There aren't that many good movies surviving from Kalem. Between the lack of story logic from Sidney Olcott's unit and the awful Ham & Bud comedies, it is reasonable to conclude that the studio lived on good photography, the status of being part of the Patents Trust oligopoly, the voracious appetite for new movies, whatever the quality and a smart front office -- they were among the first studios to manufacture a screen star, offering Ruth Roland as an action heroine for the serials. She's also in this one, as is future director Marshall Neilan.
As for this movie, it's OK. The story of a man falsely accused, aided only by his love, the sheriff's daughter, is told almost entirely in titles. The rest of it is Kalem's typically highly competent cinematography. It's not a masterpiece, but it looks good and makes sense.
As for this movie, it's OK. The story of a man falsely accused, aided only by his love, the sheriff's daughter, is told almost entirely in titles. The rest of it is Kalem's typically highly competent cinematography. It's not a masterpiece, but it looks good and makes sense.
