
When circus aerialist Polly Fisher is injured, she is taken to the nearby home of minister John Hartley. The two fall in love and marry secretly.
Adrian Gil-Spear, Margaret Mayo, Emmett C. Hall
United States

The first time Polly Fisher arcs through the celluloid ether, the camera tilts upward as though heaven itself were a tent—canvas billowing, spotlights carving gold from dusk. It is 1917; the world is busy crucifying itself in trenches, yet here in this pocket-sized parable the only war is between pulpit and sawdust, c...

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

Edwin L. Hollywood

Edwin L. Hollywood
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" The first time Polly Fisher arcs through the celluloid ether, the camera tilts upward as though heaven itself were a tent—canvas billowing, spotlights carving gold from dusk. It is 1917; the world is busy crucifying itself in trenches, yet here in this pocket-sized parable the only war is between pulpit and sawdust, chastity and carnival smoke. Director Edwin L. Hollywood (his surname almost a cosmic joke) shoots the accident in overlapping superimpositions: the swing, the snap, the plummet, t..."


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