Some silent films remain among the very best pictures that have ever been made. Some others are enjoyable but perhaps best described as "simpler entertainment for a simpler time." Somewhere between those two points on a spectrum are titles that are undeniably less sophisticated and more straightforward than pictures that followed in subsequent years, but which are nonetheless characterized by wit, charm, and plentiful hard work and admirable craft to well deserve remembrance. 1927's 'No man's law' quite fits within the latter category: it may not be an exemplar of the medium, but it's suitably well done and entertaining on its own merits, and a fine watch for something so quick.
As one rather expects from westerns especially, the filming locations are gorgeous, and all the labor poured into realizing the setting produced fantastic results. The costumes and sets bring a distant time and place to vivid life, and all the stunts and effects that are employed look terrific. In this case that includes fancy footwork from early equine star Rex the Wonder Horse, whose swell training under Jack Lindell made him an excellent addition to no few flicks in the 20s and 30s. (If anything, I rather wish that Rex had more of a presence here, for his is a relatively small supporting part.) Whether it's a question of an issue with surviving prints or the work of editor Richard Currier in the first place, one might note a couple instances where the sequencing seems a tad disjointed, yet by and large all involved did a fine job, and as director, Fred Jackman's orchestration of every shot and scene, and his oversight of the production, turned in a feature that's consistently fun and light on its feet.
To be sure, the tale that F. Richard Jones penned may be plain and uninvolved compared to even some of this movie's contemporaries, let alone fare that would follow in the decades to come. Yet just as plainly is there a bounty of joy to be had as a viewer from such pieces, and moreover, between Jones' story and Frank Butler's subsequent screenplay, there's a fair deal of detail that helps even such an abbreviated film to pop out. Both the intertitles (specifically those conveying dialogue) and scene writing are filled with cleverness and sharp minutiae that lend to minor thrills and a measure of humor. For that matter, so shrewd is the writing and Jackman's direction that there's little need for substantial text, for the preponderance of the narrative is carried out sans exposition or imparted dialogue. To that point, the cast also give splendid performances to actualize their characters, demonstrating some of the more natural, nuanced acting that modern viewers are accustomed to today rather than the more exaggerated expressions and body language that very early cinema utilized. There are but a handful of folks involved, but Theodore Von Eltz, Oliver Hardy, Barbara Kent, and James Finlayson all deserve much credit for the vitality they inject into the course of events.
To be honest, save for particular imperfections in the sequencing, I don't even know that I could say this has any real faults. Be that as it may 'No man's law' still isn't anything that wholly demands viewership, and for those who have a harder time engaging with older movies, this won't serve to change anyone's mind; leave this for cinephiles who are already enamored of the silent era. Still, in less than one hour we're treated to exposition that is curt but more than adequate, followed in short order by a steady stream of action, and all garnished with dashes of levity to balance the harsher moments. Not all films are made equal, and not everything from the silent era holds up, but when all is said and done I'm pleased to say this joins some of the more upstanding company of the early twentieth century. Don't go out of your way for it, but if you like titles of silent cinema and have the chance to watch 'No man's law,' this is well worth a mere 52 minutes of one's time.
As one rather expects from westerns especially, the filming locations are gorgeous, and all the labor poured into realizing the setting produced fantastic results. The costumes and sets bring a distant time and place to vivid life, and all the stunts and effects that are employed look terrific. In this case that includes fancy footwork from early equine star Rex the Wonder Horse, whose swell training under Jack Lindell made him an excellent addition to no few flicks in the 20s and 30s. (If anything, I rather wish that Rex had more of a presence here, for his is a relatively small supporting part.) Whether it's a question of an issue with surviving prints or the work of editor Richard Currier in the first place, one might note a couple instances where the sequencing seems a tad disjointed, yet by and large all involved did a fine job, and as director, Fred Jackman's orchestration of every shot and scene, and his oversight of the production, turned in a feature that's consistently fun and light on its feet.
To be sure, the tale that F. Richard Jones penned may be plain and uninvolved compared to even some of this movie's contemporaries, let alone fare that would follow in the decades to come. Yet just as plainly is there a bounty of joy to be had as a viewer from such pieces, and moreover, between Jones' story and Frank Butler's subsequent screenplay, there's a fair deal of detail that helps even such an abbreviated film to pop out. Both the intertitles (specifically those conveying dialogue) and scene writing are filled with cleverness and sharp minutiae that lend to minor thrills and a measure of humor. For that matter, so shrewd is the writing and Jackman's direction that there's little need for substantial text, for the preponderance of the narrative is carried out sans exposition or imparted dialogue. To that point, the cast also give splendid performances to actualize their characters, demonstrating some of the more natural, nuanced acting that modern viewers are accustomed to today rather than the more exaggerated expressions and body language that very early cinema utilized. There are but a handful of folks involved, but Theodore Von Eltz, Oliver Hardy, Barbara Kent, and James Finlayson all deserve much credit for the vitality they inject into the course of events.
To be honest, save for particular imperfections in the sequencing, I don't even know that I could say this has any real faults. Be that as it may 'No man's law' still isn't anything that wholly demands viewership, and for those who have a harder time engaging with older movies, this won't serve to change anyone's mind; leave this for cinephiles who are already enamored of the silent era. Still, in less than one hour we're treated to exposition that is curt but more than adequate, followed in short order by a steady stream of action, and all garnished with dashes of levity to balance the harsher moments. Not all films are made equal, and not everything from the silent era holds up, but when all is said and done I'm pleased to say this joins some of the more upstanding company of the early twentieth century. Don't go out of your way for it, but if you like titles of silent cinema and have the chance to watch 'No man's law,' this is well worth a mere 52 minutes of one's time.