The Sunday Intertitle: Hazard Lights

Youtube. I was looking for one thing and found another. You know how it is.

Having enjoyed a stimulating Warren William Weekened double feature with the Starving Lion as Philo Vance in THE DRAGON MURDER CASE and THE GRACIE ALLEN MURDER CASE (no, really) I was searching for glimpses of either of WW’s silent movie appearances, in which he played as Warren Krech, an impossible name for a leading man, you would have thought.

It turned out that the second of these, PLUNDER (1923) was Pearl White’s last adventure serial. I did manage to track down an extract, but White was such an independent heroine that long stretches are Krechless.

That led me on to my longstanding search for THE EXPLOITS OF ELAINE, which appears in Dennis Gifford’s Pictorial History of Horror Movies and therefore must be viewed. I found a few clips but not what I was looking for. But then ~

At 6.30 we can see something often described as a myth: a serious melodrama featuring a woman tied up on a railway track. Since the earlier myth was that silent films were full of such contrived scenarios, it was a relief to be able to say that the only actual example was Gloria Swanson and the Sennett team spoofing the practice in TEDDY AT THE THROTTLE.

But then, what were they spoofing? It didn’t seem an obvious activity to have presented on the stage. You could tie someone to some fake tracks, but the impossibility of a locomotive actual trundling onstage to kill the captive would surely diminish the suspense.

Helen Holmes, railway adventure-girl, in THE HAZARDS OF HELEN, seems to provide the spark, though it’s notable that she’s tied up on the tracks rather than tied TO the tracks as later cliché would have it, and she rescues herself. The world’s collective faulty memory portrays the serial heroines as in constant need of salvation by brawny he-man types, and so we get the Penelope Pittstop of cartoon infamy, but in fact the followers of Pearl White were as self-sufficient as any Flash Rogers or Buck Gordon.

As for my original Starving Lion hunt, the only image I turned up of a silent WW is a poster for THE TOWN THAT FORGOT GOD, a William Fox production in which the young Krech can be seen on the upper left, a ghastly apparition, with his hair mussed in a way which vividly recalls his appearance in, of all things, THE GRACIE ALLEN MURDER CASE (Gracie has just thrown a handbag at his head).

Benshi in my Ear

The sensation of having an Italian lady piped into my ear while I watch a film was entirely unknown to me a week ago. Now it’s second nature. I’m slightly discomfited when she’s NOT there. I would welcome her ministrations even when watching a film in English (OKLAHOMA! on the big screen — digitally restored — the only  50 30 fps DCP in the world? – yum! But surely an Italianate female voice repeating the lyrics after Duncan Gordon McRae would enhance it).

We nearly had a simultaneous audio translation in Cannes once, but arrived at the gala moments too late, had to wait for the cast and crew to pose for snaps on the steps, then got let in after the movie had started. A tinny voice could dimly be heard from the arm of my chair, but I had no technical means to connect the arm of my chair to my head. So THE IDIOTS was experienced untranslated, and seemed quite enjoyable. It wasn’t until I saw it with subtitles that I realised I hated it.

My first visit from the ear-fairy was with THE EXPLOITS OF ELAINE (aka LES MYSTERES DE NEW YORK, an even better title). They ran two episodes that had been preserved in Belgium, with French and Dutch intertitles. I came to imagine Pearl White, the star, as a hesitant Italian, and enjoyed the improvisatory nature of her performance. Directed George Seitz and Louis Gasnier (see elsewhere on Shadowplay) for Pathe a hundred years ago, this follow-up to THE PERILS OF PAULINE was great entertainment. The whole serial survives, but in hideous dupes from 28mm, so this was a unique event — even Kevin Brownlow had never seen it look like this. (A bit chipped off as it passed through the projector, and for a full minute stayed stuck to the image, a fragment of celluloid, sprocket-holes and all, pasted over the action. Never seen that before.) Yes, I introduced myself to Kevin Brownlow, who pronounced NATAN “terrific.” My chest swelled as if an alien was trying to get out.

“You are responsible for my becoming a filmmaker.”

“You must be broke.”

“I am!”

“Join the club!”

The screening was also significant for me because THE EXPLOITS OF ELAINE is one of the few films left illustrated in Denis Gifford’s A Pictorial History of Horror Movies. Regular readers will be aware of my quest to see every film depicted in that tome, a quest entitled See Reptilicus and Die. I saw REPTILICUS, I didn’t die, and now I only have a few left.

Mr. Brownlow pointed out that a very young Creighton Hale appears in THE E OF E. I told him that Professor Joseph Slade, one of the antagonists in our film NATAN, wrote me that he believes, not only that Bernard Natan had sex with a duck onscreen, but, along with Kenneth Anger, that Creighton Hale had sex with a goat in a twenties porno, a rumour systematically discredited here.

KB: “You know someone asked Kenneth Anger how he did his research, and he replied, ‘Mental telepathy, mainly.'”

Denis Gifford’s book reproduces an image of a Jekyll-Hyde transformation. The episodes we saw included The Vampire, in which masked, hunchbacked villain The Clutching Hand attempts to drain Elaine of blood to transfuse into one of his accomplices. Though Elaine spent most of her time unconscious and getting rescued, she did start that episode by plugging said accomplice three times as he appeared at her bedroom window (the program notes observed that many of the serial’s dramatic situations implied some thinly-veiled sexual threat, and that the films were particularly successful with female audiences — back when thiny v’d sexual t. was just about the only kind of acceptable sex). The other episode had Elaine revived from a death-like trance (accompanist Stephen Horne switched to accordion to suggest lung-wheeze). All these jumbled horror elements (see poster above) suggest the serial was the Penny Dreadful of its day — but of course John Logan’s series and Seitz/Gasnier’s serial both take nineteenth-century sensational literature as their starting point.