Le Sentier de la Pieuvre
I’m having a day off from the Film Festival, and so can you! We return you to our serial photoplay, TRAIL OF THE OCTOPUS. Chapter 11, The Red Death!
Last we saw, hapless criminologist Carter Holmes was battering down the door to rescue Ruth Stanhope, while she, thinking him to be a rapacious ape-man, poised to kill herself. Of course, we knew how that was going to turn out. Ruth doesn’t kill herself. And Carter isn’t an ape-man.
Now they have to escape from the fiendish lair of Wang Foo, which they manage with one of the series’ most gripping action sequences ~
Too violent for Jim Carrey?
It seems highly probable that Ruth will spend the rest of the serial falling out of her tattered dress, but Carter suggests a kinkier alternative — she should don a spare suit of his clothes. Thus dragged up, she is handily able to impersonate a scarecrow and elude pursuing stereotypes, before hopping on a convenient biplane with Carter.
Now everybody’s off to Paris to get a ceremonial dagger from a French professor. Realizing the average life expectancy of professors in this serial, he’s glad to part with it, but Carter has a better idea. And by better, I mean stupider. He proposes setting a trap.
Meanwhile, Wang Foo prepares a duplicate dagger, booby-trapped to induce sudden death in anyone unsheathing it. And he uses his hitherto unknown powers of long-range mental suggestion to draw Carter into his own trap ~
It works. Carter finishes his preparations, and then checks in case there is a dwarfish ape-man lurking in the dumb-waiter. There isn’t. Not anymore.
But there was.
Oh, and Wang Foo has a mad scientist who’s going use his special invention to tug a piece of Mars out of the sky and drop it on Montmartre. So there’s that to look forward to. It’s not clear why he’s going to do this, but Wang Foo apparently doesn’t believe him anyway. Let’s just not worry about it. Probably never happen.
I was expecting the Black Cat Cafe to be sleazier, but I guess it’ll do. The black musicians playing le jazz hot are perhaps intended as a clue that this place ain’t on the level. Carter shows up in heavy disguise with Ruth, handing her a “code sheet” for emergencies. I’m sure that’ll be useful when Mars falls on their heads.
Midnight! The ape-man jiggers the fuse box! The gendarmes outside Keystone about helplessly in the dark! Carter is seized under cover of blue filter — he wrestles his assailant into a deadlock only to have him vanish like a wraith! But he does manage to get Tunisian turncoat Raoul Bernay and vamp Zora Roularde under arrest. Except, wouldn’t you know it, Ruth has been kidnapped again. Well, she was doing well. She nearly made it through a whole episode sans abduction.
Zora gives Carter the booby-trapped blade. And a big chunk of Mars hurtles towards Paris.
Questions, questions…





June 26, 2013 at 2:09 pm
http://www.youtube.com/watch?v=r4zOhLEAaiA
June 26, 2013 at 4:07 pm
It feels like the makers of Octopus, unable to afford the fantastic sets of a L’Herbier, have concocted their Chinese compound out of bits and pieces of available locations, in a rather Wellesian fashion.
June 26, 2013 at 4:13 pm
Following up on your comment (David C), I was watching Siodmak’s The Suspect yesterday and was struck by the Chinese restaurant that features in an early scene — it was as though there just happened to be a handy oriental location available, which was quickly shoehorned into the film. Then again, in a film with so many broad American accents populating London, it’s hardly a film that places a premium on verisimilitude (great atmospherics, though — what a year 1944 was for Siodmak).
June 26, 2013 at 5:58 pm
I’m not even sure how common Chinese restaurants were in the film’s era, nor how commonly they were frequented by non-Chinese Brits.
While not as deliriously demented as Uncle Harry, that is indeed a film with one foot planted in insanity.
June 26, 2013 at 7:21 pm
According to the British Museum, there were no Chinese restaurants in London until well after the date of the action in the film, but it’s hardly the worst Hollywood anachronism!
I haven’t see TSAO Uncle Harry; I was watching Phantom Lady today. The Suspect is certainly off the wall at times. A couple of years ago, you mentioned in a Moving Image Source piece the sequence of the murder we’ve not seen: terrific stuff.
Incidentally, I finally read your wonderful essay on Stagecoach when I screened the film for my (rapt) two-and-a-half year old last week; some of your descriptions of the actors are a hoot.
June 26, 2013 at 7:36 pm
Descriptions of actors always come easy! Finding fresh ways to address such a famous film’s famous sequences is hard!
June 26, 2013 at 7:49 pm
I think the London Chinese restaurant isn’t so much an anachronism as an instance of cultural unfamiliarity. The US had a large number of Chinese restaurants (a.k.a “chop suey joints”), going back many years from the time of the film, so they’d be considered quite ordinary by anyone who lived in the US for a few years.
June 26, 2013 at 7:58 pm
I guess my view is that it was neither really an anachronism nor cultural unfamiliarity — for which Laughton himself could have served as something of a corrective — but rather just a situation where they needed a restaurant and found a handy set nearby without giving it any more thought! Later, they switch to an Italian restaurant. It’s not really clear why that couldn’t have served as a regular haunt throughout the running time.
June 27, 2013 at 11:11 am
It’s an odd one. Hollywood compartmentalisation may have prevented Laughton from having his say in the accuracy of the restaurant… It could well be a leftover from a Charlie Chan film or something. Standing sets fascinate me, I long to trace them from movie to movie but they’re often hard to track. The Ambersons staircase is the best-known guest star of that kind.
June 27, 2013 at 4:58 pm
I do enjoy spotting the same sets in contemporary American TV shows, but I find it very hard to track the same thing in classic Hollywood — perhaps the set dressers were sneakier about the re-purposing. I’m sure if you watched enough Universal product from c. 1943-1944 you’d find this place again!
June 27, 2013 at 7:03 pm
I got a very strong feeling that I’d seen the restaurant in The Locket before in a Val Lewton film, but as in a dream I was never able to trace it.
The Great Impersonation (1935) reuses sets from Frankenstein, which are about as recognisable as you can get!