Terje Vigen, a sailor, suffers the loss of his family through the cruelty of another man. Years later, when his enemy's family finds itself dependent on Terje's beneficence, Terje must ... See full summary »
It's New Year's Eve. Three drunkards evoke a legend. The legend tells that the last person to die in a year, if he is a great sinner, will have to drive during the whole year the Phantom ... See full summary »
Story of an inventor who, suffering betrayal in life, makes a career of it by becoming a clown whose act consists of getting slapped by all the other clowns. He falls in love with another circus performer, and those who betrayed him enter his life yet again. Written by
Robert Tonsing <email@example.com>
Louis B. Mayer and Irving Thalberg upon viewing early rushes of this production wanted to fire the film's cinematographer, Milton Moore, as they thought the photographic exposure too low and blamed Moore for incompetence. Victor Sjöström came to Moore's defense by stating he had told Moore to shoot "low", as it was essential to the plot of the story. Moore was kept on as cinematographer See more »
During part of the scene where the lion is loose in the room, Beaumont is seen with no, or hardly any, black makeup around his right eye. Before and after this scene, both eyes are made up. See more »
A strange thing, the heart of a man - that loves, suffers, and despairs - yet has courage to hope, believe - and love - again.
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I saw this film first on Public Television (the score that is still used, I believe, was developed when the film was restored in Chicago) and have always loved it in all it's raging perversity. It is beyond ironic that one of the major studios was launched on a film who's premise was that the public is a malevolent, cruel ass. We are never allowed to forget that as horrible as the villain is; the drooling, jeering, sadistic vermin in the circus crowd are worse.
The spookiness of the direction, I think, is what hooked me. All the leads are excellent and perfectly cast. This is the ultimate in melodrama, and it's drawn is such broad strokes that it's hard to imagine as a talkie.
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