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Lon Chaney in Tod Browning's "Outside The Law" (1920)

Silent Madden (Ralph Lewis), a criminal leader in San Francisco, and his gangster daughter Molly (Priscilla Dean) have forsaken a life of crime after receiving counsel from Chang Lo (E. Alyn Warren), a Confucianist philosopher living in Chinatown. A despicable gangster named Black Mike Sylva (Lon Chaney) frames Molly's father for murder, causing Molly to lose faith in abiding the law and prompting her return to a life of crime. Black Mike plots to double-cross Molly as well during a jewelry theft, but Molly gets word from her gangster lover and foils Black Mike's plans. While hiding out from the law, Molly's hard heart is slowly melted by her gangster lover. The film ends with a climactic shootout in Chinatown. Through clever editing, Chaney's "Ah Wing" character shoots his "Black Mike" Silva character during the melee. The shootout itself took two weeks to film, although it only lasts a few minutes on screen. Outside the Law is a 1920 American pre-Code crime film produced, directed and co-written by Tod Browning. One of a series of Universal Pictures vehicles produced for Priscilla Dean, and featuring Lon Chaney in dual supporting roles and his second pairing with director Tod Browning. This was the first time Chaney played an Asian character. Browning would remake the film in 1930 with a pre-Little Caesar Edward G. Robinson in Chaney's 1920 role as a gang leader. "Outside the Law" is considered to be one of the first psychologically driven films in the gangster genre. The picture was the second film on which Browning worked with Lon Chaney. The contrasting dual roles Browning wrote for Chaney as a heroic Chinese servant and an evil gangster are considered to have solidified the long-lasting collaboration between the two. This is one of only a handful of Browning's films that is not a horror film. The film has been commended for its strong female lead, saying actress Priscilla Dean in this picture is a film revelation, she goes to the fore and remains there. In contrast to many films of the period, it generally depicts its Chinese characters favorably, most notably by having characters invested in the Confucian teachings of the teacher character, Chang Lo. Browning, a Freemason, frequently used religious themes in his pictures. Film historian Alfred Eaker describes Browning’s cinematic handling of Silky Moll’s redemptive epiphany: "It is not until Silky sees the shadow of the cross in her apartment that her tough facade gives way. Browning is not one to allow for a genuinely supernatural mode of transformation and reveals that the cross shadow is merely a broken kite, but its psychological effect is manifested in her actions, and her beauty... as Silky begins to drift away from a life of bitterness and crime, towards redemption, she physically grows more beautiful (a transformation achieved through soft lighting and composition). It is not the inspired symbology of the cross alone, but the prophecy of Chang Lo that frames the outcome.” Film critic Alec Charles remarks upon the significance of the “cross-kite” imagery that may foreshadow Soviet director Sergei Eisenstein’s use of crucifix configurations in Battleship Potemkin (1925) where two condemned sailors hang from the yardarms: “Five years earlier than Eisenstein, Browning had employed a similar piece of [Christian] symbolism (in the form of a shattered kite) suggesting that the film’s two thieves might, in a squalid, broken and unglamorous way, find their own salvation...and escape the fate of [crucifixion]...the possibility of advancing an athletic comparison...authorizes a reading of Browning’s discontinuities as intentional [and] anticipating Eisenstein.” "Lon Chaney plays the role of the arch-criminal 'Black Mike' Sylva, and also interpolates an interesting Chinese part. The Chinaman shoots 'Black Mike' in a double exposure scene at the close. The subject contains many shooting affairs of a cold-blooded sort and deals almost entirely with criminality. From a technical standpoint, its eight reels are justified, but an artificial story of this type, even when sumptuously mounted, will doubtless prove tiring to many spectators." - Moving Picture World "Not much time is lost in this photodrama in getting down to the business of slaughter. Half a dozen lives are blotted out in less time than it takes to write about it, and those who have used their pistols efficiently either smile, continue the story they were telling or go on with the crap game. Mr. Chaney even then proved himself a proficient actor. He is seen as a Chinese and also as 'Black Mike.' Mr. Chaney inculcates viciousness and strength in the latter character, and is remarkably well made up as the faithful yellow man." -The New York Times "One of the most powerful melodramas seen on the screen. It is strong, but free from brutal or depressing situations, and yet one of the fiercest fights ever staged on the screen takes place in it. It is a clean picture."- Harrison's Reports