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Director's Spotlight
Senior Film Conservator
Director's Spotlight: United States
A Deep Dive into the 1918 Vision of Tom Terriss
The 1918 release of The Business of Life marked a significant moment for the stylistic boundaries pushed by Tom Terriss during the production. In the context of United States's rich cinematic history, it invites us to question our own perceptions of cult narratives.
In The Business of Life, Tom Terriss pushes the boundaries of conventional narrative. The film's unique approach to its subject matter has sparked endless debates and interpretations among cinephiles and critics alike.
| Cinematography | Static |
| Soundtrack | Diegetic |
| Editing | Rhythmic |
| Art Direction | Naturalist |
Visualizing the convergence of Tom Terriss's style and the core cult narrative.
Carrying on with the antique business of her deceased father, Jacqueline Nevers (Alice Joyce) is asked to catalog James Desboro's (Walter McGrail) collection. When they fall in love, it induces the jealousy of Elena Clydesdale, a married woman who is also in love with James. Jacqueline and James marry, but Elena endangers their happiness by announcing that she and James are having an affair. When Elena becomes ill, she becomes reconciled with her husband and confesses her lies to Jacqueline, permitting the newlyweds to live in peace.
Decades after its release, The Business of Life remains a vital piece of the cinematic puzzle. Its influence can be seen in countless modern works, solidifying Tom Terriss's status as a master of the craft in United States and beyond.