8.4/10
19
2 user 1 critic

The Twin Pawns (1919)

Reviews

Photos

Add Image Add an image

Do you have any images for this title?

Learn more

People who liked this also liked... 

Comedy | Romance
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

Heiress Teddy Simpson avoids boredom by calling random men to flirt despite having a fiance, Rob Winslow. Trouble arises when she meets a few of them and they expect to marry her. She must ... See full summary »

Director: Maurice Campbell
Stars: Bebe Daniels, Jack Holt, Mayme Kelso
The Man Beneath I (1919)
Crime | Drama
    1 2 3 4 5 6 7 8 9 10 8.3/10 X  
Director: William Worthington
Stars: Sessue Hayakawa, Helen Jerome Eddy, Pauline Curley
Drama
    1 2 3 4 5 6 7 8 9 10 8.4/10 X  

In 1840 Scotland, a young lass named Babbie revels in the country life and frolics with the locals, simple weavers whose livelihood is threatened by increasing industrialization. When Lord ... See full summary »

Director: Penrhyn Stanlaws
Stars: Betty Compson, George Hackathorne, Edwin Stevens
Drama | Western
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

The husband and wife acting team of Mae Feather and Julian Gordon is torn apart when he discovers she is having an affair with the screen comedian Andy Wilks. Mae hatches a plot to kill her... See full summary »

Directors: Anthony Asquith, A.V. Bramble
Stars: Annette Benson, Brian Aherne, Donald Calthrop
Romance
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

An Irish lass is torn between the poet who seduced her and noble man who truly loves.

Director: George Terwilliger
Stars: Marion Davies, John B. O'Brien, Frank Shannon
Drama
    1 2 3 4 5 6 7 8 9 10 9.2/10 X  
Directors: Leon D'Usseau, Robert Z. Leonard
Stars: Marion Davies, Ralph Kellard, Carlyle Blackwell
Certificate: Passed Adventure | Fantasy | Romance
    1 2 3 4 5 6 7 8 9 10 7.8/10 X  

Strung around the idea of reincarnation, this film goes back in time to the days of the Spanish galleons and pirates burying their treasure; treasure to be found centuries later.

Director: George D. Baker
Stars: Marion Davies, Norman Kerry, Anders Randolf
Steel Town (1952)
Drama
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

Steve Kostain (Lund), nephew of the owner, begins working at a steel mill to learn the business from the bottom up. He rooms with a steel working family, the McNamaras, and falls for the ... See full summary »

Director: George Sherman
Stars: Ann Sheridan, John Lund, Howard Duff
Lady Tubbs (1935)
Comedy | Romance
    1 2 3 4 5 6 7 8 9 10 6.6/10 X  

A cook in a railroad construction camp inherits $500,000. She pretends to be English royalty and barges into the New York social scene.

Director: Alan Crosland
Stars: Alice Brady, Douglass Montgomery, Anita Louise
Comedy
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

Three elderly ladies tire of living in an old people's home and when they heard that they are about to be separated, they make a bid for freedom. They escape to an island off the Irish ... See full summary »

Director: Cyril Frankel
Stars: Sybil Thorndike, Kathleen Harrison, Estelle Winwood
Comedy
    1 2 3 4 5 6 7 8 9 10 8/10 X  
Director: Allan Dwan
Stars: Marion Davies, Norman Kerry, Matt Moore
Crime | Drama
    1 2 3 4 5 6 7 8 9 10 8.6/10 X  
Director: Alexander Esway
Stars: Elissa Landi, Mabel Poulton, John Stuart
Edit

Cast

Cast overview:
...
Daisy / Violet White
...
John Bent
...
Harry White (as J.W. Johnston)
Henry G. Sell ...
Bo Anderson
Edit

Storyline

Add Full Plot | Add Synopsis

Genres:

Drama

Edit

Details

Country:

Release Date:

18 March 1919 (USA)  »

Also Known As:

The Curse of Greed  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Sound Mix:

Aspect Ratio:

1.33 : 1
See  »
Edit

Did You Know?

Trivia

Mae Murray plays twins separated at birth. See more »

Connections

Version of Teledrama: A Mulher de Branco (1956) See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

Frogs out of water
28 February 2017 | by (France) – See all my reviews

There had always been a steady trickle of French film-makers into the US. Generally they had come initially as representatives of a French parent company to run its US subsidiary but then decided to try and make a career in the US. So Gaston Méliès had come as his famous brother's representative in 1902 but ended up as a Hollywood pioneer in his own right making mainly westerns. It was he who first employed the Fords (Francis was already in chaps even if John was, cinematically speaking,ms still in nappies). Alice Guy and her husband Herbert Blaché were both Gaumont employees who settled in the US in 1906. Her Solax company has a respectable if not especially distinguished place in US film history.

The war hit the French industry very hard and in the years immediately following 1914 the trickle became something of a steady stream. Louis J. Gasnier arrived in 1913 on behalf of Pathé where he was responsible for the pioneering Perils of Pauline. Maurice Tourneur arrived in 1914 as the representative of Éclair as did and Émile Chautard and his assistant Georges Archainbaud and cinematographer Lucien Andriot. Chautard took on another assistant, an American of Austrian Jewish stock called Joe Sternberg.

Lewis Selznick's World Film, based in Fort Lee, New Jersey, became a sort of showcase for the French directors who increasingly formed a distinct group that more or less took over the company for the next four or five years. Albert Capellani joined from Pathé in 1915. Perret, a relative late-comer, arrived in 1917. The French star Max Linder (who had already made films for Essanay in 1916) returned in 1921 to form his own production company (there is a short publicity film of this date, Combat de boxe, usuually misidentified and misdated, fetauring Tourneur and Linder).

By this time the French invasion was pretty much over. The US was itself feeling the effects of economic depr4ession. Selznick retook control of World Film. Gaston Méliès, after a curious episode in the South Pacific, died in Corsica in 1915. Alice Guy retired. Linder committed suicide. Gasnier stayed on to become infamous as the director of Reefer Madness. Chautard stayed on as a minor Hollywood character actor. Archainbaud became a very run-of-the-mill minor director. Capellani (a sick man), Tourneur and Perret all returned to France. Andriot had a moderately successful career in the US until his retirement in the fifties.

The French group at World Film were characterised by a notion of the "art film" that they had brought with them from home but unfortunately this was the notion of the "art film" current between 1905 and 1914 which put the emphasis on literary productions not the very different and rather more cinematic concept that would galvanise the next generation in France (Gance, L'Herbier, Dulac, Epstein, the young Duvivier, Clair and Feyder). So their US productions are often adaptations of literary classics (The Blue Bird, The Last of the Mohicans, Lorna Doone, Victory or, as here, where the inspiration is Collins' The Woman in White).

Stylistically, following the lead of Tourneur, they took the line of least resistance and adopted the US model. Critics are so fond of proclaiming the supposed advance represented by this model that they often overlook the fact that its success was due rather less to its having revolutionised "the language of cinema" - it did no such thing - and rather more to the fact that, with its simple patterns of cross-cutting to ensure continuity and back-lighting to ensure a shallow field of vision, it was extremely easy - in practice a formula for mass-producing mediocre films without having to leave the studio.

And that by and large is what the French presence in the US produced (certainly when one compares it the much more innovative work that would be produced in France itself) and set the pattern too for the next mini-invasion in the forties when Duvivier, Renoir, Clair and others would adopt the same conservative strategy with the same mediocre results. In the Great War generation only Tourneur was really able to transcend the limitations of working in the US in his best films (The Blue Bird, say, or The Wishing Ring); in the Second World War generation only Duvivier found a relatively successful formula - the portmanteau film - for his US career.

So this is an entirely worthy but rather dull piece of work by Perret, technically very efficient with some excellent effects and at times a depth of shot sadly lacking in most US films but it still lacks the style and imagination that characterised his best early French films.

Little care has been taken with the writing. With a generally bad experience of the US reception of "difficult" European films (due in fact to cultural difference rather than stupidity), Europeans tended to believe that US audiences had to have everything carefully spelt out in words of one syllable and that all films had to conclude with a big punch-up and a happy end. So, here, one knows far too much about what is going on at every stage and as a result there is no real tension, mystery or suspense.


1 of 1 people found this review helpful.  Was this review helpful to you?

Contribute to This Page

Create a character page for:
?