One antique horror short and a trifecta of lost features

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La Folie du Docteur Tube, released 1915 in France, was directed by cinematic pioneer Abel Gance. It seems to fall within the parameters of sci-fi horror, and features a mad scientist who creates a white powder causing hallucinations. He gives the powder to a dog first, then his assistant, a boy in the lab, himself, two young ladies, and their fiancés. The two couples are so upset by these distorted images, a fight breaks out, and it’s up to Dr. Tube to restore order and peace.

These crazed sights, which appear like images from a funhouse mirror, were created with distorting lenses.

Albert Dieudonné, who started acting in 1908 and went on to play the title role of Gance’s 1927 epic Napoléon, appears as one of the young men.

Mortmain, which premièred 29 August 1915 and went into general release 6 September 1915, is one of the all too many lost films of the silent era. It was based on Arthur C. Train’s 1907 novel of the same name, which was originally released in serial form on The Saturday Evening Post on 2 June and 9 June 1906.

This was one of the very first entries in the alien hand subgenre of body horror, in which one’s hands act of their own volition, as if they’re possessed or transplanted from another body.

Dr. Pennison Crisp (what an unfortunate forename!) proves limb-grafting is possible by showing friends and students a cat with a grafted paw. His buddy Mortmain, a rare art collector and talented musician, is very impressed.

Meanwhile, Mortmain is deep in debt to banker Gordon Russell, the ward of his fiancée Bella Forsythe. Predictably, Gordon is also in love with Bella. (This might be a lost film, but I’d bet dollars to doughnuts he’s old enough to be her dad, seeing as he’s her ward. That trope creeps me out so much!)

Gordon makes Bella’s brother Tom disgrace himself and forces Mortmain into bankruptcy. Flaggs, who works for Gordon’s lawyer, overhears Mortmain saying he’d like to kill Gordon. Mortmain then learns Gordon was murdered. This news so shocks him, he faints and hurts his hand.

Dr. Crisp has to amputate, and grafts on Tom’s hand. Tom agrees to this macabre operation because he’s suspected of the murder and offered $10,000 for his hand. He dies during the surgery, but Mortmain survives, and gradually goes insane as Flaggs bankrupts him and Bella is afraid to be touched by him. The transplanted hand also goes nuts.

Then Mortmain wakes up from the fog of anesthesia, and sees Tom’s hand choking Flaggs. It was only a dream!

The Head of Janus (Der Janus-Kopf), also lost, premièred 26 August 1920 and went into general release 17 September 1920. It starred the incredible Conrad Veidt and was directed by the legendary F.W. Murnau. This was an unauthorized adaptation of Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde. Just as with Murnau’s unauthorized screen adaptation of Dracula two years later, names were changed.

Dr. Warren (Veidt) buys a bust of Janus, the two-headed Roman god of doorways, for his girlfriend Jane Lanyon (Margarete Schlegel, who escaped to England with her Jewish husband and son in 1935). When Jane refuses the gift, Dr. Warren is compelled to keep it in his own home.

This bust proceeds to transforms Dr. Warren into Mr. O’Connor, and whips him up into a rage. While acting as Mr. O’Connor, he storms over to Jane’s house, kidnaps her, and drags her back to his lab.

Dr. Warren is really ashamed and horrified when he comes back to himself and realises what he did. To prevent this from happening again, he attempts to sell the bust at auction, but it’s already too late. The bust has him under such hypnotic power, he buys it back himself.

During his second transformation as Mr. O’Connor, he runs amok, committing wanton acts of violence in the streets. Just like in all other versions of this famous story, there isn’t a very happy ending.

Béla Lugosi appears as Dr. Warren’s butler.

The House of Whispers, our final lost film this year, released October 1920. It tells the story of Spaulding Nelson, who moves into an apartment his uncle vacated due to phantom screams and whispers. While investigating, Spaulding meets neighbour Barbara Bradford. Her sister Clara is going crazy from the constant sound of her dead husband Roldo’s voice.

It turns out Roldo’s still alive and in league with Henry Kent, architect of this House of Whispers. This house is full of secret passageways enabling him to access all the apartments. When Spaulding finds the secret doors, he’s arrested for murdering actress Daisy Luton.

Spaulding flees via one of the passageways, where he finds and captures Roldo (the real murderer), Roldo’s first wife Nettie Kelly, and Henry Kent. Nettie confesses what really happened, and Clara is granted a divorce so she can marry her fiancé. Spaulding also marries Barbara.

Happy 100th birthday, Broken Blossoms!

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Broken Blossoms, released 13 May 1919, was based on British writer Thomas Burke’s 1916 story “The Chink and the Child,” from his collection Limehouse Nights. All the stories are set in and around London’s Chinatown in the Limehouse district, in the East End. A second story from the collection, “Beryl and the Croucher,” was turned into a film in 1949, No Way Back.

In contrast to many of D.W. Griffith’s other films of the 1910s, Broken Blossoms is a small-scale production instead of a grand, sweeping, lengthy epic with a huge ensemble cast. It tells a heartrending, intimate story of marked visual contrasts.

The première at NYC’s George M. Cohan Theatre, during the D.W. Griffith Repertory Season, featured moon lanterns, flowers, and gorgeous brocaded Chinese draperies.

Critics and laypeople alike loved it, to the tune of $700,000 ($10,412,843 today). However, many were deeply disturbed by the depiction of child abuse, some so much they left the theatre to vomit. Griffith himself took several months to edit it, so disturbed and depressed was he by the subject matter.

In 1996, Broken Blossoms was chosen for inclusion in the U.S. National Film Registry at the Library of Congress. The film is widely regarded as one of Griffith’s finest, and one of the great treasures of film history.

Owing to the strict anti-miscegenation laws of the time, Lillian Gish and Richard Barthelmess were unable to have any love scenes. Even when both actors were white in real life, they were legally barred from kissing onscreen if their characters were in an interracial relationship.

Cheng Huan (Richard Barthelmess) sets out from China with a pure heart and soul full of love and idealism, little realising what ugliness and cruelty await him. He “holds a great dream to take the glorious message of peace to the barbarous Anglo–Saxons, sons of turmoil and strife.”

Prior to his departure, Cheng interferes in a fight between foreign sailors, trying to tell them not to do unto others what is hateful to themselves (a maxim found across almost all religions). His message of peace and love is received with violence and mockery, but that makes him even more determined to spread the word.

London’s notoriously seedy, impoverished East End is a shocking wakeup call to this gentle-hearted, sensitive Buddhist missionary. A few years after his arrival, he’s nothing but another poor shopkeeper, and his “youthful dreams come to wreck agains the sordid realities of life.” To try to cope with the ugly real world, Cheng smokes opium and gambles.

Meanwhile, boxer Battling Burrows (Donald Crisp) is raising his daughter Lucy (Lillian Gish) as a single dad. Battling, “a gorilla of the jungles of East London,” is violent outside the ring too, and an alcoholic. It really speaks to how desperate Lucy’s mother must’ve been to relinquish her to Battling.

Battling’s manager rightly complains about his drinking and womanizing, but Battling keeps his anger in check for the sake of his career. He saves the release of his rage for Lucy, his personal punching-bag, who’s too passive and weak to stand up for herself or escape.

Lucy is warned by both her married friends and prostitute friends not to follow in their footsteps, since their lives have been nothing but sorrow and misery since starting down those respective paths.

Cheng has been admiring Lucy from afar for awhile, struck by her fragile, haunted beauty amidst the muck and mire of Limehouse.

Battling’s manager finds him womanizing at a bar, and the ensuing lecture sends Battling into a rage. At home, he unleashes his rage upon Lucy with a whip.

Severely wounded and half-conscious, Lucy escapes after her father departs for training across the Thames, and collapses on the floor of Cheng’s shop. Cheng shows her the first gentleness she’s ever known when he cleans her wounds.

Cheng carries Lucy upstairs to his flat and tenderly nurses her back to health, beautifully decorating the room as befits a princess. He also gives her gorgeous clothes and renames her White Blossom.

Troubled waters start brewing when one of Battling’s friends comes to Cheng’s shop. While Cheng is out getting change, he hears an odd noise from upstairs and goes to investigate, finding Lucy asleep in bed.

Battling is horrified to learn Lucy is living with a Chinese man, and races home to get his revenge after the big fight. The concluding scenes are some of the most powerful, heartbreaking, and unforgettable of cinematic history.

The eleventh hour of the eleventh day of the eleventh month

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To mark the 101st anniversary of the end of World War I, here are a sampling of newspaper headlines broadcasting the glorious news. Sadly, the last veteran passed away in 2012, and the last combat vet passed in 2011.

But as we so painfully know, freedom is never free. My Belarusian characters the Zyuganovs are taught by their father to always bring Martagon lilies to the graves of their five brothers who were killed during the Russian Civil War, since lilies represent peace. If everyone leaves peaceful flowers on the graves of war dead, there might never be another war, nor would any serviceperson be killed in the prime of life again.

Celebrating lost horror of 1919

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Released November 1919, British film The Beetle was based on Richard Marsh’s 1897 novel of the same name. Upon its release, it outsold contemporary, similarly-themed competitor Dracula. The story is told by four narrators and concerns an Ancient Egyptian god seeking revenge upon a British Member of Parliament.

It initially was released as a serial under the title The Peril of Paul Lessingham: The Story of a Haunted Man in Answers, from 13 March–19 June 1897. It came out in volume form from September to October the same year, with the title it became famous for, The Beetle: A Mystery.

Many believe this book was the inspiration for Bram Stoker’s 1903 novel The Jewel of Seven Stars, which also features an Ancient Egyptian theme.

This first film adaptation stars Maudie Dunham, Fred Morgan, and Hebden Foster. It was produced by Jack W. Smith and directed by Alexander Butler. Sadly, the film appears to be lost, though many films presumed lost for decades have turned up in the unlikeliest of places.

Contemporary reviews described it as an Ancient Egyptian High Priestess of Isis (Leal Douglas) turning herself into a beetle to get revenge on MP Paul Lessingham (Foster). This is no ordinary transformation, since she can appear as a woman or man in addition to a beetle. Lessingham turns to his romantic rival for help in defeating this creature.

One reviewer described it as mediocre and more unintentionally hilarious than spine-chilling or dramatic, though the special effects were highly praised. The production was also called to task for its supposed carelessness.

The Haunted Bedroom, released 25 May 1919, is also lost. Its alternate title was The Ghost of Whispering Oaks.

According to contemporary reviewers, New York reporter Betsy Thorne (Enid Bennett, wife of director Fred Niblo) travels to a Southern U.S. depot to investigate a mysterious disappearance. At the depot, she overhears a detective and sheriff saying all reporters are barred from the house and grounds at the centre of the mystery.

Betsy runs across a Richmond maid sent to the house and scares her into agreeing to an identity switch. At the house, Betsy discovers some incredible goings-on, and is terrified by a ghostly figure rising from an organ in the chapel her first night.

Everyone comes running at her screams as she runs away, and the missing man’s sister forbids her from returning to the chapel. The next night, she’s locked in her room during a thunderstorm, and sees the ghostly figure again while escaping through a window. This time, the figure’s in the family graveyard.

Betsy finds an old African-American gentleman who agrees to help her. (Given the era, I wouldn’t be shocked if he were an overly spooked caricature instead of a fully-rounded person who just happens to be a little frightened.) The duo begins investigating the house, starting with the organ.

They discover keys which enable a secret door in the organ to open, revealing a secret passageway to the family tomb. Hiding in there are two crooks whom Betsy discovers were trying to extort a young man accused of the crime.

A collection of eerie tales

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Released 5 November 1919, Unheimliche Geschichten (Eerie Tales) is an anthology film consisting of five creepy stories—The Apparition, The Hand, The Black Cat, The Suicide Club, and Der Spuk (The Spectre).

The Black Cat is based on an 1843 Edgar Allan Poe story of the same name, with parallels to “The Tell-Tale Heart.” Both are about murderers who cover up their crimes and eventually are driven mad by guilt.

The Suicide Club is based on an 1878 three-story collection by Robert Louis Stevenson, also of the same name. They’re about a macabre club which is investigated by Prince Florizel of Bohemia and his buddy Colonel Geraldine. The club’s president is criminally-inclined.

The horror starts in a rare bookshop when three people (Conrad Veidt, Reinhold Schünzel, and Anita Berber) step out of paintings to read horror stories. They periodically appear in wraparound segments and play the leads in all five stories.

Their first story, The Apparition, begins with a woman who confides to a friend (Veidt) that her husband (Schünzel) has lost his mind. She rightly divorced him after he tried to strangle her, but now he follows her everywhere. She begs for protection against this madman.

They begin an affair and check into separate rooms of a hotel, where her ex comes looking for her but is turned away due to no vacancies.  That night, her lover totally freaks out when he finds her room empty.

He tries to set his mind at ease with the thought that it was the wrong room, and in the morning asks to be announced in Room 117. Once again he fills with horror when no one is there. Even worse, her name isn’t in the hotel register, and the receptionist claims he arrived alone.

The horror only increases from there.

In The Hand, things start innocently enough at a party, but soon it’s revealed there are two suitors (Veidt and Schünzel) competing for the same lady.

As so often happens with suitors who can’t gracefully accept no for an answer, the rejected one kills his rival. Before long, he’s tortured by ghostly visions of his victim’s hand.

Things go from bad to worse during a séance.

In The Black Cat, a drunk (Schünzel) becomes more and more out of control, culminating in the murder of his wife. Not realising the screams were heard outside, he drags her body into the cellar and walls her up.

Next day, the man who overheard the murder (Veidt) visits, and the drunk claims his wife is out of town. Soon everyone in town is saying the drunk murdered her.

The witness takes his suspicions to the authorities, who come to search the house. Nothing seems outwardly suspicious till cracks start appearing in the cellar wall.

The witness axes an opening, and out jumps the wife’s loyal black cat. The writing’s on the wall regarding his guilt!

In The Suicide Club, a detective (Schünzel) investigates a seemingly empty house and discovers people inside. When he confronts them, he’s told it’s “just” a suicide club.

The members don’t take very well to the stranger in their midst, esp. not after he refuses to join their club. They want to kill him, but the lone woman pleads for clemency.

Her brother (Veidt) tells him he’s part of a club where one can never leave, and takes him to a card game behind a wall inscribed with the famous words “Abandon all hope, ye who enter here.”

Whoever draws the spade dies that night.

Der Spuk is set in the 17th or 18th century, in the home of a well-to-do baron (Veidt). All the lines in this story are delivered via poems.

Trouble begins when an injured knight (Schünzel) is brought in to spend the night. The baroness, feeling neglected by her husband, immediately begins flirting with him.

Far from being angry to discover this cuckoldry in the making, the baron encourages her to have an affair. But since this is a horror story, their romance is disrupted by mysteriously moving objects and deathly figures.

When this final story concludes, the bookshop’s owner comes in with police and finds his store empty. The three readers have returned to their paintings.