By the Law

By the Law tells the tale of five people who have set up camp in the Yukon in hopes of finding gold. From the moment one of the gang— Dennin—finds gold, it is easy to tell that he is the outsider; one can quickly foreshadow that he is probably going to do something drastic later in the film. Indeed, soon enough—he does do something drastic: he comes in while others are eating and loses it—he takes his shotgun and shoots two of the five dead on the spot. The other two—husband and wife—are able to subdue him before he can do anything else. They are then left with a decision: do they wait until they can make it back to civilization to give him a trial, or do they take the law into their own hands and conduct the trial and sentencing themselves? This film doesn't have very many action scenes, but the one action scene—the scene where Dennin goes crazy and kills his fellow gold miners—is quite something. Kuleshov's use of montage seems to make the quick paced scene go even faster than it actually does. This one scene of action provides a lot of excitement for an otherwise dull movie. Another thing that stands out in the action scene is the way Kuleshov really focuses on the actors' faces. Their expressions add a whole different emotional effect that would not have otherwise been present. Another interesting part of this film is the fact that even a painting—Queen Victoria— can cause the Kuleshov effect to occur. During the trial Kuleshov flashes the camera back to her several different times and it seems almost as if her expression changes— even though it is very clear that as a painting it has not. Kuleshov does a great job using modernist techniques to give this story life.

If there was a specific characteristic among the Russian films after the Bolshevik's advent to power, it was a special care about film aesthetics circumscribed in propaganda; avant-garde films that perfectly combined a political message with fascinating imagery. However sometimes Bolshevik films deviated from that norm thanks to the mastery and inventiveness of their directors.

That certainly happens with "Po Zakonu" ( By The Law ), an astounding and brilliant cinematographic exercise directed by Herr Lev Kuleshov in the silent year of 1926. Herr Kuleshov's film theories play an important part in the success of the film.

The film tells the story of five gold prospectors on the banks of the Yukon River trapped during a terrible winter and is an adaptation of Herr Jack London's story "The Unexpected".

With minimal sets and cast ( this was a personal challenge for Herr Kuleshov, the claim that it is possible to accomplish a great film with few resources ) "Po Zakonu" is a remarkable and disturbing masterpiece. Fascinating shots of a wild environment ( nature is a main and decisive character in the film ) emphasize the claustrophobic atmosphere that drives the characters to desperation in their solitude (one of them shoots two other members of the crew).

The film is also a disturbing physiological study wherein every gesture and facial expression is studied as well as the impressive Russian body language. Here the avant-garde technique is in the service of a nightmarish atmosphere and tense drama.

And now, if you'll allow me, I must temporarily take my leave because this German Count must dig for gold in one of his Teutonic heiresses' private rooms.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

By the Law is a 1926 film based off of the Jack London story The Unexpected. As a big fan of Jack London's Call of the Wild and White Fang I was interested in seeing how London's wilderness and survival focused work would be portrayed in a film from this time period. We are presented with 5 characters originally, and with their combined presence it is nearly impossible to foster any kind of emotional connection with any of them. However, things are made slightly better when we are left to focus on Michael, Edith and Nelson though they still lack any real depth. Kuleshov made use of a great deal of close up shots, stressing the emotion shown in the faces of his actors.

Simply put, By the Law is far from the most exciting film I have watched. Jack London's work was so dependent on vivid descriptions of the wilderness and the mental state of his main character; Kuleshov was unable to recreate that experience with technological limitations playing a major role. Technology aside, there was way too many moments where the viewer was left to watch the actors sit idly and I did not feel like these served as tension building moments that could have helped the film.

By the Law managed to do a few things well. The lone action scene was surprisingly good and managed to quicken the pace of the film. The ending of the film was also pretty good, playing right into the title of the Jack London's original work. All in all, By the Law would be considered a rather boring film by our modern standards with its mechanical nature being its downfall..

By The Law was adapted from "The Unexpected," a short story by American author Jack London, published in 1906, that tells the story of Edith and Hans Nelson, a couple who encounter the unpredictable realities of life and survival, especially in the wilderness, and must adapt to sudden hardships and grave situations to endure. The story explores themes of resilience, the stark difference between the adaptable and the unfit, and the ability to confront the unforeseen challenges of life. The story begins in Chicago and moves to the rugged landscapes of the American West and British Columbia, reflecting the challenges of mining and frontier life.

Themes: the Nelsons' experiences illustrate the concept of survival of the fittest, particularly in the face of The Unexpected. Edith's ability to adapt, rather than being overwhelmed, exemplifies how the "fit" survive, while those less adaptable may perish.

Key Aspects Survival and Adaptation: The story highlights the necessity of adjusting to changing and difficult circumstances, as opposed to rigid adherence to routine.

Grit and Fortitude: The narrative emphasizes the mental and physical endurance required to navigate the unpredictable challenges of the wilderness.

Social Darwinism: Kuleshov's film does reflect the principles of social Darwinism, examining who survives when faced with overwhelming pressures.

With a gripping story and effective technique that establishes a memorable atmosphere and heightens the suspense, this lesser-known Russian-made silent melodrama is well worth tracking down. The plot, which (interesting to note) comes from a Jack London story, is quite efficient in getting a world of possibilities out of a situation that involves only a handful of characters. The technique relies mostly on the kind of montage approach that some of the Soviet film-makers apparently favored, and it shows how effective that technique can be when used in the right setting.

Set in a remote, frozen, and often claustrophobic location in the Yukon, the story focuses on the dilemmas faced by a husband and wife who must contend with a crazed killer even as they battle the elements. Both the practical challenges and the ethical/moral decisions they face are brought out well by the way that many short takes are pieced together in a fashion that constantly emphasizes the unstable and confused nature of the situation that the characters face. Only some occasional overacting (especially by the wife character) detracts from the effect, and it all leads up to a compelling final sequence. Overall, it's a distinctive and most interesting film that works quite well.