Neal, en route to meet his girl, is arrested for speeding and hires a thug to take his place, expecting a "five day" sentence. The judge gives him six months.

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Comparing the cinematic DNA and archive impact of two defining moments in cult history.

Walter Graham

Henry Edwards
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In the frenetic landscape of 1925’s silent farce, 'Call a Cop' emerges as a labyrinthine comedy of vicarious retribution. Neal, a socialite propelled by the urgency of romantic pursuit, finds his velocity curtailed by the stern hand of the law. In a gambit of spectacular hubris, he subcontracts his impending incarceration to a local ruffian, anticipating a mere five-day detour in the annals of justice. However, the gavel falls with unforeseen weight—six months of durance vile. The narrative spiral intensifies when the disgruntled proxy effectuates a daring escape, transforming a legal loophole into a predatory pursuit. Complicating this kinetic chaos is a sudden windfall of inheritance, sparking a desperate race between the legitimate heir and his criminal surrogate. From Neal’s paradoxical attempts to infiltrate the very prison he once shunned to a climactic, delirious scramble through a lawyer’s residence involving porters, paramours, and pyrotechnics, the film dissects the absurdity of legal evasion with breathless, slapstick precision.
Neal, en route to meet his girl, is arrested for speeding and hires a thug to take his place, expecting a "five day" sentence. The judge gives him six months. The thug breaks jail and chases Neal and the "plot" is further complicated by an inheritance left Neal, which both he and the thug try to get. Neal even tries to break into jail, but without success. He chokes his girl and the cop says "Treat 'Em Rough," a false alarm turns out to be a real fire, etc. Finally, there is a chase all over the lawyer's house in which his porter, Neal, the girl, and the thug participate.
Frank Roland Conklin
United States

1925 · IMDb 6.5

