In the Name of the Law is a 1922 American silent melodrama directed by Emory Johnson with Dick Posson acting as assistant director.

One day, while Harry is at work, somebody leaves a sizable sum of money in a pair of pants needing pressing.

Then, as a precursor to similar scenes from the TV series Perry Mason, the Bank President, Mr. Lucus, stands up.

[12] The average cost per FBO production was $50,000 to $75,000 equivalent to $910,139 to $1,365,209 in 2021 compared to the Major film studios which could spend five times as much to produce a movie.

FBO also produced and distributed a limited number of big-budget features labeled "Gold Bond" or "Special" productions.

While driving down San Francisco's Market Street en route, he failed to stop at an intersection.

Before FBO even considered allowing a neophyte to direct his first film, Johnson had to convince them to finance a non-comedic movie about police officers.

During his career at FBO, he would earn titles like the "Master of Melodrama", "King of Exploitation", and "Hero of the Working Class".

[b] Johnson would continue to thrive as an independent director because he did not just make epic films; he made bankable movies focusing on subjects he and his mother held dear.

Police were no longer shown as bumbling stumblebums featured in the trendy comedic short subject films of the early part of the 1900s, e.g. Keystone Cops.

"The greatest appeal in pictures is not in extravagant spectacles, historical pageants, or adaptation of fairy tales.

Emilie Johnson wrote stories about lunch pail characters living paycheck-to-paycheck like law enforcement officers, firefighters, mail carriers, railroad engineers, patriots, baseball players, and newspaper press operators.

This information is vital because future bookings always reference sell-out crowds in New York to prove its attraction power.

The producers also encouraged local merchants to use the officer's graphic holding his hand up to sell their products.

The police hoped the film would increase their image from bad-tempered dour automatons to ordinary family men but committed to maintaining the Law.

Reviews of movies printed in various trade magazines were indispensable in deciding whether to book or watch the film.

They concentrate on family issues, direct their attention to a victim's character, and develop the themes of duty and love.

The melodramatic format shows the characters working through their struggles with persistence, sacrificial deeds, and courage.

This should mean very definite success for the picture with the brass-buttoned tribe, as well as the not inconsiderable number of those who have always been in close sympathy with the policeman and his troubles.Picture of family's life with strong dramatic touches should have broad appeal."

With proper exploitation certain to be given by those exhibitors who believe in advertising, there is no reason FBO would feel worried over the returns.

The only fault which we found with it is the rather arbitrary leaning of the director in shaping a melodramatic finish - a result that reveals the characters as not over-blessed with imagination."

"This is a real old fashioned melodramatic picture, full of thrills, home life stuff, mother love, and exploitation angles sufficient to permit of its being put over in a big way.

Lovers of thrills as dealt out in rapid-fire melodramatic picturization of home life stories, will find plenty to satisfy them."

Like most independents, FBO depended on the movie house owners to renting their films to show a profit.

Movie magazines would show the film's branding, critical reviews and publish other managers' viewpoints, including attendance numbers and revenue.

The entire police force of Oklahoma City were invited as guests and all became big boosters for the picture.

– General patronage"I paid way above the average rental on this picture, but the cost is nothing when you have something you are not ashamed to get behind and boost, and at the end of a run, you have something to show for your efforts.

Even today, various online platforms refer to In the Name of the Law, as a film featuring Honus Wagner catching baseballs thrown from a building roof.

The confusion occurred when Honus Wagner participated in the movie exploitation campaign staged in Pittsburgh, Pennsylvania.

FBO coordinated with the Pittsburgh police department to promote the film and launched an exploitation campaign.