Chaney and Browning's first collaboration is a more interesting film in the final analysis than what it at first appears to be. Basically on a superficial level what we have here is the basic crime and redemption story. Mary Stevens (Priscilla Dean) is a young thief who hangs out with various questionable sorts, who are led by "Stoop" Connors (Lon Chaney). She steals a necklace from a wealthy lady just before running into her fiancé Kent Mortimer (Wellington Playter) who she promptly falls in love with. Chaney and his fellow criminals (including a bizarre pale-faced fence) try to intimidate Mary into turning over the jewels even though she had decided to turn straight. She does eventually sell some of them in order to help Mortimer pay his rent -- he was wealthy but has now fallen on hard times. One key here is that Mortimer's girlfriend, the one who had the gems stolen from her (Gertrude Astor... perhaps a real socialite to judge by the name?), turned him down for marriage because he wasn't rich enough. So in the end after defeating Connors and his thugs, (SPOILERS) and after a full hour of hearing Mortimer moralize about all kinds of subjects, the two of them use the money from the necklace to run off to the country and start a pig farm. "At least we didn't throw our pearls before swine" they laugh as the credits roll. I don't know if this made much sense in terms of the overall narrative (why was Mortimer so adamant about not wanting to be with a thief, only to change his mind completely in the end?), it sure was more interesting than the ending you would expect.
Chaney's performance is solid but not a stand-out for him. It's basically the same as his work in Browning's subsequent "Outside the Law" (natch for Dean, who at least had honed her saucy demeanor more by the latter effort) except that here he plays only one role. Playter has too much gravity (both literally and spiritually) on screen to be a fun or amusing lead character. Although at the end he does gain some depth I suppose. There are many standouts among the supporting cast, particularly Kalla Pasha who plays the bartender and shows off his patented wrestling moves -- latter day Tor Johnson and Hulk Hogan fans will be pleased. Browning's camera work is characteristically plain, though there is one interesting shot of Mary from the head up that pans down her face through a veil. He brings more realism to the proceedings than is normal with what looks like real night-time photography and the collection of real-life characters (like Pasha) in the supporting cast.
A film that will be of interest to anyone who likes Chaney and Browning or who is interested in the early crime pictures of the 1910s, though "Outside the Law" is a bit more substantial I believe.
Chaney's performance is solid but not a stand-out for him. It's basically the same as his work in Browning's subsequent "Outside the Law" (natch for Dean, who at least had honed her saucy demeanor more by the latter effort) except that here he plays only one role. Playter has too much gravity (both literally and spiritually) on screen to be a fun or amusing lead character. Although at the end he does gain some depth I suppose. There are many standouts among the supporting cast, particularly Kalla Pasha who plays the bartender and shows off his patented wrestling moves -- latter day Tor Johnson and Hulk Hogan fans will be pleased. Browning's camera work is characteristically plain, though there is one interesting shot of Mary from the head up that pans down her face through a veil. He brings more realism to the proceedings than is normal with what looks like real night-time photography and the collection of real-life characters (like Pasha) in the supporting cast.
A film that will be of interest to anyone who likes Chaney and Browning or who is interested in the early crime pictures of the 1910s, though "Outside the Law" is a bit more substantial I believe.