Mack Swain and that Great Keystone Editing

Mack Swain

May Emory

Vin Moore

Mack Sennett

Swain&apos;s rich uncle who has promised him a check for $5,000 if he becomes the father of a son. Not long afterward a boy is born and the father is overjoyed at the prospect of the small fortune that is coming to him. Seeing all this...

Fred Hibbard

By Stork Delivery

Mack Swain and May Emory welcome their first son, but their daughter feels neglected. She takes him outside to play with Luke the Dog. When Luke takes off, the baby goes along with him, so it&apos;s time for a chase in this fine Keystone comedy.

There was no more skilled a scene stealer in the silents that Mack Swain, and he has the lead here. Everyone gets screen time, because of the great editing that Mack Sennett commanded through the end of the silent era -- arguably the best. Notice the cutting between the principles in the chase sequence. Contrary to what many people think, there was nothing primitive about Keystone&apos;s cinematic universe. It may be alien to our modern viewpoint, but surely you don&apos;t think the two are equivalent.

Mack Swain and May Emory welcome their first son, but their daughter feels neglected. She takes him outside to play with Luke the Dog. When Luke takes off, the baby goes along with him, so it's time for a chase in this fine Keystone comedy.

There was no more skilled a scene stealer in the silents that Mack Swain, and he has the lead here. Everyone gets screen time, because of the great editing that Mack Sennett commanded through the end of the silent era -- arguably the best. Notice the cutting between the principles in the chase sequence. Contrary to what many people think, there was nothing primitive about Keystone's cinematic universe. It may be alien to our modern viewpoint, but surely you don't think the two are equivalent.

Swain's rich uncle who has promised him a check for $5,000 if he becomes the father of a son. Not long afterward a boy is born and the father is overjoyed at the prospect of the small fortune that is coming to him. Seeing all this fuss made over her baby brother, the daughter of the family becomes jealous and hides him in the doghouse. The newspapers carry a story of a mysterious kidnapper, and when Ms. Emory reads it and discovers that her child is missing, she starts a mad search. At the railroad station Swain sees a veiled woman hand a baby to a stranger, snatches the child, and goes home to place it in a crib before Uncle arrives. The stranger, who proves to be Uncle, reaches the house in hot pursuit, followed by the woman. They look in the crib and see a Black baby, the janitor's wife's child. When all seems lost, a note written by the unhappy big sister is found, admitting that she hid her baby brother in the doghouse. As all rush into the yard, the dog chained to the house has started after another dog, dragging the structure behind him. The dogs dash down the railroad track with the pursuers following on handcars, a locomotive, and a train. When the chase ends no baby is to be found. Returning home in despair, Swain finds his offspring in the yard, Uncle writes the check, and the picture ends.

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