Stop That Man! – A Zany Silent Chase That's Still Got Some Pep

Alright, so Stop That Man! from way back in 1928? It’s absolutely worth a look if you’re into silent cinema or just curious about how movies used to, well, *move*. If you like a good, honest slapstick, a bit of exaggerated expressions, and the charm of a bygone era, you’ll probably get a kick out of it. But if you need snappy dialogue, a complex plot, or anything made after, say, 1950, you might find yourself checking your watch.

The whole thing kicks off with Arthur Lake playing this fellow, let’s call him Jim, who just seems to be in the wrong place at the wrongest time. He’s trying to impress Barbara Kent’s character, the lovely Mary, and suddenly a valuable locket goes missing. Enter George Siegmann’s scowling villain, and Jim’s suddenly the prime suspect, or at least, the one in the way. 🤷‍♂️

What follows is mostly Jim trying to, you guessed it, stop that man! The chase scenes are the real backbone here. There’s one bit where Jim is scrambling over a fence, and his hat just *will not* stay on. It’s a tiny thing, but it happens like three times, and you start to wonder if it’s a running gag or if the prop department just had one hat. It makes the whole frantic energy feel a bit more real, somehow, because even in a chase, hats are still a nuisance.

Arthur Lake is just a marvel of physical comedy. He does this thing with his eyebrows, where they just shoot up when he’s surprised, and it’s so over-the-top you can’t help but chuckle. There’s a scene where he tries to discreetly listen in on a conversation, and he’s practically doing a full-body mime of someone trying to be invisible, leaning and craning and almost falling over. It’s **pure gold** in terms of silent acting.

The intertitles are pretty sparse, which is kinda neat. It makes you pay closer attention to the actors’ faces and movements. But then there’s one that just says, “*Aha! The scoundrel has escaped!*” and it felt like something out of a comic strip. It’s a little clunky, and that’s part of its charm. Like a friend telling a story, and they get a bit dramatic with the words.

Joseph W. Girard, as the stern police chief or whoever he was, has this one reaction shot that lingers a bit too long after Jim trips over a rug. You can almost feel the director thinking, “Let’s hold on this. Let’s *really* let the audience get a good look at that annoyed face.” It goes on for a good five seconds more than it should, making it almost funny in its insistence.

It’s not a deep film. Not by a long shot. It’s a series of escalating mishaps and a whole lot of running around. But it feels *honest* in its silliness. The stakes aren’t world-ending, just a guy trying to get a girl and catch a thief. It’s refreshing, honestly, to just see a film be what it is without trying to be some grand statement. Just a little piece of movie history, still ticking.

Did I notice a few things?

• The cars look so tiny! 🚗
• George Siegmann’s mustache is practically a character itself. It just radiates menace.
• Every time Jim tries to sneak, he somehow makes more noise.
• The sets, especially the bank office, look oddly sparse, like they were still moving furniture in.
• Barbara Kent’s dresses are absolutely gorgeous, even in black and white.
• The final chase through the market, with all the fruit carts, felt like they were having a *lot* of fun smashing things up. 🍎💥