Universal Weekly (1925-1933)

Vol. 23, No. 16. Universal Weekly 13 "Outside the Law" Packs Broadway House FiveYear-Old Thriller Proves S. R. O. Drawing Card in Extended Run at Colony Theatre. THE overwhelming success that attended the revival of Universale "Outside the Law" at the Cameo Theatre in Pittsburgh seme weeks ago was repeated at the Colony Theatre, New York, when the picture started an indefinite run last week. Three hours aftei the doors of the theatre were opened, the picture was playing to an S. R. O. sign, and it was impossible even for the critics to enter the theatre in the evening. This record breaking business has continued since the opening day, and the picture is playing to capacity audiences in the face of some of the keenest competition Broadway has ever known. Five years ago, "Out side the Law" was a sensation in New York. In addition to being an exciting and gripping film, its success was more than insured by a clever and well-remembered billboard campaign which was conceived by P. D. Cochrane, secretary of Universal. The billboards admonished the public that if they drove their cars on Sunday, played cards on Sunday, or kissed their wives on Sunday they were outside the law, and were signed "P. D." It was at the time when there was an agitation over the socalled Blue Laws, and on account of the significant initials every official or supernumeray in New York felt personally concerned. In addition to this unusual advertising campaign, it will be recalled that "Outside the Law" is the picture that "made" Lon Chaney. With incomparable skill, this great character actor portrayed two widely different types, one being "Black Mike," a crook, and the other "Ah Wing" a Chinaman. This amazing characterization attracted world-wide attention, and soon afterwards, Chaney rose to stardom in the character field. Priscilla Dean, one of Universal's first and most famous stars, is the star of the production. The balance of the cast includes Ralph Lewis, Wheeler Oakman, E. A. Warren, Stanley Goethals, Melbourne MacDowell and Wilton Taylor. Tod Browning, director and author of the piece, like Chaney, became famous overnight when the picture was released. His recent successes, "The Unholy Three" and "The Blackbird" in which Chaney is the star, have brought forth a lively discussion among critics throughout the country as to which of these productions is his greatest work. Many reviewers contend that both the director and the famous character actor achieved their best in "Outside the Law." Re-cut and re-titled, this old melodrama met with an unusually enthusiastic reception from the critics. This is the reception "Outside the Law" received on its opening night on Broadway — and the lines have continued ever since. Dorothy Herzog in the Daily Mirror wrote: "Five years ago, Tod Browning — he who made 'Tht Unholy Three,' The Blackbird,' etc. — wrote and directed a ripsnorting crook melodrama yclept 'Outside the Law.' 'Outside the Law' created a sensation when it was released in January, 1921. Judging from the enthusiastic crowds storming the Colony doors, where it is now playing, its popularity today is just as great. The flicker has been re-edited and titled by Universal. The job is a good one. In our opinion, the real test of a picture's bid for excellency is the reception accorded it years after it has been released. 'Outside the Law' is a whale of a melodrama. The ending of the picture is a darb, especially if you like melodrama de luxe. Lon Chaney gives a shivery, realistic performance as 'Black Mike'." Another enthusiast was Roscoe M'Gowen of the Daily Neivs. Mr. M'Gowen said : "This picture is worth the revival given it so that moviegoers may see the best child actor I've seer on the screen — Stanley Goethals. Young Master Goethals as That Kid is so doggone real with his smiles and tears and hugs and kisses that for a time I forgot I was watching merely a moving picture — and that in itself is extraordinary. Lon Chaney, in his somewhat JekyllHyde role of the bad crook and the good Chinese, gives two of the compelling characterizations of which we've seen many since this picture was made. Priscilla Dean and Wheeler Oakman give fine performances as the two crooks. Bloodiest, messiest fight I ever saw." "Frankly, we expected to find it ouside the pale," commented Harriette Underhil in the Herald-Tribune, "but though we went to scoff, we remained to praise. Tod Browning was good even then and the picture is a far better crook melodrama than most of those which have been produced since. Don't miss 'Outside the Law.' You're sure to enjoy it one way or another. Carl Laemmle reissued it all for your delight." Eileen Creelman of the New York American is another enthusiast. Miss Creelman wrote: "Five years ago, Universal made a picture that at once caught the public fancy. It was a good picture then. Yesterday, to my surprise, it proved to be a good picture still. 'Outside the Law' is as full of thrills as ever. Audiences filling the Colony. . . .'Outside the Law' is bringing the crowds." A gorgeous atmospheric presentation was arranged by Paul Leni, famous European director and scenic artist, whose latest picture "The Three (Continued on page 36)