Is Conan Doyle Right?

This 1923 cinematic artifact operates as a rigorous, albeit stylistically primitive, forensic investigation into the burgeoning obsession with the occult that gripped a post-Armistice society. Jack Harvey’s lens pivots from the deductive logic associated with Sherlock Holmes to the ethereal preoccupations of its creator, Arthur Conan Doyle, who had become the standard-bearer for the Spiritualist movement. The film meticulously deconstructs the theatricality of the séance, utilizing the very medium of illusion—cinema—to unmask the sleight of hand, double exposures, and psychological manipulations employed by self-proclaimed mediums. It serves as a visual polemic, juxtaposing the desperate human desire for metaphysical closure against the cold, mechanical scrutiny of the camera. By dissecting the 'ectoplasmic' manifestations and spirit photography that Doyle championed, the documentary transforms into a battlefield between Victorian rationalism and the yearning for a transcendental connection with the departed, ultimately questioning whether the 'Great Beyond' is a legitimate frontier or merely a lucrative industry built on the foundations of collective grief.