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Director's Spotlight
Senior Film Conservator
Director's Spotlight: United States
A Deep Dive into the 1922 Vision of William Desmond Taylor
The enduring fascination with The Top of New York is a testament to the defining moment in Drama history that William Desmond Taylor helped create. This film stands as a masterclass in visual storytelling, it has cemented its place in the global cult cinema archive.
In The Top of New York, William Desmond Taylor 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.
While deeply rooted in United States, The Top of New York has achieved a global reach, influencing directors from various backgrounds. Its ability to translate Drama tropes into a universal cinematic language is why it remains a cult staple decades after its 1922 release.
| Cinematography | Handheld |
| Soundtrack | Experimental |
| Editing | Invisible |
| Art Direction | Kitsch |
Visualizing the convergence of William Desmond Taylor's style and the core Drama narrative.
Hilda O'Shaunnessey lives in a New York City tenement with her younger, invalid brother, Mickey, and relatives Mr. and Mrs. Brady. Because of Mickey's frail health, the boy spends most of his time on the roof, and Hilda works as a clerk in a department store toy department to raise enough money to send him to a sanitarium. Mickey befriends a little girl, Susan Gray, who lives with her single, artist father, Emery Gray, in a bungalow on the adjoining roof; when Emery meets Hilda, he is impressed by her devotion to her brother. As Christmas season approaches, Hilda takes an extra job in the toy department dressing up as animated dolls. Soon she catches the attention of the store's leering proprietor, Gregory Stearns, who makes several advances toward the young beauty, and asks what gift she would like for Christmas. Knowing what the older, wealthy man has in store for her, and seeing a way out of her troubles, Hilda asks for an expensive fur coat. When Stearns delivers the gift, Hilda pawns it to pay for Mickey's treatment at the sanitarium, then hurries to the roof to commit suicide before yielding to her employer's desires. However, Emery Gray prevents her from jumping, and exposes Stearns as the man who stole his wife. Emery asks for Hilda's hand in marriage, and Mickey is cured in the hospital.
Decades after its release, The Top of New York remains a vital piece of the cinematic puzzle. Its influence can be seen in countless modern works, solidifying William Desmond Taylor's status as a master of the craft in United States and beyond.