Gunner and Bucker are pals who work as riveters. Whenever Bucker gets the urge to marry, which is often, Gunner will hit on his girl to see if she is true or not. So far, Gunner has not ... See full summary »
Although his murdered friend was by all accounts a scoundrel a true "bounder" Edward Wales is determined to trap his killer by staging a seance using a famous medium. Many of the 13 seance ... See full summary »
Mike Morgan creates the illusions that magicians use in their shows. While his business is Miracles for Sale, his hobby is exposing fake spiritualists. At the club, he is invited to attend ... See full summary »
To impress his fiancee's aunt, a young man tries to become king in a small kingdom, but the people there have already crowned one, who has won this honor by gambling. So he plans a coup ... See full summary »
My boy, you must first return everything you have stolen.
West End Bertie:
You have suggested my intensions... precisely!
When you 'ave done this, then come to me. I will always be your friend.
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By contrast, I was relatively satisfied with THE BLACK BIRD. The plot is somewhat derivative (particularly of THE PENALTY ), but Chaney is in fine form here. The film goes a long way in simulating the Limehouse atmosphere, even where dialogue is concerned (which comes off as fairly hilarious if quite endearing).
The romantic leads, as played by Owen Moore and Renee' Adoree', are above average in this case; in fact, Moore (as a gentleman crook) is more of an anti-hero here and creates an interesting contrast to Chaney, who himself alternates between the villainous 'Black Bird' and the saintly 'Bishop' throughout.
For a Browning/Chaney effort, the film is fairly conventional and comes off as somewhat protracted (particularly the overly contrived ending) when compared to THE UNKNOWN (1927). Chaney's (deceptive) physical deformity of his 'Bishop' character is the sole weird element in evidence and, for once, here we get a chance to observe - on camera - the way Chaney accomplishes this amazing feat!
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