Monthly Archives: April 2015

Lost in the Night (Crystal, 1913)

Lost in the Night screenshot 1Lost in the Night (Crystal, 1913)
Directed by Phillips Smalley
Starring Pearl White and Chester Barnett

On the way to deliver a diamond and sapphire necklace to rich Mrs. H.B. Collingwood, Dick Halstead stops over at his friend Tom Barry’s (Chester Barnett) house to meet his new wife Pearl (Pearl White). Tom deposits the necklace in his bedroom safe and the three go downstairs to dinner. It comes out in conversation that the necklace is worth $6,200. While Tom and Dick are smoking, Pearl slips back upstairs to try it on.

She’s interrupted when she hears Tom on the steps and quickly puts it back. That night, however, with her “sub-conscious mind” focused on the necklace, she sleepwalks to the safe, withdraws the necklace, takes it into the backyard, and slips it in the hollow of a tree.

In the morning, the necklace is found missing. A detective is called, the maid is strongly suspected, but in the end — no necklace. Tom pledges to pay for it, which means mortgaging the house. A year later, we find Tom writing to John Baring, begging for a loan to stave off eminent foreclosure. (Who is John Baring? No idea). That night, Pearl sleepwalks again. She returns to the tree and finds the necklace where she dropped it. Tom discovers her with it and startles her awake. She’s evidently unaware of how she came to have it, and Tom seems very angry.

Lost in the Night screenshot 2There’s the germ of a story here, but it needed more working out. It makes sense that, if Pearl were interrupted while trying on the necklace, she might later try it on again in her sleep, but nothing prompts her then hiding it in a tree. I believe they were trying to foreshadow something in an earlier scene when Pearl and the maid were making room in the safe by moving some silverware into a hutch, but if there is some connection intended, it’s way too vague to work. And I could see it taking another crisis for Pearl’s subconscious to return to the necklace, but again, there’s no adequate parallel established in the waking-world that would explain Pearl’s dream actions.

Dick is a non-entity whose only purpose is to introduce the necklace and disappear directly afterward, which I don’t suppose is too much of a problem since the time constraints of a single reel mean details must be limited, but at the same time, the film isn’t shy of wasting time on other details of no consequence — like the entire detective subplot or the bank scene.

I suppose it might be a bit hypocritical of me right after saying that A Night in Town (1913) would have benefited from a more open ending, but I think Lost in the Night (1913) is a bit too open. What happens next? Is the foreclosure averted? (Recovering the necklace doesn’t necessarily mean recovering its value, especially since a year’s passed and the original buyer has been compensated.) Do Tom and Pearl reconcile? (From the last scene, I wouldn’t bet on it.) For that matter, is Pearl accused of stealing the necklace?

There is something here, I won’t deny that, but it’s too half-baked to recommend.

My rating: Meh.

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A Night in Town (Crystal, 1913)

A Night in Town screenshotA Night in Town (Crystal, 1913)
Starring Pearl White and Chester Barnett
Directed by Phillips Smalley

Tom makes a visit to his nephew Dick to meet his new wife, but the newlyweds aren’t there — they left on a short trip of their own, leaving the house entrusted to their maid (Pearl White) and butler (Chester Barnett). When the cat’s away, the mice will play: the servants invite several friends over and are in the midst of a raucous party when Tom arrives.

The maid, who has helped herself to her mistress’s clothes, is mistaken for Dick’s wife. Tom leads her away to a private alcove to get to know her better, which incurs the butler’s jealousy. A fight breaks out that leads to Tom getting thrown from the window. He lands on a cop, who arrests him for assaulting an officer.

In the morning, the newlyweds return from their trip and Tom is released from jail. He makes a second visit to the house and discovers the true identities of the woman he flirted with and the man who attacked him, but nothing really comes of it. I watched several Crystal films the same night I screened A Night in Town (I’ll probably write something about two or three of them), and while all of them suffered a bit from this problem, it’s clear that the writer started with idea for a premise that he had no idea at all how to end. Really, after Tom mistakes the maid for his nephew’s wife, the story is over and the rest of the film is just killing time. Personally, I’d have padded out the set up a bit more and ended it with the arrest — leave it to the audience’s imagination what happens next, rather than disappoint them with the… it’s not even half-hearted, “quarter-hearted” next-day scene.

My rating: I don’t like it.