
Young Janet Barnes is jilted by fiance Ernest Morgan for Suzette Sparks, who comes from a rich family. Angered, Janet sends him a photo of the elaborate and elegant mansion next to her house, implying that is actually her home.

Beatrice Van, Elizabeth Mahoney
United States

The camera opens on a close-up of a letter—thick cream stock, bruised-purple ink—being slit open by a man whose moustache is waxed to rapier points. In that single shot, director David Howard announces the film’s obsession: surfaces that lie, and the carnage when they collapse. Beatrice Van’s screenplay, adapted from...

still_frame


Comparing the cinematic DNA and archive impact of two defining moments in cult history.

Lloyd Ingraham

Lloyd Ingraham
Community
Log in to comment.
" The camera opens on a close-up of a letter—thick cream stock, bruised-purple ink—being slit open by a man whose moustache is waxed to rapier points. In that single shot, director David Howard announces the film’s obsession: surfaces that lie, and the carnage when they collapse. Beatrice Van’s screenplay, adapted from Elizabeth Mahoney’s Saturday Evening Post novelette, refuses the moral finger-wag common to 1920 melodramas. Instead it luxuriates in the ethical swamp Janet wades into, ankle-dee..."

