A bit of a let down for Harry Langdon. It hasn’t the popular laughing quality of his other full-length productions, principally because the sympathetic element is over-developed at the expense of the gags and the stunts that made The Strong Man a riot. By anybody else the picture would be hailed as a great production.
The opening is exceedingly quiet. It is here that the picture seeks to build up a sympathetic background for the Boy, giving a semi-serious twist calculated to heighten its subsequent clowning.
Later on, when they get into rougher material, there are several highly effective comic passages. One of the best is the incident where Langdon, who has unwittingly helped a woman criminal to escape jail in a packing case, sees what he thinks is a policeman sitting on the box. He takes up a position across the street and tries by half a dozen absurd ruses to draw away the cop.