Sahande, a Tartar girl placed on the block to be sold, is bought by Costa, a Gypsy chief who outbids Sahande's fiancé, Sender. Costa marries the infuriated Sahande but agrees to give her 10 days in which either to return his love or have Sender fight him.
The opening tableau of Law of the Lawless thrusts the viewer into a bustling bazaar where Sahande, rendered with luminous intensity by Margaret Loomis, is displayed like a commodity. The camera lingers on her eyes—stormy, defiant—while the surrounding crowd murmurs in a chorus of languages, underscoring the cultural mo...
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Comparing the cinematic DNA and archive impact of two defining moments in cult history.
Victor Fleming
Victor Fleming
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"The opening tableau of Law of the Lawless thrusts the viewer into a bustling bazaar where Sahande, rendered with luminous intensity by Margaret Loomis, is displayed like a commodity. The camera lingers on her eyes—stormy, defiant—while the surrounding crowd murmurs in a chorus of languages, underscoring the cultural mosaic that frames the narrative. This visual decision, reminiscent of the ethnographic framing in Dämon und Mensch, establishes a world where identity is both marketable and mutable..."
Frank Coghlan Jr.
E. Lloyd Sheldon, Konrad Bercovici, Edfrid A. Bingham
United States
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