Summary
In this 1923 domestic tapestry, the narrative pivots on the precarious intersection of industrial obsession and marital isolation. Hugh Stanton, a man whose soul is seemingly lubricated by the very petroleum he seeks, inadvertently leaves his wife, Patricia, adrift in a sea of social surrogates. Entrusted to the care of Ted and Beatrice Mason, Patricia finds herself increasingly ensnared by the aesthetic charms of Victor Raymier, a portraitist whose professional identity is a hollow construct. Raymier, a charlatan who colonizes the talent of anonymous artists to maintain his social standing, lures Patricia into a psychological and literal labyrinth. Under the guise of artistic pursuit, he maneuvers her toward a secluded country estate, where a tempestuous storm acts as a catalyst for his predatory intentions. The film transitions from a study of domestic neglect into a high-stakes rescue mission, as the Masons intervene to shatter the illusion of Raymier’s refinement. The resolution offers a stark commentary on the transactional nature of the early 20th-century American marriage, as Stanton’s sudden oil-fueled wealth becomes the prerequisite for his return to the domestic sphere, effectively purchasing the presence he had previously denied his wife.
Synopsis
Oil man Hugh Stanton embarks on one of his frequent business trips and leaves his wife, Patricia, in the care of Ted and Beatrice Mason. She also spends considerable time with Victor Raymier, the artist who is painting her portrait, unaware that he is a fraud who merely signs his name to the work of a real artist in his employ. One day, Victor persuades Patricia to accompany him to his country home. A storm forces them indoors and the fake artist proceeds to make unwanted advances on Patricia. The Masons come to her rescue, and following their return to the city, Patricia telephones her husband, asking him to come home. He informs her that the proceeds from his new oil well will enable him to be a full-time husband.
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