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Riley the Cop (1928)

Passed | | Comedy, Drama | 25 November 1928 (USA)
Joe Smith, a young bakery worker, gets engaged to Mary Coronelli, who comes from a wealthy family. Her snooty aunt takes Mary to Europe, hoping to break up the couple, but Joe uses his ... See full summary »

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(uncredited)

Writers:

(story and scenario), (story and scenario)
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Cast

Complete credited cast:
...
James 'Aloysius' Riley (as Farrell Macdonald)
...
Mary Coronelli
David Rollins ...
David 'Davy' Collins
...
Lena Krausmeyer
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Storyline

Joe Smith, a young bakery worker, gets engaged to Mary Coronelli, who comes from a wealthy family. Her snooty aunt takes Mary to Europe, hoping to break up the couple, but Joe uses his savings to follow her there. Unfortunately, he is falsely accused of embezzling money for the trip from the bakery, and Officer Riley, a well-liked local cop, pursues Joe to Europe. While in Germany Riley falls for a young flapper in a beer garden, but he's in for a surprise when he finds out who she really is. Written by frankfob2@yahoo.com

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

Certificate:

Passed | See all certifications »
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Details

Country:

Release Date:

25 November 1928 (USA)  »

Also Known As:

Akage nunokoi no uzumaki  »

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Production Co:

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.33 : 1
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User Reviews

 
The Inherent Humility and Importance of the Individual is put under figurative 'microscope;' using the Olde Fashioned "Cop On The Beat" as subject.
30 November 2009 | by (United States) – See all my reviews

FOR SOME YEARS we have known of the work of Mr. J. Farrell McDonald, character actor supreme. His roles, though often 'small' or rather brief, were often important, even pivotal to the story. The parts he played were in such disparate roles in a wide variety of films.

AS A BRIEF sampling of his credits we offer (for your approval of course),the following: as 'The Coach'*in THE SPIRIT OF NOTRE DAME (Universal, 1931; as 'Sourpuss' Smithers in Frank Capra's MEET JOHN DOE (Frank Capra Productions/Warner Brothers, 1941); as the unidentified owner of the tree that George Bailey did the 'Tiger Woods' job on in IT'S A WONDERFUL LIFE (Liberty Films/RKO Radio Pictures, 1946) and even as the old prosecutor, Pop Shannon, in SUPERMAN AND THE MOLE MEN (National Comics-Superman, Inc./Lippert Pictures, 1951).

IT WAS QUITE by accident that we stumbled onto this little gem of a silent movie (that's right, Schultz! It's a Silent!) We had bought a copy of THE PHANTOM EXPRESS (Majestic Pictures/Capitol Fikm Exchange, 1932) on Ebay and received a DVD copy of RILEY THE COP as an unexpectedly pleasureful bonus!

FOR ANYONE WHO thinks that the Silent Film Form is inferior and not worthwhile watching should view some of the really great Films of the Silent Screen. In addition to the Snub Pollard, Tons of Funs, Laurel & Hardy and Mickey McGuire Shorts; most of us are familiar with the great shorts and feature films of such luminaries as Charlie Chaplin, Buster Keaton, Harold Lloyd and Harry Langdon. But we must remember that the Silent Film Format was not just laden with mirth; for it was a most fertile field of drama, melodrama, horror, biopics and historical works.

AS A BRIEF example of non-comedy material, we only need to list a small number of examples. DeMille's KING OF KINGS, D.W. Griffith's BIRTH OF A NATION, THE BIG PARADE, Fritz Lang,s METROPOLIS, Sergei Eisenstein's BATTLESHIP POTEMPKIB and the Douglas Fairbanks starring vehicles; such as: THE MARK OF ZORRO, THE 3 MUSKETEERS, THE IRON MASK, and ROBIN HOOD, are all fine examples of a varied menu of drama, shock and adventure.

ALL THE PREVIOUSLY mentioned movies don't include the extensive work of Lon Chaney; such as such a thrillers list as: THE HUBCHBACK OF NOTRE DAME*, PHANTOM OF THE OPERA, TELL IT TO THE MARINES**, HE WHO GETS SLAPPED, WEST OF ZANZIBAR, London AFTER MIDNIGHT & THE UNHOLY THREE.

WHILE NOT BEING nearly a well-known or heralded as the others, RILEY THE CUP still has much to offer even the most casual viewer. Iy's at once Drama, Comedy, Farce and an excellent barometer of American Pop Culture in the late 1920's. It has a fine set of production; although it probably did have certain budgetary constraints. It was certainly no "Summer Blockbuster."

ADDITIONALLY, IT IS b fine example of an embryonic look at the development of the style of its Director, Sean Feeney.* Also known as the much more "Irish" (Gaelic) name of Sean O'Ferna, all of the elements that would one day make up what we would come to expect in such works as THE INFORMER, DRUMS ALONG THE MOHAWK, MY DARLING CLEMENTIBE, THE FUGITIVE, THE LONG GRAY LINE, THE QUIET MAN and THE MAN WHO SHOT LIBERTY VALANCE (many others).

IT HAS SO much to offer; comedy, drama, ethnic humor and contemporary commentary (Prohibition was the subject of at least one referential remark.) It also an excellent sociological study in the changing role of the local Beat Cop in American life and culture.

Get this: Get it! Buy it. See the Damn thing!!!!

NOTE: * Didja guess who we mean? That's right, Schultz! It' 'Pappy' (Himself), John Ford.


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