Crime

An organised crime drama with a dramatic police raid and an ultra-modern remote surveillance storyline

It’s called Traffic in Souls and it’s an extraordinarily modern movie – a prototype for a whole new category

Still from 1913 film Traffic in Souls, showing criminals and victims gathered at the police station after the raid — Bang to rights – the pimps and crims face their accusers down at the precinct

TRAFFIC IN SOULS: WHILE NEW YORK SLEEPS, GEORGE LOANE TUCKER, UNIVERSAL, 1913

Here’s my latest Quixotic project. I’m going to watch the top-grossing film from every year since 1913, which is when they started recording that sort of thing. I say Quixotic because this is the kind of thing I do all the time and my grand plans don’t usually come to much… I’ve got a list on Letterboxd.

Anyway, the first film is essentially a pre-code exploitation flick: kidnapping, pimps and prostitutes, corruption and hypocrisy in high places. The theme capitalises on the popular dread in this period of ‘white slavery’, what we would now call human trafficking.

This film’s got everything: almost thirty years before the first recognised film noir, fifty years before all those gritty 1970s studio explorations of urban crime and degradation. There’s cross-border organised crime, the kidnapping and trafficking of vulnerable immigrants (Ellis Island is an early location), prostitution, money-laundering, high-level corruption, the hypocrisy of the urban elite, the tense meeting of old and new money (and a fancy sweetshop that turns out to be a front for the crime gang).

Advertising poster for 1913 film Traffic in Souls. Stylised, brightly coloured, comic-book illustration shows a man in a suit wielding a long whip which snakes around the frame, terrorising a group of four young women: "A powerful photo-drama of today! 6 reels, 700 scenes, 600 players. White slave trade of New York!" — 6 reels, 700 scenes, 600 players

The film has a terrific remote surveillance storyline (surely the first?) that features an audio relay between offices, a not-very-well-concealed mic, wax cylinders, a kind of recording tablet that looks a lot like an iPad. Our boyfriend-girlfriend heroes work as a team, set up their kit – laying cable, hiding bugs, swapping recording cylinders – like they’re from CSI – it’s kind of disorienting to see this ease with modern tech in a film from years before the electronic mic and the tape recorder. A wireless ship-to-shore telegram also makes an important appearance (I can imagine the producers demanding more cool tech for the younger crowd). We really are at the birth of the communication revolution – the critical evidence in the case against our villain is a wax cylinder (although there’s no evidence of a warrant so I’m worried the case might not have held up at appeal).

There’s an ‘invalid inventor’ (the heroine’s father) who is essentially a sketch for Harry Caul from The Conversation and a dramatic police raid that’s close in scale and execution to the SWAT raids of contemporary police drama. Dozens of coppers, armed with night-sticks and axes, crowd into a room at the precinct where they’re briefed by their captain about the infamy they’re about to uncover (if he actually says “be safe out there” it doesn’t make it into the intertitles). They then stream down the steps out of the station purposefully and pile into a convoy of cars. Watches are synchronised, the operation is triggered by a rooftop lookout (although he just blows his whistle, really). The raid’s denouement is dramatic (no spoilers here).

A big cast includes every possible archetype of disreputable America – the procurer, the blowsy madame, the shifty pimp, the enforcer, the hard-working immigrant, the fallen innocent, the unscrupulous middle-man, the courageous cop working on a hunch. The procurers wear nice suits and straw boaters, the enforcers trilbys or, in one case, a splendid squashed pork-pie hat. Respectable ladies and whorehouse Madames wear the same, high-Edwardian corsetry and big feather hats. Men and women alike count big wads of ill-gotten cash ostentatiously, like Scarface, and move between street corners, brothels and fancy offices with the confidence of generations of movie hoodlums.

The villain here is a wealthy man, William Trubus, a morally-bankrupt confectionery mogul whose candy business is a front for prostitution on a grand scale. If his administrative workforce is anything to go by it’s a huge enterprise. We visit a bustling office and two brothels and assume the existence of more. Nothing backstreet about this operation.

In America this is the era of the plutocrat, the robber baron and the money trust. The year of release is right at the peak of the antitrust era, the year of AT&T’s first run-in with government. In the following year the Clayton Act came into force. President Taft , who had just left office when the film came out, was an antitrust President and action against the monopolists was central to Wilson’s post-war platform too. The popular press is alive with stories about their malfeasance and their comeuppance. Trubus may be a self-made entrepreneur (there’s a storyline about the family’s introduction to society via the daughter’s marriage to “the greatest society catch of the season” – a monocled gent with no personality) but he’s uncomplicatedly wicked. Are there any sympathetic movie portrayals of businessmen from this period?

Mary and Larry, the central couple, are sweethearts – shopgirl and cop – the kind of civilian-police pairing that went on to be central to dozens of movie narratives, although this is more of a loving collaboration than the kind of messed-up marriages of more recent cop movies, where plots turn on the damage done by the pressures of being a police, by the single-minded, round-the-clock pursuit of evil, by late-night stake-outs and compulsory bourbon (see Die Hard, Heat, Mall Cop, Thunder Road, a thousand TV cop dramas). The lesson from Traffic in Souls is that the couple that polices together stays together.

There’s a very visible absence in the film, though. The figure we don’t meet is the punter. Not a single John appears. The seedy rooms and bleak hallways of the various brothels are busy with maids, pimps and prostitutes but not a customer is to be seen. Was it too much for even a pre-code feature to include the actual purchaser of sex? Would it have spoilt the neat two-sided narrative to introduce a complicating third?

Traffic in Souls is a splendid, complex, big-hearted action movie, an essentially perfect 88 minutes of entertainment from a director who, if we’re honest, didn’t really break through in his other work. When I mentioned the film on Twitter, film composer and historian Neil Brand called it “a bona fide one-off masterpiece” and used the hashtag #BetterThanDWGriffith, which is intriguing, because 1915’s biggest-grossing movie was Griffith’s The Birth of a Nation, so I’ll be watching it soon.

It’s on Amazon Prime and you’ll find it on DVD here and there.

I don’t have a good reason for this but I like the fact that there are two Irish immigrants in the cast: William H. Turner (the invalid inventor) who was from Cork and appeared in 46 motion pictures between 1913 and 1938, and Matt Moore (the cop) from Mayo, 221 pictures, between 1912 and 1958.

You may think you want the death penalty but you don’t have the stomach for it

Surveys suggest that a majority of ordinary Britons want a return to the death penalty for the most heinous crimes (this online poll on The Sun’s web site has 80% in favour). And, thanks to the government’s rules for e-petitions, our legislators may soon be obliged to debate the topic again. Some of them may even vote for it. I’m opposed to the return of the death penalty and I find the pop media’s pro-execution rhetoric to be chilling and inhuman but I’m certain that it will never happen. Britain just doesn’t have the stomach for the cascade of secondary decisions that we’d have to make in order for it to become law:

Who will do it? A court-appointed executioner? How about a group of ordinary citizens pressing buttons at home, none of them knowing whose button actually does the deed? Or the victim’s family? I’ll suggest that executioners are drawn by lottery from the list of people who’ve expressed support for the new law. That sounds logical: it surely can’t be OK to vote for the death penalty and expect someone else to despatch the condemned, can it? If there’s a chance that you’ll have to squeeze the syringe, will you still vote for it? And, once appointed, how will the executioner cope with the attention of the media? Will he or she be allowed to sell the story of the condemned’s last moments? Or will the law mandate anonymity? And what will happen the first time the family of an executed criminal brings a civil case against the executioner or the prison or everyone involved in the deed?

How will we do it? A lethal injection? Electrocution? Hanging? None has a great track record. None is humane. How will we decide? It’ll take a decade. High-tech solutions will be proposed (shot into the vacuum of space? Instantaneous robotic dismemberment? Nanoexecutioners?). The debate will rage. Campaigners on both sides will mount judicial challenges. It’ll be chaos and, as soon as the first horrendous screw-up happens, it’ll all start again.

Will we do it publicly and who will observe? I’ll argue that judicial killings should be streamed online from multiple angles (in 3D) and that a panel of ordinary citizens should be obliged to observe from close quarters – selected by the jury service process, perhaps.

And will a doctor be present? Someone will need to ensure good practice and certify death. Does the Hippocratic oath permit that? Will the BMA? And if they don’t, will rogue doctors show up to do the honours or will we have to create a new class of state-appointed ‘execution doctors’?

What will we do with the body? Will we consign the dead to a secure prison graveyard or permit shrines to arise in public cemeteries? How about mandatory cremation and scattering? Will we forbid elaborate funerals and celebrations of the lives of the wicked deceased?

What will we do the first time an innocent person is executed? Will the new law have provision for automatic compensation? Will executions cease while standards of evidence are examined and investigations reviewed? Could the death penalty actually survive a mistake? Or would we be back at square one?

And what about death row? Will there be a single, national facility (designed by a rockstar architect, perhaps, with an atrium) where the condemned work through their decades of appeals? Or will each prison keep a mini-death row of its own? Will the inhabitants be allowed access to the media, web sites, Twitter accounts? Will there be a reality TV show?

There are other questions: will we execute young people or people with learning disabilities? Will we execute mothers of young children? Will we execute foreigners? Will the new law require derogation from international human rights law? Will Britain become a pariah once it rejoins the club that includes all the most hideous regimes on earth (and the United States)? Will the first executions for nearly fifty years bring about civil unrest? Can a civilised state tolerate the introduction of state-sanctioned killing? Will it dehumanise us and our children? Will MPs even contemplate the prospect of another nasty and divisive debate about the grimmest of all subjects? Who will draft the bill, draw up the regulations, implement the policy? Will civil servants and prison officers who object be forced to implement the law? Will employment tribunals consider the dismissals of conscientious objectors? And so on. And so on. Like I said, we don’t have the stomach for it.

London’s stabbing epidemic

The stabbing epidemic in London is puzzling. Not the grief and suffering of victims and families: that’s not puzzling (I get that part). It’s the behaviour of the perpetrators. It’s as if they’re all stupid. In fact it’s a stupidity epidemic. Correct me here if I’ve got this wrong, but as far as I know every single stabbing this year has been quickly followed by an arrest or arrests. There have already been convictions and there will surely be more—and there was no need to call in CSI here. In fact, typically, the arrest seems to involve no detective work at—just a cursory look round the corner for the wide-eyed teen with the blood-stained blade.

I really don’t want to be flippant about this. It’s hardly funny. But these kids seem to be displaying the most basic self-destructive behaviour. In the moment he draws his kitchen knife or his switchblade, the killer is throwing away the life of his victim and, along with it, his own. And don’t argue with me on this, I’ll allow no contradiction here: no murderer, no matter how lenient his sentence, is returning to normal life any time soon: that’s a life ruined, a life flushed away, whatever the actual penalty.

So we’re dealing with an outbreak of ghastly, aimless nihilism. Kids stabbing kids, kids trashing lives, kids robbing families of loved-ones. And, while they’re at it, consigning themselves to punishment, marginalisation, poverty and self-hate—to the animal existence of the outcast—for decades hence. It’s a small social disaster and we seem to have no tools to deal with it. We’re lost. The only guidance on offer is coming from talk radio and the tabloids and it has nothing to commend it: it’s just more of the same.

If kids are ready to slash and stab and destroy lives on a whim, in return for precisely nothing (no pecuniary gain, no honour, no respect—at least nothing that lasts longer than the terror of the moment) how is a stiffer sentence going to influence them? Does anyone seriously think that even a life-means-life sentence in a labour camp could alter behaviour in those fevered seconds? Does anyone have the faintest clue what motivates a child (or a near child) to the hormonal frenzy of a street corner stabbing? No. I thought not.

8000 new places!

Not nursery places or training places or rehab places or special needs places or halfway house places or hostel places or cheap places for people to live. No. Just prison places. It’s not just me that finds that depressing is it?

Real live card fraud

So this is how those card skimming ATM false fronts work: the device is very simple, made from moulded polystyrene (or similar), engineered to fit one ATM model and spray-painted in a colour close enough to the real thing with all of the appropriate card logos glued on.

The business end of the device (behind the thin polystyrene front) seems to include a card reader for recording stripes (and, presumably storing them in a simple, time-stamped format) but no way of recording PINs. Of course, the scary thing about that last bit of information is that it requires the skimmer to hang around and watch you type in your PIN and then record it (write it down, I suppose), with an approximate time stamp, so that it can be matched up with its stripe later on.

The thing obviously doesn’t have a radio so it looks like the only way to harvest its store of stripes is to recover the false front itself, which, given what happened at Tesco in Radlett yesterday, implies a certain redundancy – they must have a stack of these things in a lock-up somewhere.