
To save her good friend, Peter Gordon, from marrying a gold digger named Dora, Edith Parrish introduces the girl to Ralph Brent, a male vamp, knowing that she will fall for Brent's flattery. Dora, however, begs Peter to advise Edith against associating with Brent.


A single midnight-blue cloak becomes the hinge upon which reputations swing in The Ladder of Lies, a 1915 silent that pirouettes on the razor’s edge between altruism and self-immolation. Picture, if you can, the gaslit corridors of pre-war American cinema: flickers of silver nitrate where every close-up feels like a...

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

Tom Forman

Eduardo Notari
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" A single midnight-blue cloak becomes the hinge upon which reputations swing in The Ladder of Lies, a 1915 silent that pirouettes on the razor’s edge between altruism and self-immolation. Picture, if you can, the gaslit corridors of pre-war American cinema: flickers of silver nitrate where every close-up feels like a gasp. Into this half-lit world steps director Harold Vickers, armed with a screenplay by Edith M. Kennedy that treats morality like taffy—stretching, twisting, snapping back to st..."
Edith M. Kennedy, Harold Vickers
United States


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