A country girl is sent to visit her Aunt Maggie in the city. She arrives, carrying a pet duck.
The first time we see Louise Fazenda’s country orphan she is stepping off the train as though she’s been stitched into the frame by a sewing machine: calico dress, sunbonnet, and a duck tucked under one arm like a living reticule. The platform is a mosaic of shadows and steam; the city looms beyond the iron ribs of t...
Comparing the cinematic DNA and archive impact of two defining moments in cult history.
James D. Davis
Edgar Jones
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" The first time we see Louise Fazenda’s country orphan she is stepping off the train as though she’s been stitched into the frame by a sewing machine: calico dress, sunbonnet, and a duck tucked under one arm like a living reticule. The platform is a mosaic of shadows and steam; the city looms beyond the iron ribs of the station, all spikes of glass and the distant clang of a streetcar. Director David Kirkland lets the shot linger for three extra beats—an eternity in 1923 pacing—so the audience ..."
Isabelle Keith
United States
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