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6.7/10
Senior Film Conservator
A definitive 6.7/10 rating for a film that redefined the boundaries of cult cinema. The Cheaters remains a cornerstone of transgressive art.
Alright, let’s talk about The Cheaters. Is it something you absolutely *need* to see today? Probably not for most folks. This one’s really for the film history buffs, especially those keen on early Australian cinema. If you're fascinated by how storytelling on screen looked and felt almost a hundred years ago, you might find some real curious bits here. Otherwise, if you're just looking for a gripping crime flick or a passionate romance, you’ll likely find it pretty… *quaint* and maybe a tad slow. 🕰️
The setup is classic melodrama, really. We’ve got Paula (played by Marie Lorraine), whose father runs a criminal outfit. Not exactly a terrifying mob boss, more like a guy who’s just a bit dodgy in his dealings. Then she meets John (Reg Quartly), and wouldn't you know it, his dad is her father's biggest rival. So, yeah, forbidden love, gangland style. You can see the sparks — or at least, the polite acknowledgment of mutual attraction — from a mile off.
What really grabs you, or at least grabbed me, is the acting style. Marie Lorraine, especially, has this very… *present* quality. Her expressions are broad, very much in that silent film tradition of conveying everything with your face and hands. Even though it’s a talkie, you half expect title cards to pop up explaining her inner turmoil. It’s almost like she’s performing for the back row of a theatre, not for a camera lens right in front of her.
There’s a scene where Paula is just trying to make sense of her dad’s shady business. She confronts him, not with anger, but with this sort of weary disappointment. His response is this incredibly drawn-out, slow nod, like he’s trying to convey menace, but it just comes across as him needing a moment to process. Or maybe his neck was just really stiff that day. It felt a little bit like the director was waiting for the perfect moment for the camera to catch it, and it went on maybe a beat too long. 😅
The "criminal gang" aspect itself is quite something. It's not gritty in the way we think of crime films now. More like a club of slightly dishonest gentlemen. Their "rivalry" with John’s father feels less like a blood feud and more like a long-standing business disagreement, maybe over a particularly nasty game of cards. The tension is there, sure, but it’s a very *civilized* tension. No one’s really getting their hands dirty, you know?
Reg Quartly as John, he’s got that classic matinee idol look. Always composed, always ready to step in and save the day. He projects this unwavering moral compass, even when he’s dealing with the shadier elements. Their romance isn't exactly burning up the screen, though. It’s more of a sweet, earnest connection, built on glances and polite conversations. You don't get the sense of *undeniable passion*, but more of a sensible, respectful pairing.
The pacing of The Cheaters can be a bit of a trip. There are these long, lingering shots where characters are just… existing. Walking across a room, standing by a window, staring into the middle distance. It gives you plenty of time to really soak in the sets, which are actually quite detailed for the era. But it also means that sometimes you feel like you're watching a particularly slow stage play unfold. I actually got up and refilled my coffee during one of the longer sequences, and didn’t feel like I missed a beat.
One visual detail that stuck with me was the way they used shadows. During some of the more suspenseful moments, especially when the gang members are plotting, the light source seems to come from somewhere very specific, creating these dramatic, almost abstract patterns on the walls. It’s a nice touch that hints at a bit more visual ambition than you might expect. They were really playing with light and dark, which is pretty cool. ✨
There’s this one part, a bit of a scuffle, near the climax. And one of the actors, I won't say who, just totally stumbles over their own feet. It's not a big fall, just a clumsy catch. And it's left in! You see it, and for a split second, it feels incredibly real, like a little crack in the polished veneer of the film. I'm not
IMDb —
1927
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