Spoiled young heiress Lucy Gillam knows only a life filled with parties and flirtations until she falls in love with a man who loves only her money. She marries him, and after their child is born, she is confronted with life's harsh realities after her husband demands more and more money with which to support his mistress.
John B. Clymer, Harry O. Hoyt, William Dana Orcutt
United States
Picture a chandelier as a guillotine of light: every crystal facet poised to drop on the heedless. That image, half-second long, is the fulcrum upon which The Moth balances its entire morality play. Director Harry O. Hoyt lets the camera loiter until opulence mutates into menace, and Manhattan’s velvet parlors start ...
production_art
publicity
publicity
production_art
still_frame
still_frame
still_frame
still_frame
Comparing the cinematic DNA and archive impact of two defining moments in cult history.
Edward José
Edward José
Community
Log in to comment.
" Picture a chandelier as a guillotine of light: every crystal facet poised to drop on the heedless. That image, half-second long, is the fulcrum upon which The Moth balances its entire morality play. Director Harry O. Hoyt lets the camera loiter until opulence mutates into menace, and Manhattan’s velvet parlors start to resemble padded cells. Lorna Volare’s Lucy is first seen in negative space—white furs against obsidian lacquer—her silhouette a paper cut-out of privilege. Volare never overpla..."
