Not every silent film measures up, whether on account of poor writing or craftsmanship or just as a reflection of antiquated values that haven't aged well. Putting that aside, though, even if a title isn't anything particularly remarkable, I think most fare of the era is nonetheless to be treasured as a part of cinematic history. The fact that 1918 American picture 'The floor below' still exists over one hundred years later only on account of a Dutch print having been discovered rather exemplifies the importance of remembering and preserving such works, no matter how it turned out in and of itself. Now, as to that, I don't think there's anything so special about this as to change the minds of those who have a hard time engaging with older movies. All the same it's reasonably enjoyable and well done on its own merits, and worth checking out for those who appreciate the style.
I don't think it's unfair to say that this exists on the more common or modest side of the spectrum. In a runtime of a little under eighty minutes, nearly the first half hour effectively constitutes exposition, which is extraordinary once we reach that point where the rest of the plot begins and we realize the structure. In fairness, though that exposition may be a smidgen messy as it presents, the writing is generally solid, and I do actually like the story, a tale of misunderstandings and gentle secrets and deceptions that's geared toward a blend of light comedy, drama, and of course romance. It doesn't strike me as specifically noteworthy in any way, but it's plenty suitable for a little diversion. The acting leans more toward that trend seen throughout most fo the silent era of performances of exaggerated facial expressions and body language, compensating for lack of sound and verbal dialogue, but is nevertheless perhaps a tad more natural than what we've seen elsewhere in the period. I think the cast are swell such as it is, with star Mabel Normand obviously standing out most as much for the dexterity of her portrayal as for her prominence.
Meanwhile, the scene writing ably provides entertainment from one moment to the next with its soft stirring of genres - some beats propelling the narrative, others just lending to the mild humor to be had. Clarence G. Badger illustrates capable direction to orchestrate scenes and guide his cast, with the result that the whole is as sturdy as it is pleasant. And while we're at it, commendations to those operating behind the scenes: once again, 'The floor below' is far from revelatory, but all involved turned in fine work. The sets are characterized by some lovely detail that adds to the feature's charm, and the costume design looks great, as does the hair and makeup. Really, what it comes down to is that this is fairly appreciable all around, marked by writing, acting, direction, and craftsmanship that ranges from able to excellent. Once more, there's no aspect here that's a major lightning bolt of brilliance, and I think even those who are huge fans of silent pictures will find it to be a comparatively moderate viewing experience. No small amount of skill and intelligence went into it, however, and some cleverness, so though at length the movie is somewhat average, when all is said and done it's still more worthwhile than not, and a splendid credit to those involved.
Don't go out of your way for this, for it doesn't especially demand viewership. For devotees of silent cinema, however, 'The floor below' remains a deserving, well made film with a duly compelling story. And sometimes that's all a title needs to be.
