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Originally released in the U.S. in 1925 as The Wall Street Whiz, this comedy about mistaken identity among the skyscrapers of Manhattan was essentially a vehicle for Richard Talmadge, a professional stuntman turned action hero who appeared in 34 silent films, 16 of them produced, as this one was, by his own company. They were thin on plot but bristled with daring physical feats in which the hero did his own stunt work. Generally ignored by the critics, they made little impression except on the Saturday matinee crowd: their profits came from aggressive marketing overseas, where Talmadge became better known than in the U.S. Under Soviet auspices the film industry was encouraged as a leading communications medium, and under Lenins new economic policy many foreign films were imported . . .The head of poster production, an artist named Yakov Ruklevsky, recruited a brilliant group of avant-garde constructionist designers. Of these, the most prolific and talented were the brothers, Vladimir and Georgi Stenberg . . .While techniques of film and photomontage were the point of departure for their posters, the . . . brothers, masters of color and the lithographic process, preferred to draw their images. The facilities available for printing photographic images simply did not give them the sharpness and color they desired. However, the photographic quality of their renderings was achieved by a primitive method of projecting film and photographic images to the desired size and them drawing over them. The Stenbergs incorporated this same image of Talmadge, smiling in his tweed cap, into most of their posters for his films from about 1923 on.
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