Nearly 100 years ago, Hollywood legends Joan Crawford and William A. Wellman united for the first time. As it happens, 1926’s silent comedy The Boob became their only pairing.

Nerdy Peter Good (George K. Arthur) loves his longtime friend Amy (Getrude Olmstead). However, she becomes smitten by suave and urbane Harry Benson (Tony D'Algy).

When he comes to believe Harry bootlegs booze in that Prohibition era, Peter attempts to catch him in the act and prove his manly worth to Amy. This leads to a variety of encounters and challenges for Peter.

Potentially comedic encounters and challenges, of course. The question becomes whether or not Boob generates any actual amusement from its various scenarios.

My answer? Not really, as Boob fails to fin a lot of real creativity or entertainment value.

Not that it becomes a boring effort, however. At a mere 60 minutes, Boob goes by pretty quickly, and it musters enough shenanigans to keep the viewer mildly engaged.

However, it never rises above that level, and Boob tends to feel like a melange of silent comedy influences. You’ll find Chaplin, Keaton and others evident here, all of which mean Boob never makes its own name.

It doesn’t help that even with a simple plot, Boob tends to feel muddled and confused. Really, the “story” exists more as an excuse to cobble together scenes that convey drama, action, romance or comedy, dependent on the filmmakers’ moods.

Again, this never becomes a bad experience, but Boob simply lacks the spark that the better silent flicks enjoyed. It feels like a perfunctory effort without much to impress the viewer.

Arthur does prove likable as our lead. While clearly not as talented as the silent comic stars of the era, at least he offers an engaging presence.

As for Crawford, she doesn’t appear until almost halfway into Boob and doesn’t get a lot to do. As such, don’t expect her to stand out as memorable.

That goes for Boob as a whole. Perfectly watchable and no more than that, this turns into a minor diversion.

The Boob appears in an aspect ratio of 1.33:1 on this Blu-ray Disc. While clearly a product of its era, Boob nonetheless held up well over the last 98 years.

Sharpness worked fine within the constraints of the source. Though the film never seemed especially crisp, delineation nonetheless felt appealing, with the only prominent softness an outgrowth of the original film.

No issues with jagged edges or shimmering occurred, and I saw no edge haloes. Grain felt natural, and print flaws were minimal to the point of near non-existence.

Blacks seemed deep and dense, while shadows offered solid clarity. Admittedly, I graded on a curve to give Boob an “A-“, but it looked so much better than one would expect of a film from 1926 that it deserved such praise.

Recorded in 2003, Boob came with a DTS-HD MA 2.0 score. This spread the entirely piano-based music across the front speakers.

These elements showed nice stereo presence and good fidelity. There wasn’t much to the mix since it only brought piano material, but the disc reproduced the music well.

Although no Boob-specific extras appear here, it comes paired with a second silent film: Why Be Good? from 1929.

As a silent comedy, The Boob becomes a moderately entertaining experience. Nothing about it really impresses, but it offers some mild amusement. The Blu-ray delivers strong visuals and appealing audio but it brings no supplements related to the film itself. Silent film fans will probably want to take a gander at this one, mediocre as it seems.