By John T. Soister
Through the Silent period, whilst such a lot movies handled dramatic or comedic takes at the "boy meets lady, boy loses woman" subject, different movies dared to take on such subject matters as rejuvenation, revivication, mesmerism, the supernatural and the ugly. A Daughter of the Gods (1916), The Phantom of the Opera (1925), The Magician (1926) and 7 Footprints to devil (1929) have been one of the strange and startling movies containing tale components that went a ways past the area of "highly unlikely." utilizing surviving documentation and their mixed services, the authors catalog and speak about those departures from the norm during this encyclopedic consultant to American horror, technological know-how fiction and delusion within the years from 1913 via 1929.
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Extra resources for American Silent Horror, Science Fiction and Fantasy Feature Films, 1913-1929
W. Grifﬁth) before attempting to commune with his muse. A stuffed raven takes up residence on a bust atop a chifferobe, courtesy of the camera stopping long enough for it to be placed there. ) This abrupt appearance inspires the poet to write furiously, declaim the results to his wife, and then rush out. After more declaiming in a publisher’s ofﬁce, Poe negotiates the sale of his handiwork and heads home with a quilt for his ailing wife; however, in the act of spreading it over her tenderly, he discovers that she has died during his absence.
Virginia is a real “American beauty,” as father and mother both proudly call her, and little Dorothy is the ﬂower of the family. Into his home Vandergriff welcomes Emanon, who also professes to be an advocate of peace, but who in reality is a spy. Emanon is a distinctly foreign type, polished of manner, suave and oily of tongue, and a two-poled magnet draws him to the Vandergriff household — its master’s enthusiastic support of Peaceful Policies, and the charm and beauty of Virginia (to say nothing of the many good American dollars that would constitute her dowry for the lucky individual who leads her to the altar).
Nonetheless, toward the end — as the criminal advances on Dale and the close-up cuts off the ears but reveals a gaping mouthful of nasty tusks—the mask becomes truly frightening. And is it just coincidence that Lizzie’s peculiar headgear sports an outsize white bow that mirrors The Bat’s ears? In the time that passed between ﬁlming The Monster and The Bat, there had been a shake-up at United Artists, and West’s old crony, Joseph Schenck, assumed control of the studio; he promptly invited West to join the company and thus all of West’s ﬁlms from that point on would be under the UA banner.
American Silent Horror, Science Fiction and Fantasy Feature Films, 1913-1929 by John T. Soister