
When "Take A Chance" Schuyler rises from a Wall Street office boy to a wealthy investment broker, he purchases fellow broker John Houghton's estate. Houghton's funds have been depleted from blackmail payments made to his former employee, Norman Yates, who, out of revenge for Houghton's refusal of his daughter Alice's hand in marriage, has convinced the broker that he has committed a murder.


Thomas F. Fallon’s The Plunger is less a moralistic ledger of Roaring-Twenties speculation than a fever dream soaked in ticker-tape and gaslight, where fortunes rise faster than champagne bubbles and consciences pop just as easily.From the first iris-in on Manhattan’s canyon walls, cinematographer Jules Cronjager bathe...

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

Dell Henderson

Dell Henderson
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"Thomas F. Fallon’s The Plunger is less a moralistic ledger of Roaring-Twenties speculation than a fever dream soaked in ticker-tape and gaslight, where fortunes rise faster than champagne bubbles and consciences pop just as easily.From the first iris-in on Manhattan’s canyon walls, cinematographer Jules Cronjager bathes the frames in chiaroscuro worthy of a Rembrandt stock certificate. The camera glides past ticker machines that clack like mechanical cicadas, then lingers on Edward Boulden’s Sch..."

Virginia Valli
Thomas F. Fallon
United States


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