Lost in the Night (Crystal, 1913)
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.
There’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.