The Whispering Chorus (1918)

Director:

Cecil B. DeMille

Writers:

Jeanie Macpherson (writer)
Perley Poore Sheehan (novel)

Release Date:

28 March 1918 (USA)

Genre:

Drama

Plot:

John Trimble has embezzled and obtains another identity by having a mutilated body buried in his place...

Plot Keywords:

Based On Novel

Cast

  (Complete credited cast)

Raymond Hatton	...	John Tremble
Kathlyn Williams	...	Jane Tremble
Edythe Chapman	...	John Tremble's mother
Elliott Dexter	...	George Coggeswell
Noah Beery	...	Longshoreman
Guy Oliver	...	Chief McFarland
John Burton	...	Charles Barden
Tully Marshall	...	F.P. Clumley
William H. Brown	...	Stauberry
James Neill	...	Channing
Gustav von Seyffertitz	...	Mocking Face
Walter Lynch	...	Evil Face
Edna Mae Cooper	...	Good Face

Runtime:

USA:86 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.33 : 1

Sound Mix:

Silent

Company:

Famous Players-Lasky Corporation

Trivia:

The wedding sequence in which George Coggeswell (Elliott Dexter) marries Jane Trimble ('Kathlyn Williams (I)') was staged at Christ Episcopal Church in Los Angeles. The best man was played by Paramount executive Charles Eyton, who was married to Kathlyn Williams in real life. According to Dexter, Eyton had to be persuaded to allow the use of the couples' actual wedding rings for the scene.

Movie Connections:

Featured in Cecil B. DeMille: American Epic (2004) (TV)

"When I pay the price, there will be no miscarriage of justice"

The Whispering Chorus is one of a number of standout films in Cecil B. DeMille's 1910s output, and for some marks the end of an era in his work. It is also perhaps the darkest and most noir-ish story he ever dealt with.

Dark stories call for bleak imagery, and visuals are particularly stark here – plenty of barren sets or large areas of darkness. Furthermore with the psychological conflict going on DeMille makes heavy use of superimpositions. DeMille had always used these a lot to literalise products of his characters' imaginations, but here he goes a bit overboard and occasionally they are unnecessary. The eponymous whispering chorus (which is pretty much superfluous to the story anyway) is shown as a cloud of floating heads – not really necessary when the actors alone competently convey the anguish that their characters feel.

Although he is not really known for it, DeMille was probably the best director of actors during this period (as opposed to his sound films which tend to be wall-to-wall ham). It is not only that he seems to have encouraged a satisfactory blend of realism and dramatism, it was also his use of long, unbroken takes and intelligent framing of actors. In The Whispering Chorus his handling of more emotional scenes is particularly sensitive, cutting to close-ups at key moments to highlight an actor's face. DeMille also tends to keep the sets Spartan and uncluttered for a poignant scene, allowing the audience to concentrate solely on the performers.

Let's take a closer look at the lead actor. The first thing that strikes you about Raymond Hatton is what a thin face he has, and how he seems to have a permanent disappointed expression. But look beyond that, and you can see he is actually a pretty good actor – certainly better than his co-star Kathlyn Williams. Hatton is one of a number of silent stars who drifted out of the spotlight only to turn up absolutely everywhere as a character actor in the sound era – he is quite memorable as the "murderous impulses" barber in Fritz Lang's Fury. He made dozens of appearances for DeMille, but The Whispering Chorus is his greatest moment, both in terms of the demands placed on him as an actor and the performance he turns in.

Some have labelled this as the last film in which DeMille kept his artistic integrity before giving way to commercialism. This is not really true, as pleasing the audience had always been top of his agenda, and his subsequent films do not differ a whole lot in style, although he would use superimpositions a lot less from here on, which is a good thing. It is true however that his next picture, Old Wives for New, marks the beginning of a series of rather lightweight marital comedies, after which his work would be full of the piety and sensationalism with which he is now associated.

Whatever the case, The Whispering Chorus stands as one of DeMille's greatest accomplishments. It does overuse those superimposed images, but this is really the only complaint. Underneath that is a strong and very grim drama. Noir-ish and dark, yes, but it has a poignant, bittersweet edge, hitting a lot of the same notes as George Stevens' A Place in The Sun.