Summary
Picture, if you can, a rust-belt metropolis where streetlights hum like dying cicadas and every alley exhales metallic dust. Into this soot-choked dreamscape rolls a solitary ball bearing—perfect, gleaming, and apparently purposeless—down a moonlit railway track. The sphere becomes a silent protagonist, a talisman of momentum, colliding with the fates of a half-dead amusement-park mechanic (Herbert Fernandes), a fugitive safecracker nursing a bullet graze (Bobby Burns), a dime-museum contortionist who dreams in stop-motion (Jobyna Ralston), and a night-watchman poet who records the city’s cardiac rhythms in a water-logged ledger (Hilliard Karr). Each time the bearing ricochets—through a shuttered carousel, across an ice-house roof, into the cuff of a corpse—it resets their appetites for escape, betrayal, or grace. James Renfroe’s camera, drunk on chiaroscuro, chases the orb as though it were the last firefly of industry, while intertitles arrive like broken telegrams from a god who owes everyone money. What emerges is a celluloid fugue: part heist, part pilgrim’s regress, stitched together with such frenetic montage that even the sprocket holes seem to sweat. By the time the bearing vaults into the Cuyahoga River and sinks, the characters have traded their shadows for one another’s, and the city itself—half Glasgow, half Gethsemane—exhales a sigh of oxidized relief.
Synopsis
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