Banker Leon Errol goes on a fishing vacation when everyone in town thinks he is in Washington, meeting with the Vice-President. While on vacation, he is made a blood brother of the local tribe. He returns home to discover that the Vice-President is coming to town to talk about Indians, his daughter, Mildred Coles, wants to elope with Kenneth Howell, his snobby wife has imported a loser as a house guest and the Indians have come to visit.
It's directed by Charles E. Roberts, the frequent director of Leon's RKO shorts, and the writers have similar credits. That may be why this studio-bound production feels like two or three Leon Errol shorts squashed together. There is a serious subplot dealing with Indian rights. However, while Mr. Errol's mugging is very funny when he is in a supporting role, or in a high-speed two-reeler, at 65 minutes, it feels forced and contrived.
It's all a matter of taste, and there's little to complain about the technical side of the production, with Nick Musuraca behind the camera; he had entered the industry by being the chauffeur to J. Stuart Blackton. There are also a plethora of fine silent comics in small bit, making the most of their roles. Yet, as William Wyler, who knew how to make great movies, said: "It's 80% script and 20% you get great actors. There's nothing else to it." The great script isn't here.
It's directed by Charles E. Roberts, the frequent director of Leon's RKO shorts, and the writers have similar credits. That may be why this studio-bound production feels like two or three Leon Errol shorts squashed together. There is a serious subplot dealing with Indian rights. However, while Mr. Errol's mugging is very funny when he is in a supporting role, or in a high-speed two-reeler, at 65 minutes, it feels forced and contrived.
It's all a matter of taste, and there's little to complain about the technical side of the production, with Nick Musuraca behind the camera; he had entered the industry by being the chauffeur to J. Stuart Blackton. There are also a plethora of fine silent comics in small bit, making the most of their roles. Yet, as William Wyler, who knew how to make great movies, said: "It's 80% script and 20% you get great actors. There's nothing else to it." The great script isn't here.