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The Grim Game (1919)

Jailed unjustly for a murder he did not commit, a young man uses his amazing powers of escape to free himself and pursue the actual killers, who hold his fiancée captive.

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(story), (story) (as John W. Grey) | 2 more credits »
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Cast

Cast overview:
...
Harvey Hanford (as Houdini)
Thomas Jefferson ...
Dudley Cameron
Ann Forrest ...
Mary Wentworth
...
Clifton Allison
...
Richard Raver
Arthur Hoyt ...
Dr. Harvey Tyson
...
Ethel Delmead (as Mae Bush)
Edward Martin ...
Police Reporter
...
Hannah (as Jane Wolf)
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Storyline

Jailed unjustly for a murder he did not commit, a young man uses his amazing powers of escape to free himself and pursue the actual killers, who hold his fiancée captive. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Add Synopsis

Genres:

Adventure | Drama

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Details

Country:

Language:

Release Date:

12 October 1919 (USA)  »

Also Known As:

Udbryderkongen  »

Box Office

Budget:

$200,000 (estimated)
 »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

The mid-air collision was accidental; the story was revised to incorporate it. See more »

Quotes

Dudley Cameron: Prunes!
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User Reviews

Restored film — two scores
24 October 2015 | by (United States) – See all my reviews

With financing from TCM, the only known print of Houdini's first film was restored to near-perfect condition (except for some deterioration damage toward the end) and found its television premiere on TCM on Sunday, October 18, 2015. A recap of the finding and restoring of the film can be found in ellebrennan's review here of October 20.

Although Brennan's recap (excerpted from Houdini.org) credits renowned composer Brane Živković with having created a new score for the restoration, what neither hers nor any other review here to date of the restored film mentions is that TCM showed the film twice that night, first with Živković's score, then again later with a more traditional silent film score by Steve Sterner.

Unfortunately, I missed what host Robert Osborne may or may not have said about the Sterner score, but in my estimation, although less innovative, it may in some way be preferable.

Živković's score is thematically more operatic in that characters have their own themes assigned to them. Since Houdini (and his character) is on the screen so much throughout the film, his theme eventually becomes monotonous. Variations of his theme would be highly appreciated.

Sterner's score, being more traditional as silent film scores go, does not vary with the characters, per se, but if with anything, the action.

Let the discussion begin.


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