Gregory Ratoff, who had "treasured" it for the three years since its publication and had planned to produce it the previous winter in England. In a separate deal, according to HR , Ratoff was hired in an advisory capacity during preparation of the film; he subsequently became co-director. According to NYT , it took Jean Hersholt nearly three hours every day to put on his makeup. According to Twentieth Century-Fox publicity at the AMPAS library, stunt flyer Paul Mantz built a 1912-vintage "pusher" plane of silk and bamboo to fly and crash for the film. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
16 May 1936.
---
Daily Variety
5 May 36
p. 3.
Film Daily
12 May 36
p. 12.
Hollywood Reporter
18 Sep 1935.
---
Hollywood Reporter
6 Feb 36
p. 2.
Hollywood Reporter
9 Mar 36
p. 31.
Hollywood Reporter
23 Mar 36
p. 11.
Hollywood Reporter
5 May 36
p. 3.
Hollywood Reporter
17 Oct 36
sect. II, p. 69.
Motion Picture Daily
6 May 36
p. 14.
Motion Picture Herald
18 Apr 36
p. 45.
Motion Picture Herald
16 May 36
p. 29.
New York Times
3 May 1936.
---
New York Times
19 Jun 36
p. 17.
Variety
24 Jun 36
p. 29.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXT
Darryl F. Zanuck in charge of production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
Assoc prod
WRITERS
Contr to dial
Contr to scr const
PHOTOGRAPHY
Photog
ART DIRECTORS
Art dir
Settings
FILM EDITORS
Film ed
Ed asst
COSTUMES
Cost
MUSIC
Mus dir
PRODUCTION MISC
Publicity dir
STAND INS
Stunt flyer
SOURCES
LITERARY
Based on the novel Hiob, roman eines ein fachen mannes by Joseph Roth (Berlin, 1930), translated by Dorothy Thompson as Job (New York, 1931).
DETAILS
Alternate Titles:
Turmoil
Job
Release Date:
19 June 1936
Premiere Information:
New York opening: 18 June 1936
Production Date:
13210
Copyright Claimant:
Twentieth Century-Fox Film Corp.
Copyright Date:
19 June 1936
Copyright Number:
LP6491
Physical Properties:
Sound
Western Electric Noiseless Recording
Black and White
Duration(in mins):
79 or 85
Length(in feet):
7,100
Length(in reels):
9
Country:
United States
PCA No:
2153
Passed by NBR:
No
SYNOPSIS

Among the Alps on the Austrian-Italian border in Tyrol in 1900, Christopher Freyman rings the church bells of Zenbruck. His wife dies after giving birth to a quiet baby boy. After a year, an Austrian Army doctor discovers that the boy, named Gabriel, has been born deaf and will never learn to speak. Anton Engel, a neighbor, suggests that Chris take Gabriel to a Catholic monastery across the border, which is known for its miracles. Although Chris goes reluctantly, being a Protestant, Father Prior tells him that Gabriel will be healed. However, ten years later, Gabriel is still deaf, although much beloved by his father and elder brother, Karl. Meanwhile, Chris and Karl quarrel bitterly over the lad's determination to be a scientist, as Chris wants Karl to follow him in his church activities. Weary of Chris's verbal abuse and provincialism, Karl abruptly leaves home. Chris decides that Karl is dead to him and burns the unopened letters from his son, who is now in America. Later, Chris notices that Gabriel can hear the high-pitched sound of a spoon hitting a glass. The local doctor says that specialists in New York and Berlin could help Gabriel, but this is too far for Chris to travel. When Chris overhears Anton and his wife Anna read a letter from Karl, in which he explains that he is working as an aeronautical engineer and asks their help in conveying to his father that he loves him and that he goes to church every week, Chris begins to communicate with his son. Sometime later, Chris announces to the townsfolk that he is leaving ... +


Among the Alps on the Austrian-Italian border in Tyrol in 1900, Christopher Freyman rings the church bells of Zenbruck. His wife dies after giving birth to a quiet baby boy. After a year, an Austrian Army doctor discovers that the boy, named Gabriel, has been born deaf and will never learn to speak. Anton Engel, a neighbor, suggests that Chris take Gabriel to a Catholic monastery across the border, which is known for its miracles. Although Chris goes reluctantly, being a Protestant, Father Prior tells him that Gabriel will be healed. However, ten years later, Gabriel is still deaf, although much beloved by his father and elder brother, Karl. Meanwhile, Chris and Karl quarrel bitterly over the lad's determination to be a scientist, as Chris wants Karl to follow him in his church activities. Weary of Chris's verbal abuse and provincialism, Karl abruptly leaves home. Chris decides that Karl is dead to him and burns the unopened letters from his son, who is now in America. Later, Chris notices that Gabriel can hear the high-pitched sound of a spoon hitting a glass. The local doctor says that specialists in New York and Berlin could help Gabriel, but this is too far for Chris to travel. When Chris overhears Anton and his wife Anna read a letter from Karl, in which he explains that he is working as an aeronautical engineer and asks their help in conveying to his father that he loves him and that he goes to church every week, Chris begins to communicate with his son. Sometime later, Chris announces to the townsfolk that he is leaving for New York, thanks to a ticket Karl has sent, to arrange for Gabriel to follow for treatment. Father and son are joyfully reunited, but the next day, Karl is killed on a test flight of a new airplane. Within days, World War I breaks out, and Chris is unable to return to Zenbruck, which he learns has been destroyed by bombs. Gabriel is listed as dead. Shocked, Chris walks aimlessly until he enters a church, where he hears a sermon on Job's faith in God despite tribulations. Years later, Chris works as a menial. He hears a record of a symphony of bells by Mario Singarelli and recognizes a variation on the tune he used to play on the bells at his old church. Despite his advanced age, Chris earns money for a ticket to a Singarelli concert by wearing heavy sandwich boards as advertisements. He tries unsuccessfully to see Singarelli backstage and later at the Savoy, until Singarelli learns that a man from Zenbruck has tried to see him and goes to Chris. Singarelli explains that he was one of the few survivors of the town and that he was adopted by an Italian family. He tells Chris that he never knew his real name because he was born deaf and that the bombing restored his hearing. Realizing that Singarelli, despite his Italian accent, is actually Gabriel, Chris is reunited with his son. At the next concert, Chris plays the bells in the symphony. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.