| Users | 0.0 | |
| Reviewer | 3.0 | |
| Overall | 3.0 |
| Western | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.32:1
Original aspect ratio: 1.33:1
Music: Dolby Digital 2.0
None
Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
| Movie | 3.0 | |
| Video | 3.5 | |
| Audio | 3.5 | |
| Extras | 1.0 | |
| Overall | 3.0 |
Despite having an at least decently long career, and despite having some 180 (!) acting credits according to his IMDb page, Tom Tyler isn't especially well remembered these days, and if he is remembered, it tends to be for his turns in the serial versions of Adventures of Captain Marvel and/or The Phantom . But Tyler's career was long enough that it had actually started in the silent era, albeit toward the very end of that lack of recording technology, and in fact both of the films Undercrank has aggregated for this collection stem from 1929, shortly after Warner Brothers famously brought synchronized sound to the movies courtesy of The Jazz Singer .


Note: Screenshots 1, 3, 5, 7 and 9 are from The
Law of the Plains. Screenshots 2, 4, 6, and 8 are from
The Man from
Nevada. Per Undercrank's standard operating
procedure, these are offered on a BD-R.
The Tom Tyler Silent Film Collection is presented on
Blu-ray courtesy of Undercrank Productions with AVC
encoded 1080p transfers in
1.32:1. Each of the features has some information text
offered at the end of the films, as follows:
The Law of the Plains was digitally restored by Undercrank Productions in 2K from a 35mm nitrate print at the Library of Congress. Missing intertitles have been recreated in teh style of the surviving material.These are quite decent looking for the most part, though those unacquainted with how badly damaged older silents can be may be momentarily dismayed by the at times obvious scratches, nicks and slightly unstable frames. That said, neither of these films has any of the horrible mold or emulsion related damage I've seen in any number of other transfers of silents that I've reviewed, and clarity and detail levels are generally quite commendable throughout, at least contextually speaking with an understanding of the technologies of the day and a prevalence for midrange framings. As can be seen in the screenshots accompanying this review, The Man from Nevada has a sepia tone, while The Law of the Plains is in more traditional black and white.
The Man from Nevada was digitally restored by the USC HMH Foundation Moving Image Archive in 2K from a 35mm nitrate print in the Dino Everett Collection at the UCLA Film & Television Archive.

Undercrank Productions is the brainchild of composer Ben Model, who contributes two more appealing scores to these films, albeit offered in Dolby Digital 2.0 rather than a lossless codec. One score features a "virtual" organ, while the other is piano, and both offer good, at times downright jaunty, accompaniments. I obviously would have preferred lossless audio, even with perceived "solo" instruments, but fidelity here is fine, again contextually speaking.


These two films aren't exactly epics, but they were the sort of film that provided bread and butter income for countless local movie emporia back in the day. Technical merits are decent considering the age of the material, and the included slideshow really appealing, for anyone who may be considering making a purchase.