Archive for Marguerite Marsh

The Sunday Intertitle: Out of the Past

Posted in FILM with tags , , , on October 7, 2012 by dcairns

Episode Fifteen — the final installment!

First, if you can contain your excitement, a limerick about how best to arrange your fangs for a life of vampirism, and one on the Frankenstein monster’s tailoring, two subjects of pressing interest to all serious cinephiles.

Last we saw, practically our entire surviving dramatis personae was being menaced by the rampaging Automaton, presumed dormant since the death of his master, corporate scum-basin Herbert Balcom. But NO! The Automaton LIVES! And is coming to get you right now.

The Mechanical Man makes straight for poor Deluxe Dora, instantly identifiable as the most disposable cast member, and fries her mind with an electrical discharge — in fact an animated ZAP drawn directly on the film.

It must still hurt though.

Houdini takes this chance to hoist his girlfriend Marguerite out the window, and follows her at once, as Q the bearded loon and his new-found daughter Zita escape by a side door. The Automaton marches to the centre of the now abandoned office and makes that abrupt two-fisted gesture which is universally translated as “Curses!” And — scene.

Harry shows Marguerite his new “gas bullet” which he hopes can fell the ironclad nemesis, while hinting that Q spoke the truth about Balcom’s being within it. She’s puzzled, but a cutaway to PAUL Balcom, the businessman’s feckless playboy son, alone with his inheritance of halberds, allows us to guess that perhaps it is HE who, in Mick Jagger’s wise words, “squats behind the man who works the soft machine.” (All expository stuff, but enlivened by the real affection, or its convincing simulacrum, displayed between HH and MM throughout the show.)

The Long-Awaited Cure — Mr Brent, having been deranged by the Madagascar Madness (or Laughing Mania) since way back in episode one, is fed an antidote by Q, who is only recently restored to sanity himself. Big Closeups as Brent retrieves his consciousness from the cackling dustbin he’d dropped it in, metaphorically speaking. Recognizing Q, he apologizes for their troubled backstory which I frankly can’t go into at this point but everybody seems friendly.

A Flashback! We see how Balcom and Brent hoodwinked a younger, bright-eyed and beardless Q into signing over his Automaton, before he was shipped off to Madagascar and presumed lost. It’s touching to see Q sans whiskers — he has a lovable big wide Jim Backus mouth — uncredited in the film’s titles, the actor’s identity is as mysterious as the one-initialed character he plays.

Back to the present. Q concludes his narrative, in which is family perish in a shipwreck, with the happy erratum revealing the survival, unrecognized until Episode 14, of his daughter Zita. But there’s more — Mr Brent, with his newly recollected marbles, informs Harry that he is Q’s lost son! Harry’s character name, Quentin Locke, suddenly connects with that dangling initial in a surprising manner. This makes him Zita’s brother, explaining, in a somewhat queasy way, her attraction to him all through the serial.

It’s a combination of one of those Roman farces where everybody turns out to be everybody else’s lost son or daughter (which always makes me think of Beryl Reid’s reaction to such revelations in JOSEPH ANDREWS: “What Fucking Next?”) and the Reconciliation Scene from KING LEAR. In fact, with twice as many restored lunatic fathers and estranged daughters, it’s obviously twice as good as Shakespeare. And it has Houdini and a criminal robot to boot.

“Only one thing remains to make my happiness complete,” declares Harry. He definitely wasn’t referring to the homicidal Automaton, but a homicidal Automaton is what he gets — it smashes through the French windows at more or less that exact moment, crassly interrupting the family gathering, knocking the gas bullet gun from Houdini’s terrified vague fingers, and engaging him in a vigorous bout of Greco-Robo-Wrestling. As in a nightmare, Houdini’s loved ones clutch one another in horror and do nothing to help him.

But — not for nothing known more for his extramural escapology than his career (in this movie) as a chemist, Houdini slips from the steel beast’s arms, retrieves his sidearm, and plugs the advancing mechanoid squarely in the abdomen. There’s nothing Automata hate like gas bullets, and this one certainly turns the trick. Q deftly unscrews the head from his fallen creation, to reveal — Paul Balcom! We are duly stunned. He died as he lived: rampaging criminally in a sheet metal costume.

We iris in to blackness as Houdini stares straight out at the audience, as if to ask, “Did YOU see that coming?”

Coda — this is so beautiful and perfect you should just watch it without commentary from me. Don’t be afraid of spoilers — the serial is 92 years old, you’ve probably already seen it in a previous life. Watch for Houdini’s eye-brow-raising joke at the end — we don’t get an intertitle to explain what they’re laughing at as the film ends, but perhaps some lip-reader out there can enlighten me?

Houdini Happy Ending from David Cairns on Vimeo.

Footnote: with its humanoid robot, wise beard guy, estranged father, surprise offspring and laser beams, THE MASTER MYSTERY clearly anticipates STAR WARS and George Lucas should promptly donate everything he owns to the Houdini estate.

Toenote: even if I’m wrong, it would be a nice gesture.

Buy Houdini’s entire surviving film legacy and support Shadowplay

Houdini: The Movie Star (Three-Disc Collection)


The Sunday Intertitle: Penultimate Warrior

Posted in FILM with tags , , on September 30, 2012 by dcairns

Episode 14 of Houdini’s THE MASTER MYSTERY — one to go!

Houdini’s escape from under a pile of rubble is one of his less spectacular — it basically consists of him standing up and dusting himself off. His opponent, Balcom, is less fortunate: not being a trained escapologist, he’s been squashed by boulders. Leave this stuff to the professionals.

Meanwhile, leading lady Marguerite Marsh and Zita the secretary/traitor/possible heiress are menaced by the Automaton and his henchmen, who have also snatched MM’s deranged dad. They’ve thoughtfully gagged him so his Laughing Madness won’t drive them to distraction. Marguerite escapes but Zita is taken.

Q, the Beard Guy, finds Balcom’s corpse and experiences a feeling of something or other ~

Paul Balcom, son of the late creep, visits dad’s house of halberds and ransacks his files, finding something which transforms his outlook and causes him to kick tagalong vamp Deluxe Dora out. What can it be? But meanwhile, Dora has also found revealing documentation and handbagged it away with her. The plot congeals.

We don’t have too long to wait on that one — she hastens to Q’s hissing laboratory and offers him the item for sale: Balcom’s diary. Q is now wholly sane, whatever that means in this context, and accepts the offer with what passes for alacrity with him. DD promises he will learn the truth of Zita’s parentage. Q reads, reacts, and then fetches a small device

Harry somehow knows the location of the Automaton’s new layer, and arrives with a pack of detectives. Since it’s a pleasant day, he brings his girlfriend along too. The lair is some kind of shed or warehouse, rather a come-down after the cavern, the Chinese temple, the hypnotist’s astrological palace, Balcom’s house of halberds, the Black Tom Diner and even the remote roadhouse. It’s jerry-built, too, since our men bash the door down with no trouble and have most of the gang under arrest in an instant. Poor deranged Mr Brent is rescued, but Zita is nowhere to be found. We wait anxiously to see if Harry somehow just knows where she is, the same way he somehow knew where this shed was.

Zita is stowed among halberds by the most obnoxious gang member, with whom Harry has been trading concussions throughout the serial. Somehow this guy has always avoided drowning, falling into the pit of fire or being zapped by the temple laser (what, your local temple doesn’t have a laser?).

HH and MM get Dad home. His Laughing Madness has taken a turn for the worse — his earlier hearty guffaw has faded to a wan grin.

Note to camera operators: always frame for the halberds.

Parentage begins to be sorted out! Paul Balcom tells Zita that she is not the illegitimate daughter of Brent, but the legitimate daughter of nutty scientist Q. Is that good news or bad? Meanwhile, I’ve just worked out who she reminds me of — Mrs Doyle from Father Ted. But that’s probably just a coincidence. She rushes off, apparently no longer a hostage, to share the news with Harry and Marguerite.

Alone with his halberds, Paul Balcom reaches a grim conclusion. But we’re not told what it is.

The last of the gang is arrested, in a bit of plot housekeeping.

And now Q spills the beans freely, as he attempts to win back his daughter’s love. Intertitles pile up like a house of cards. In brief: Balcom had manipulated the insane Q in order to attack Brent — he borrowed Q’s “invention” (some invention, a clunky metal costume) to this end. “Many years ago, Balcom told me that my wife and children were dead. It was one of the blows that wrecked my intellect.” I do like the strange psychology of this serial. Grief dements the scientist, and he is restored to sanity when Balcom, his manipulator, dies. You won’t find that in Freud. You won’t find the Madagascar Madness either, I bet. Anyhow, now Q is overjoyed to learn that Balcom lied about the fate of his daughter, now grown up to resemble Mrs Doyle. You can’t have everything.

Zita (who despite looking like an Irish housekeeper is actually very chic, and a strange, sly sort of actor) reacts to this emotional bombshell by grabbing Marguerite Marsh’s right breast. It’s nice that they’re getting along so well together.

Occasional cutaways of Deluxe Dora, who has nothing to play here, waiting impatiently for the scene to end.

“With a feeble brain, it was impossible for me to complete my invention — so Balcom entered the Mechanical Man to disguise his criminal operations,” explains Q. With Balcom bouldered to extinction, the Automaton must perforce lie inert and trouble the world no longer. But then, just as the light of reason begins to illumine the effluent of plot, the doors crash open and the Automaton marches in ~

Can Harry escape the unlocked room with gaping, broken doors?

Who is inside the Automaton? (Clue: the one major character not already present in the scene).

Are there any more astounding revelations to be made?

Find out in next week’s thrill-packed and CONCLUDING episode of THE MASTER MYSTERY!

The Sunday Intertitle: Crunch Time

Posted in FILM with tags , , , , , , , , , on September 23, 2012 by dcairns

First, a Vampira limerick. Next ~


Last we saw, Houdini’s neck was in a noose and he was bound hand and foot by thugs dressed as monks. Foolish monks! Love laughs at locksmiths and Houdini honks at headsmen. More seriously, his significant other, Marguerite Marsh, was about to have her face seared off by the laser beam eyes of a graven idol. And that can’t be good.

Now read on…

As a trap door opens ‘neath Houdini’s feet, he frees his hands by expert wriggling and lifts himself up onto the chandelier from which he is hung. Zita, recovering from a recent concussion, rushes forward and brains one monk with a vase, sending him toppling through the trap and into the fiery furnace below. HH now engages in an impressive bout of inverted fisticuffs, hanging upside-down from the light fitting and punching another monk into the flaming pit. Dropping to the floor he incinerates another opponent, and settles for punching the last one into a state of idleness.

Rushing next door, he saves MM from almost certain disintegration, going so far as to shove one of her assailants under the laser just so we can see what that’s like. Zita, HH and MM flee through the big doors before the Automaton, lumbering at top speed, can catch up with them. Then they all go home for a chat.

Zita has finally decided which side she’s on, with the aid of an intertitle showing a bleak landscape whose boulders are engraved with the names of the supporting cast. I wish I had something like that to help me reach decisions.

The goodies decide to use Zita as a double agent, but vamp Deluxe Dora soon rumbles her and sets a trap. The question of whether Zita is in fact MM’s half-sister remains unsettled, even after Harry produces what purports to be a birth certificate. Oh, and the evil Dacoit turns up again in a wicker basket, and Harry belts him one. I think that’s him out of the picture.

By the way, co-scenarist Arthur B Reeve (THE CLUTCHING HAND) also penned THE EXPLOITS OF ELAINE, which I am anxious to see, since an enticing image from it appears in Denis Gifford’s A Pictorial History of Horror Movies. Let me know if you have a copy.

Balcom disposes of incriminating documents. Yeah, you can get rid of Mitt Romney’s tax returns while you’re at it.

Mr Brent, MM’s dad, the one with the laughing madness, is abducted from his own home via secret passage. HH rigs up a trick camera to locate the entrance, and snaps the weaselly Balcom in the act of egress. At last, he gains access to the secret underground lair, where he embarks on a tussle with his corporate foe.

BOOM! Balcom had rigged the cave to explode, and Harry falls on the detonator with him. Meanwhile, Zita and Marguerite are menaced by thugs outside.

Can Harry escape from under a big heap of boulders? (I know, it seems inconceivable.) Tune in next week!