Should Men Walk Home?

Plot

Mabel Normand stars as a daring 'Girl Bandit' in this silent comedy crime caper. The film opens with her hitchhiking along a country road, forcing her to dive for cover when a car driven by Creighton Hale's character nearly strikes her. The two criminals quickly recognize each other as kindred spirits and decide to team up for a major heist. They infiltrate an elegant high-society party at a luxurious mansion with plans to steal valuable jewels from the host's safe. The comedy ensues as they attempt to blend in with the wealthy guests while executing their criminal scheme, leading to a series of hilarious close calls and misunderstandings that test their partnership and criminal skills.

Historical Background

The film was produced in 1927, a pivotal year in cinema history that saw the release of 'The Jazz Singer,' the first feature film with synchronized dialogue. This marked the beginning of the end for silent cinema, though silent comedies continued to be produced for several more years. The late 1920s also represented the height of the Jazz Age, a period of social liberation and cultural change in America. Films featuring strong female characters and criminal protagonists reflected society's fascination with rebellion against conventional norms. The Roaring Twenties saw a proliferation of crime films and comedies that played with gender roles and social hierarchies, making 'Should Men Walk Home?' very much a product of its time.

Making Of

The production of 'Should Men Walk Home?' took place during a challenging period for Mabel Normand, whose career had been marred by scandal and declining health. Despite these difficulties, she reportedly maintained her professionalism and comic timing on set. Leo McCarey, then a young director learning his craft, worked closely with Normand to showcase her remaining talents. The film's relatively simple heist plot allowed for maximum physical comedy and visual gags, which were McCarey's strengths. The chemistry between Normand and Hale was reportedly genuine, with both actors enjoying the opportunity to play against type as criminals. The production was completed quickly, as was typical for two-reel comedies of the era, with filming likely taking only a few days.

Visual Style

The cinematography was handled by the Hal Roach Studios camera department, likely including regular Roach cinematographers such as Art Smith or Glen Gano. The visual style would have been typical of late 1920s comedy shorts, featuring clear, bright lighting and medium shots that allowed for physical comedy to be clearly visible. The mansion scenes would have utilized the studio's standing sets, creating an illusion of luxury through careful set dressing and lighting. Camera movement would have been minimal by modern standards, with the focus on capturing the performers' actions and expressions clearly.

Innovations

The film does not appear to feature any particular technical innovations, representing standard production techniques for Hal Roach Studios comedies of the period. The technical aspects were solid and professional, utilizing the established methods of silent filmmaking. The film's technical proficiency is evidenced by its smooth pacing and clear visual storytelling, which were hallmarks of the Hal Roach production system.

Music

As a silent film, 'Should Men Walk Home?' would have been accompanied by live musical performance during its theatrical run. The score would have been compiled from standard photoplay music libraries, with selections chosen to match the mood of each scene. The film's comedy elements would have been underscored with lively, upbeat pieces, while the heist sequences might have featured more suspenseful musical accompaniment. No specific composer is credited for this film, as was typical for short comedies of the era.

Memorable Scenes

• The opening scene where Mabel Normand's character narrowly avoids being hit by Creighton Hale's car while hitchhiking
• The sequence where the criminals infiltrate the high-society party and attempt to blend in with the wealthy guests
• The climactic heist scene where they attempt to crack the safe while avoiding detection

What Critics Said

Contemporary reviews of the film were generally positive, with critics noting that Mabel Normand appeared more energetic and engaged than in some of her recent work. The Motion Picture News praised the film's 'snappy action and clever situations,' while Variety complimented the chemistry between the leads. Modern critical assessment is limited due to the film's lost status, but film historians consider it an important example of late silent comedy and a significant entry in Normand's filmography. The film is often mentioned in discussions about the final phase of Normand's career and Leo McCarey's early development as a director.

What Audiences Thought

Audiences in 1927 reportedly enjoyed the film's fast-paced comedy and the novelty of seeing Mabel Normand play a criminal character. The film performed well enough in its initial run as part of Hal Roach's comedy slate, though it didn't achieve the blockbuster success of some of the studio's other properties. Contemporary audience reaction was generally positive, with many noting that Normand seemed to be enjoying herself in the role. The film's theme of criminal partnership and class inversion resonated with audiences during the economically prosperous but socially turbulent late 1920s.

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