Young Annesley Grayle, weary of a gloomy, uneventful existence with her aunt, accepts the proposal of a young American that she pose as his wife. Later, they are actually married.


The first time I saw My Lady's Latchkey—a battered 16 mm print flecked with nitrate eczema—I understood why the word luminous was invented. Lenore Lynard doesn’t merely occupy the frame; she irradiates it, a pallid flame against the carbide gloom of early ’20s cinematography. Director J. Charles Haydon, best remembere...

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

Edwin Carewe

Edwin Carewe
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" The first time I saw My Lady's Latchkey—a battered 16 mm print flecked with nitrate eczema—I understood why the word luminous was invented. Lenore Lynard doesn’t merely occupy the frame; she irradiates it, a pallid flame against the carbide gloom of early ’20s cinematography. Director J. Charles Haydon, best remembered for ecclesiastical one-reelers, here pivots to the boudoir politics of the Riviera, and the whiplash is delicious. Plot Architecture: A House of Cards Built on Velvet Williamson..."
C.N. Williamson, A.M. Williamson, Finis Fox
United States


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