
Wealthy and lonely John Stanford sends for Edith Marsden, the child of his disowned daughter, who, unknown to him, has just been evicted from her flat with her husband imprisoned for forgery and her son recovering from war wounds. Edith becomes a favorite of Stanford, who wishes to match her with a neighbor, Walling, who loves her.


The camera, a taciturn confessor, glides past Corinthian pilasters and settles on Edith Marsden’s gloved fingers as they graze a bronzed bust of Minerva—an instant metaphor for a girl who must become both ornament and armament inside a household that trades in appearances. Roland Bottomley’s Stanford, beard clipped li...

production_art


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

George L. Sargent

George L. Sargent
Community
Log in to comment.
" The camera, a taciturn confessor, glides past Corinthian pilasters and settles on Edith Marsden’s gloved fingers as they graze a bronzed bust of Minerva—an instant metaphor for a girl who must become both ornament and armament inside a household that trades in appearances. Roland Bottomley’s Stanford, beard clipped like hedge fund dividends, exudes the chilly magnetism of a man who has never asked permission; his baritone intertitles boom with patriarchal arithmetic: one granddaughter = one imm..."

Jack McLean
Fred Schaefer, Mrs. Owen Bronson
United States


Deep dive into the cult classic
Discover similar cinematic experiences
A Directorial Spotlight on George L. Sargent