
Young Benton Clune is not a coward at heart. He is a victim of over-zealous mother love which has grown to exert too great an influence over him.

Mary Brecht Pulver, H. Tipton Steck
United States

Amid the celluloid avalanche of 1917, while Chaplin’s tramp blithely tilted canes and Griffith’s Intolerance still echoed across lecture halls, The Man Who Was Afraid slithered into neighborhood theatres brandishing a war-whoop masquerading as domestic psychodrama. The opening title card—white letters quivering like mo...

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

Fred E. Wright

Fred E. Wright
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"Amid the celluloid avalanche of 1917, while Chaplin’s tramp blithely tilted canes and Griffith’s Intolerance still echoed across lecture halls, The Man Who Was Afraid slithered into neighborhood theatres brandishing a war-whoop masquerading as domestic psychodrama. The opening title card—white letters quivering like moth-wings against obsidian—warns of a “mother’s love grown monstrous,” and already the picture stakes its claim in Freudian marshes rarely mapped on nickelodeon screens of the era. ..."


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