Outside the Law

Plot

Silent Madden and his daughter Molly have abandoned their criminal life in San Francisco's Chinatown, influenced by the wisdom of Chang Low, a Confucian philosopher who has shown them the path of righteousness. However, their peaceful existence is threatened by Black Mike Sylva, a vengeful criminal who holds a grudge against Madden from their past. Black Mike orchestrates an elaborate scheme to frame Madden for a diamond robbery, forcing Molly to return to her old ways to clear her father's name. The situation becomes increasingly dangerous as Molly infiltrates the criminal underworld, leading to a dramatic confrontation where justice and redemption hang in the balance. The film explores themes of redemption, loyalty, and the struggle between one's past and present morality.

Historical Background

The film was released during a period of significant social change in America, as the country transitioned from World War I to the Roaring Twenties. 1920 saw the ratification of the 19th Amendment granting women's suffrage, the beginning of Prohibition, and a surge in organized crime activity. The film's exploration of criminal life and redemption resonated with audiences fascinated by the underworld elements emerging in major cities. The post-war period also saw increased immigration from Asia, leading to both fascination and prejudice toward Asian cultures, which is reflected in the film's Chinatown setting. The success of 'Outside the Law' helped establish the crime genre as a staple of American cinema, predating the classic gangster films of the 1930s. The film also emerged during Hollywood's transition toward longer, more complex narrative features, as the industry moved away from the shorter films of the 1910s.

Making Of

The production of 'Outside the Law' was marked by Tod Browning's meticulous attention to detail in creating the Chinatown atmosphere. Browning, who had spent time in actual Chinatowns and knew people involved in criminal activities, insisted on authentic set designs and costumes. Lon Chaney's transformation into Chang Low was a daily ordeal that began at 4 AM, with the actor spending hours in the makeup chair. Chaney studied Chinese mannerisms and philosophy to prepare for the role, even consulting with Chinese community members in Los Angeles. The film's success surprised Universal executives, who had initially considered it just another routine crime picture. The chemistry between Priscilla Dean and Wheeler Oakman was so strong that Universal paired them in several subsequent films. Browning's direction style emphasized shadow and light, creating a noir-like atmosphere years before film noir became recognized as a genre. The production faced some controversy from Chinese-American groups who protested the casting of Chaney in an Asian role, though this was common practice at the time.

Visual Style

The cinematography by William H. Scarborough and Virgil Miller was notable for its innovative use of shadow and light to create atmosphere. The film employed dramatic lighting techniques that prefigured the film noir style of the 1940s, particularly in the Chinatown scenes where deep shadows created a sense of mystery and danger. The camera work included dynamic tracking shots during the chase sequences and carefully composed close-ups that emphasized the emotional intensity of key scenes. The cinematographers made effective use of the studio's Chinatown sets, creating depth and texture through strategic lighting and camera angles. The diamond heist sequence featured innovative camera movements and editing techniques that heightened the tension. The visual contrast between the dark criminal underworld and the more brightly lit scenes of redemption reinforced the film's moral themes. The photography also captured the period's urban atmosphere, with several location shots in San Francisco adding authenticity to the production.

Innovations

The film featured several technical innovations for its time, particularly in its use of makeup effects for Lon Chaney's dual role transformation. The makeup department, likely supervised by Chaney himself, created prosthetics that were remarkably convincing for 1920 standards. The film employed sophisticated editing techniques, particularly in the cross-cutting between different storylines during the climactic sequences. The production utilized some of Universal's newest camera equipment, allowing for more mobile cinematography than was typical in earlier films. The lighting setups for the shadow sequences were particularly advanced, using multiple light sources to create depth and atmosphere. The film's special effects, while modest by modern standards, included some clever matte work for the San Francisco location shots. The soundstage construction for the Chinatown sets was praised for its authenticity and attention to detail. The film also demonstrated advances in continuity editing, maintaining narrative coherence across its seven reels.

Music

As a silent film, 'Outside the Law' was originally accompanied by live musical performances in theaters. The typical score would have been compiled from classical pieces and popular songs of the era, with theater organists or small orchestras providing accompaniment. Universal likely distributed cue sheets with suggested musical selections for different scenes. The dramatic moments would have been accompanied by tense, minor-key compositions, while romantic scenes featured lighter, more melodic pieces. The Chinatown sequences probably used stereotypical 'oriental' motifs common in film music of the period. Some theaters may have used the film's theme song if one was published, as was common practice for major releases. Modern screenings of the film typically feature newly composed scores or carefully compiled period-appropriate music. The lack of synchronized sound allowed theaters flexibility in their musical presentations, with some venues employing full orchestras while others used a single organist.

Memorable Scenes

• The dramatic transformation sequence where Lon Chaney changes from Chang Low to Black Mike Sylva, showcasing his remarkable makeup skills and acting range
• The tense diamond heist scene where Molly infiltrates the criminal operation, featuring innovative camera work and suspenseful editing
• The climactic confrontation in Chinatown where all the main characters' paths converge, featuring dramatic lighting and emotional performances
• The opening sequence establishing the moral conflict between the criminal underworld and the path of righteousness
• The emotional father-daughter scene where Molly promises to save her father, demonstrating Priscilla Dean's dramatic range

What Critics Said

Contemporary critics praised 'Outside the Law' for its suspenseful narrative and strong performances. The New York Times called it 'a thrilling melodrama with excellent performances throughout,' particularly noting Lon Chaney's dual role performance. Variety magazine praised the film's 'gripping story and expert direction,' while Motion Picture News highlighted Priscilla Dean's 'powerful and convincing performance.' Modern critics view the film as an important precursor to film noir and gangster genres. The film is now recognized as a significant work in Tod Browning's early career and a showcase for Lon Chaney's remarkable talents. Film historians appreciate its atmospheric cinematography and sophisticated narrative structure for its time. Some modern critics note the problematic aspects of its racial representation but acknowledge it as a product of its era. The film is generally regarded as one of the most significant American crime dramas of the silent era.

What Audiences Thought

The film was enormously popular with audiences upon its release in December 1920. It played to packed houses in major cities across America and was held over in many theaters due to popular demand. Audience members particularly responded to the suspenseful diamond heist sequence and the dramatic confrontation scenes. The chemistry between Priscilla Dean and Wheeler Oakman was a major draw, with many fans writing to Universal requesting more films featuring the pair. Lon Chaney's performance generated significant buzz, with newspapers marveling at his ability to play two completely different characters in the same film. The film's success at the box office helped establish Universal as a serious competitor to larger studios like Paramount and MGM. Contemporary audience letters preserved in studio archives indicate that viewers found the story both exciting and morally satisfying, particularly appreciating the redemption themes. The film's popularity led to increased demand for crime dramas and underworld pictures throughout the early 1920s.

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