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5.9/10
Archivist John
Senior Editor
A definitive 5.9/10 rating for a film that redefined the boundaries of cult cinema. Be My King remains a cornerstone of transgressive art.
Alright, let's talk about Be My King. Is this something you should dig up and watch today? Honestly, yeah, probably, if you’re into the old silent stuff and a good laugh at some utterly ridiculous physical comedy. If you’re a fan of Lupino Lane, this is a must-see for his particular brand of acrobatics. But if you’re looking for a gripping plot, fast cuts, or anything that feels remotely modern, you might find yourself checking your watch. It’s definitely not for everyone, especially if slow pacing gets under your skin.
The whole setup is just classic: two sailors, Lane and Wallace Lupino, get shipwrecked. Of course they do. And naturally, they end up on an island inhabited by, let's just say, less-than-hospitable folks who’ve got a taste for, um, new protein sources. 😬 The plot is thin, really, just a springboard for gags.
But man, Lupino Lane. What a performer. His rubbery face and incredible agility are on full display here. There’s a scene where he’s trying to escape a cooking pot, and his flailing, desperate movements are just brilliant. He throws himself around with such commitment, you almost forget it’s all pretend. I swear he pulled off a triple somersault just to avoid a spear at one point; it felt almost impossible.
Wallace Lupino, playing the other sailor, is a great foil. He’s often the one reacting with wide-eyed panic while Lane is busy trying some outlandish stunt. Their chemistry is that perfect mix of exasperation and shared terror.
The “cannibal” aspect is, well, very much a product of its time. It’s played for laughs, of course, rather than genuine horror, but it does make you wince a little now and then. The islanders, with their exaggerated costumes and expressions, are more silly than scary. One guy with a really enormous bone through his nose just kept popping up in the background, almost like a running gag.
What really sticks with me is the sheer inventiveness of the physical gags. There’s a sequence where Lane is trying to steal food, and he uses this ridiculously long stick to hook a banana, but then everything goes wrong, and he ends up entangled in vines. It just goes on for about 30 seconds longer than you’d expect, and the sheer *commitment* to the bit makes it hilarious. You can practically hear the director yelling, “More chaos!”
The pacing is… deliberate. Sometimes a reaction shot lingers so long you almost start to feel awkward for the character. It’s a silent film thing, I guess, where every emotion has to be writ large on their faces. But it gives you time to really appreciate the craft of the actors.
I also remember this one shot where they’re hiding in some bushes, and the camera just holds on their wide, terrified eyes. No big action, just pure, unadulterated fear. It's simple but effective. Then suddenly, Lane trips over his own feet for no apparent reason, sending a coconut rolling, which then somehow alerts the whole village. It’s that kind of beautiful, escalating absurdity.
For a film with such a straightforward premise, it manages to pack in a surprising amount of visual comedy. It’s not trying to be high art, just a good time. And for what it is, a brief, silly escapade with one of the era’s great physical comedians, it absolutely delivers. It leaves you feeling like you just watched a very energetic, slightly unhinged stage play. Good stuff. 👍
IMDb 5.2
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