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Not a stab at the movie's quality but (as with many Lon Chaney vehicles) it's worth a watch mostly for his typically electrifying performance. He plays another tough as nails gangster bad guy called Black Mike (and has a secondary role as Ah Wing, Chinese sage Chang Low's assistant) but instead of merely fulfilling his genre role as antagonist and villain, he brings a level of malevolence that elevelates his character to a whole other kind of grotesque not far from horror territory.

As is true for other films that Chaney received second billing, he's mostly in the opening and closing 15 minutes which are packed with explosive action. The middle deals with the mandatory romance between protagonist Molly Maddoc (played by the sashy Priscilla Dean who steals scenes) and Black Mike's right hand man Bill who double crosses his boss out of remorse and love for miss Maddoc. They spend the middle act holed up in an apartment after a successful jewel robbery, hiding from cops and Black Mike alike.

All in all Outside the Law is not a masterpiece of any kind but fans of silent films and especially Lon Chaney will find enough to appreciate.

I can't believe that this is the same movie that came out on DVD 20 years ago. So much has happened since then regarding the preservation and restoration of silent movies that this Blu-Ray looks like a completely different film. It's the same movie but the picture image is so much sharper and the previous defects (scratches, splices) have been cleaned up considerably. The last reel had suffered such severe nitrate decomposition as to be unwatchable. That's not the case now. The edges are still quite obvious but there is enough image in the center of the frame that you can clearly see what is going on. This is very important as the ending contains one of the most physical knockdown drag-out fights ever captured on film. An alternate ending from a later 16mm print which eliminates all that mayhem is included as a bonus extra.

The main reason OUTSIDE THE LAW is around today is that it marks an early collaboration between director Tod Browning and Lon Chaney but the movie was made as a starring vehicle for Priscilla Dean who was Universal's biggest star in 1921. She was a carryover from the late teens when how a woman acted was more important than how she looked. Priscilla would be considered too heavy by later standards (especially today's) but she was attractive, intelligent, and resourceful. No man was needed to save her as she could more than take care of herself. That was the principal theme in most of her movies as her characters were strong and independent although she usually fell in love at the end and wound up with the leading man.

The story is set in San Francisco's Chinatown and concerns a gangster and his feisty daughter (Dean) who are being reformed by a sympathetic Chinese philosopher who follows the teachings of Confucius. They cross paths with "Black Mike" Sylva (Chaney), a thoroughly despicable hoodlum who frames Dean's father forcing her to go "outside the law" in order to clear his name. They are aided by a young safecracker (Wheeler Oakman, Dean's real life husband) and the philosopher's Chinese servant (also Chaney) as they battle "Black Mike" and his gang leading to the climatic free-for-all. In addition to the performers, the movie is noteworthy today as a prototype for film noir with its dark lighting, interesting camera set-ups and tight editing.

The problem for a modern audience is that, even though they are sympathetic, the main Chinese characters are played by white actors which was standard practice for the day. The philosopher doesn't look Asian at all and Chaney's make-up, though remarkable, is strictly caricature with slant eyes and buck teeth. Personally it doesn't bother me as I always try to view old movies within the context and the time period of when they were made but there are many people today who would find it offensive. If you can get past that then what you have is a crackerjack crime film with a strong heroine, a vile villain, and a powerhouse ending. This is one of two Priscilla Dean Blu-Rays that have just been made available (the other is DRIFTING / WHITE TIGER) from Kino. Thanks to them and to Universal for making this unjustly forgotten star available once again...For more reviews visit The Capsule Critic.

Many people know Lon Chaney by his classics where he plays macabre characters whose faces and bodies are abnormally distorted. Little do they know a large majority of his roles were playing gangster-type baddies. In his second Tod Browning-directed movie, Dec. 1920's "Outside The Law," Chaney is a mobster who looks to frame a rival, Silent Madden, for murder. Madden's daughter, actress Priscilla Dean, is equally a tough cookie. When Chaney's plan becomes successful, Dean looks for revenge.

"Outside The Law" is cinema's first psychologically-driven gangster film where a main character undergoes a transformation and seeks redemption for her previous crimes. One of Chaney's associates, actor Wheeler Oakman, has fallen for Dean and tells her his boss is setting her up to take the blame for a jewelry heist. She foils Chaney's plans and her and Oakman hide out in a cramped apartment whiling away the time while they have the rocks. It's here, seeing a shadow of a crucifix on the floor, Dean realizes the error of her ways and decides to come clean. Of course, coming clean means fingering Chaney, setting off one one of the most chaotic shootout conclusions in cinema. This ending was so complex it took Browning and crew two weeks to film.

Dean was one of the most active actresses in silent movies. Her movie career began in 1911 and she appeared in dozens of films. She was one of those actresses who didn't make the successful transition to sound, ending her film career in a handful of low-budget productions after 1930. She was married to her counterpart in "Outside The Law," Wheeler Oakman at the time she made the film, but the two divorced in 1926.

Chaney in "Outside The Law" was not only the main gangster but also was made-up as a Chinese assistant, Ah Wing, to an influential Confucian scholar. This was the "Man of a Thousand Faces" actor's first time playing an Asian character. "Outside" came on the heels of Chaney's breakout movie released a few months earlier in August 1920 "The Penalty." Chaney plays a bitter legless man seeking revenge against a doctor for operating on him on a needless amputation during his youth.

Todd Browning is definitely a big name in the early days of Hollywood, and this crime drama (I am somewhat hesitant to label it as film noir, seeing as that genre had not really been coined yet) is definitely one of the standouts in his career, and of course in the early days of Hollywood. And given how many silent films I have given a watch throughout the years, it is by no means a faint statement.

The cinematography, ever important in this style of filmmaking, is great, and so is the acting, providing a visual and facial sense that was always important, an art lost in time somewhat if you will.

The script is of course incredible, and it is truly one of Browning's best films.

Very much recommended for any lover of film!

Chinatown, San Francisco serves as the backdrop to this intriguing story of a couple of criminals, having stolen some jewels in a heist, holed up in an apartment building to stay low from the cops and another criminal they rooked named Black Mike. The woman, played with fiery intensity by a ravishing Priscilla Dean, and man, Dapper Bill played by Wheeler Oakman with some charisma, soon realize they want to go straight and make new lives for themselves. An older Oriental figure of some importance in the Chinatown community had been telling Molly, Dean's character, and her father that crime does not pay and lives can all be changed for the good. This influence and the kindness/understanding that goes with it, the love that develops between Molly and Bill, and a small child that wends his momentary ways into their hearts all help this transformation of character take place. Outside the Law is a really remarkable film for a number of reasons when you considered it was made in 1920! Director Tod Browning shows that he can direct. After all he learned under the master himself, D. W. Griffith. Browning paces the flow and action of the film very nicely and manages to create characters that are not just stereotypes but three-dimensional. The acting helps do this naturally as well as all of it is quite good, but make no mistake - acting honors go to the "Man of a Thousand Faces" Lon Chaney in an early screen role well before he and Browning were stars. Chaney is brilliant not only as the nefarious Black Mike - oozing oily charm, but also as Ah Wing, the Asian helper to the old Chinese friend of the Madden family. Chaney could have played both roles in a very stereotypical fashion and still be credible, but Chaney pours his heart into each and makes them truly believable. As Ah Wing he is also almost undetectable. As far as Chaney's very early features go, Outside the Law is currently my favorite.