The Chaser

Plot

In this silent comedy, Harry Langdon plays a philandering husband who spends his nights carousing while his long-suffering wife stays home. After one too many nights of his irresponsible behavior, his wife files for divorce, taking their case before an unconventional judge. Rather than granting the divorce, the judge devises a novel punishment: the husband must spend 30 days living as his wife, complete with wearing her clothes and performing all household duties. What follows is a series of hilarious mishaps as the husband struggles with cooking, cleaning, and managing the household while in drag, ultimately learning empathy for his wife's daily struggles and discovering the true meaning of partnership.

Historical Background

'The Chaser' was produced in 1928, a pivotal year in cinema history that marked the end of the silent era and the beginning of the sound revolution. The Jazz Singer had been released in 1927, and by 1928, studios were rapidly converting to sound production. This film represents one of the last waves of pure silent comedies before talkies completely dominated the industry. Harry Langdon, once considered on par with Charlie Chaplin, Buster Keaton, and Harold Lloyd, was struggling to maintain his relevance in this changing landscape. The film's themes of marital discord and role reversal reflected broader social changes of the late 1920s, as traditional gender roles were being questioned and the 'New Woman' was emerging in American society. The stock market crash of October 1929, occurring just after this film's release, would further transform Hollywood and the types of films being produced.

Making Of

The production of 'The Chaser' occurred during a tumultuous period in Harry Langdon's career. After his massive success in the mid-1920s, Langdon had famously split with director Frank Capra, who had been instrumental in shaping his screen persona. This film represented Langdon's attempt to prove he could succeed as both actor and director. The set was reportedly tense, as Langdon struggled with the dual responsibilities of performing and directing. Contemporary accounts suggest that Langdon was a perfectionist who demanded multiple takes of scenes, frustrating the crew but ultimately achieving the comedic timing he desired. The gender-reversal gags required extensive rehearsal, particularly the scenes involving domestic tasks that Langdon's character had never performed. The film was rushed into release to capitalize on Langdon's name recognition before the silent era completely ended.

Visual Style

The cinematography in 'The Chaser' was handled by veteran silent era cameraman William F. 'Billy' Brehm, who brought his extensive experience to the project. The visual style employs typical late-silent era techniques with careful lighting to highlight the comedic moments, particularly during the scenes where Langdon appears in women's clothing. The camera work is straightforward and functional, focusing on clear presentation of the physical comedy rather than artistic experimentation. Notable are the medium shots that capture Langdon's full-body comedy, allowing audiences to appreciate the visual humor of his awkward movements in female attire. The film uses some creative camera angles during the domestic sequences, employing low angles to emphasize Langdon's incompetence with household tasks. The intertitles are well-integrated with the visual comedy, appearing at strategic moments to enhance rather than interrupt the flow of action.

Innovations

While 'The Chaser' doesn't represent any major technical innovations in cinema, it does demonstrate the refined techniques of late-silent era filmmaking. The film makes effective use of double exposure techniques for some of the more fantastical comedy sequences, though these are used sparingly. The costume design for Langdon's female attire required careful consideration of how the fabrics and styles would read on black and white film stock, with the designers choosing materials that would create maximum visual contrast. The editing, supervised by veteran cutter William Hornbeck, maintains excellent comedic timing throughout, particularly in the sequences involving Langdon's struggles with domestic tasks. The film's preservation on nitrate stock presented challenges for later restoration efforts, as was common with films from this period.

Music

As a silent film, 'The Chaser' would have been accompanied by live musical performance during its original theatrical run. The typical presentation would have featured a theater organist or small orchestra providing musical accompaniment synchronized with the on-screen action. The score would have included popular songs of 1928, classical pieces, and original compositions designed to enhance the comedy. For the domestic scenes, lighter, more whimsical music would have been used, while the carousing sequences might have featured jazzier, more energetic pieces. No original score was recorded for the film, as was standard practice before the sound era. Modern screenings of the film typically feature newly composed scores or compilations of period-appropriate music to recreate the authentic silent movie experience.

Memorable Scenes

• The courtroom scene where the judge delivers his unconventional sentence, with Langdon's shocked reaction captured in classic silent comedy style
• The montage sequence showing Langdon's disastrous attempts at cooking, cleaning, and managing the household while in women's clothing
• The climactic scene where Langdon's character finally succeeds at a domestic task, only to have his wife return home unexpectedly
• The opening sequence establishing Langdon's character as a neglectful husband, contrasted with his wife's lonely domestic life

What Critics Said

Contemporary reviews of 'The Chaser' were mixed to positive. Critics acknowledged that Langdon still possessed his unique comedic charm but noted that the material wasn't as strong as his earlier work with Frank Capra. The New York Times praised Langdon's performance but questioned whether the gender-reversal premise had been fully exploited for its comic potential. Variety noted that while the film had its moments, it lacked the sustained brilliance of Langdon's mid-1920s classics. Modern reassessments have been kinder, with film historians recognizing the movie as a solid example of late-silent comedy that showcases Langdon's particular talents. Some contemporary critics have pointed out that the film's exploration of gender roles, while played for laughs, contains surprising insights into marital dynamics that remain relevant today.

What Audiences Thought

Audience reception to 'The Chaser' in 1928 was generally positive, though it didn't achieve the blockbuster success of Langdon's earlier films. Moviegoers who had followed Langdon's career appreciated seeing him in his familiar 'little man' persona, and the gender-bending gags generated reliable laughter. However, the growing excitement around sound pictures meant that many viewers were beginning to see silent films as old-fashioned. The film performed best in smaller cities and rural areas where the transition to sound was slower. In major urban centers with theaters already converted to sound, the film had more difficulty finding an audience. Despite these challenges, 'The Chaser' managed to turn a modest profit and confirmed that there was still a market for Langdon's particular brand of comedy, even as his star was beginning to wane in the new era of sound cinema.

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