Burglar by Proxy (1919) User Reviews

You Have Stolen My Bonds, Now Don't Go 'Way

[boblipton · 6/10 · 28 March 2019]

Jack Pickford meets cute with Gloria Hope. While she thinks she is nursing him back to health, Robert Walker steals some Important Papers from her father's safe, and lays the blame off on Pickford. While trying to clear his name, Jack runs into the seemingly infinite number of burglars in the neighborhood. They quickly accept him as one of their own.

The largest role among the burglars is taken by John Francis Dillon, who also directed the movie. Although the print I looked at on the Eye Institute site had no titles, the movie did not suffer noticeably; although there were many spots where it looked like titles should be, the acting made things quite clear. Titles might serve to ornament the story, but were not needed to tell it.

Mr. Dillon plays one of those amiable mugs who inhabited the movies. In the talkie era, he would call the hero "pal" and misunderstand everyone's motives to comic and feature-lengthening effect. It may be, of course, that I have seen so many of this sort of movie that I can impute matters which aren't there. I think not. The mugs of the 1930s were played by actors who did not originate the roles, but performed as types that went back, in some cases, to ancient Rome and the gags of Plautus -- which he undoubtedly stole.

The camerawork is simple: unmoving center row orchestra, with occasional cuts to perform changes that might have been better performed by camera movement. That sort of work was costly, and for a further year or two, an unnecessary expense, until the Europeans got back into the market and Hollywood had to up its game.

A fun, light-hearted silent comedy, if marginally imperfect

[I_Ailurophile · 8/10 · 29 March 2023]

It's funny how the early years of cinema were characterized by irregular peaks and valleys in film-making and storytelling technique as the medium developed. Some titles from the early to mid-1910s seem ahead of their time for how they are made; some from the late 1920s feel primitive in their construction. This one arguably seems a smidgen more quaint and common than some of its contemporaries, as the substantial use of framing for many shots feels a tad on the nose and simplistic. Details aside, much of the plot is just about as standard and formulaic as comedies got in the silent era, as a somewhat foolish and hapless young man falls in love with a young woman, who is to some measure already connected to another fellow who is less trustworthy. Yet though these traits stand out in watching 'Burglar by proxy,' this is hardly an inherent reflection on its quality. In fact, while it's not necessarily anything super remarkable, I had a good time watching this, and I think it earns a fairly solid recommendation for those who appreciate older movies.

The cast is splendid, not least charming Gloria Hope, and star Jack Pickford as unlucky protagonist Jack Robin. This isn't to count out their co-stars, though, and everyone involved gives swell performances to build and sustain the merriment. That includes filmmaker John Francis Dillon, who as director then demonstrates fine capability in guiding the production. Sol Polito's cinematography is more than suitable, and between him and Dillon, shots and scenes are orchestrated with gratifying care and playfulness. Moreover, while perhaps less notable than in other fare of the day, the filming locations, sets, and costume design all lend credence to the tale being told.

Above all, however, the writing is delightful. Maybe it's unfair, but I admit to somewhat doubting the comedic prowess of a cast and crew who lack the renown of, say, Buster Keaton, Harold Lloyd, Harry Langdon, or Charlie Chaplin. Yet I'm ever so pleased at just how smart and clever 'Burglar by proxy' is in ensuring consistent smiles and glad laughs. Those intertitles relating dialogue demonstrate some keen wit, and even those providing exposition show a certain shrewd, poetic flourish. Sight gags and situational humor offer firm foundation for our amusement, and Dillon and co-writer Madeline Matzen keep every scene chockfull of lighthearted mirth and unexpected variety. To that point as well, what stunts and effects are employed are done very well.

It's not perfect. An early scene in a restaurant is a tiny joy in and of itself, but it also portends a set-up for another gag - which we unfortunately just don't get. Maybe this was a matter of censorship in 1919, or maybe Dillon and Matzen just didn't have have the vision to take the bit that one step further. There are also aspects of the narrative writing that aren't conveyed well, instances when it distinctly feels as though something is missing - or maybe deficient sequencing breeds such doubt? In one way or another, 'Burglar by proxy' comes across as a little incomplete, and furthermore, it seems marginally imbalanced between the story elements that it weaves together; the plot thread that defines the first half is set aside for the preponderance of the second.

Still, this picture only wants to entertain its audience, and by and large it does just that. The writing becomes slightly muddled in its precise course of events, and in the particulars, but the major beats are sturdy, and the remainder is sufficiently strong to pick up the slack. When all is said and done it's no great surprise after all that this isn't recalled in the same breath as more acclaimed contemporaries or successors, but even for those issues that do come to one's attention, I don't think any are so severe as to heavily dampen the fun. For what it's worth, the feature also ends on a high note. I don't think this is anything one needs to go out of their way to see, and it may not appeal to those who aren't already enamored of the silent era. But more than not it's very well done, engaging and enjoyable, and ultimately 'Burglar by proxy' is quite worth checking out if you have the opportunity.