In the event that you are ever teaching film, and want to show your students the difference between silent acting and sound--look no further than Conrad Nagel. Nagel's performance is equally theatrical and wooden--it might look natural at silent speed, but in the cold light of sound, he's quite a bit to take. It's a double role--pre and post amnesia. In the former he's an insufferably boorish creature and waiting for his beating isn't enough to sustain my interest. Post-amnesia, he gets a fur hat that he really seems to enjoy, and a new lease on life--that he all too quickly abandons. Loretta Young is a genuine star and twinklings of this brighten the second half.
Many of the problems with The Right Of Way--other than Nagel--seem to be rooted in the source material, which I won't be reading.
Also, this is a very strange take on Quebec or its people--even for its day.