The Blot

Pretty librarian Claire Windsor (as Amelia Griggs) begins to attract eligible men; they include the boy next door, their community's poor young minister, and wealthy student Louis Calhern (as Phil West). Since Ms. Windsor's parents are poverty-stricken, mother Margaret McWade (acting up a storm) would like her to marry Mr. Calhern. He is a student of Windsor's poorly-paid professor father Philip Hubbard. When Windsor becomes ill, the doctor orders Ms. McWade to provide her daughter with nourishing food - but the family doesn't even have enough money to make house payments, or feed itself and the family cats. Learning how the other half lives, Windsor's suitors come to her rescue - and teach viewers about humanity...

"Men are only boys grown tall," is our introduction. Guessing writer/director Lois Weber was trumpeting a call for charitable fairness, and higher pay for clergy and college professors; this is accomplished by the end of the narrative, as society's "boys" seem to have a better recognition of their responsibility. Within its narrative, "The Blot" hearkens an uneven distribution of income. Presently, much ado is made of Ms. Weber's gender. All sorts of readings are possible, most unsatisfying...

My enjoyment of the film is in its depiction of class - specifically the conflicts between "old money" (the extravagant West family), "new money" (the neighboring Olsen family), and "no money" (the lowly Griggs family). The real "class warfare" is between the lower classes, of course. Like today, the poor don't really resent the upper class, who live a lifestyle they do not even fully understand; those of middle and lower classes more often resent and envy each other, which is exactly what many (not all) of the super-rich want. Weber may not make her point, but she makes another one. The symbolism, much involving shoes, is strong. The setting is superb; it isn't more than you can see elsewhere, but it is conveyed exceptionally here.

******* The Blot (8/19/21) Lois Weber ~ Claire Windsor, Louis Calhern, Margaret McWade, Philip Hubbard

For an intellectual analysis, see Jennifer Parchesky's article "Lois Weber's The Blot: Rewriting Melodrama, Reproducing the Middle Class" in Cinema Journal 39.1 (1999) 23-53 [University of Texas Press].

Through an examination of social conditions during the 1920s, Parchesky defines the ethos, pathos & logos that Lois Weber most likely deduced in the writing and directing the film, the Blot.

Blot, The (1921)

*** (out of 4)

There's no question that THE BLOT is a message picture and while it does go overboard at time the thing's heart is in the right place and there's no question that much of it is very touching. The film centers around a poor Professor (Philip Hubbard) and his beautiful daughter Amelia (Claire Windsor) who is wanted by a rich man, Phil (Louis Calhern) who just happens to be her father's student. The family are struggling with very severe poverty, which soon begins to weigh on Phil who wonders why some eat and throw away so much while others are near death because of the lack of nutrition. Director Weber has pretty much been forgotten today but at one point she was a very key figure in the early days of cinema with such films as HYPOCRITES and of course this one. I think a lot of people might roll their eyes to the heavy preaching but at the same time there's quite a bit of good in this film and you really can't blame it too much since its heart is in the right place. I'm really not sure how well this movie went over in 1921 but it's clear that it was a cry or at least plea that those who have plenty should share with those less fortunate. I guess that message rings just as true today considering what's going on in this country as it did in 1921 but you can't help but be impressed with the way the story plays itself out. There's quite a bit going on in this picture with various characters having a connection to this poor family and either wanting to help them or hurt them. This includes a neighbor who doesn't care how poor they are and she gets her chance for revenge when the poor mother finally cracks and steals a chicken from her. The story of the rich student who falls in love with the poor girl is handled perfectly and the way he wants to help but can't simply because the poor family are so proud is handled extremely well too. The performances are a major plus with Windsor doing a very good job as the daughter and Calhern is equally as good. The two of them create a nice spark together and Hubbard is one you can't help but care for. Again, there are some moments that are just way too over the top including the daughter's reaction to the mother stealing the chicken because this reaction is so out there that you'd think she saw her mom shoot some handicapped children. Another problem is the final ten-minutes and how the story plays out. I won't ruin what happens but it just doesn't work. THE BLOT seems to have been forgotten but that's a real shame because there's enough here to make it worth viewing and like many other Weber films it's worthy of being rediscovered.

The Blot (1921)

Domestic interactions, women as real women

The first thing about of every writer's mouth about any Lois Weber film is that it is directed by a woman. A silent film. 1921. And it's true.

But taken straight, The Blot, is a sweet, well constructed domestic drama with surprisingly good acting and a faster pace of editing than even some classics from roughly the same time such as Griffith's Broken Blossoms (1919). The general plot is curious, clever, and complicated enough I got a little lost for awhile. And the middle of the film, once the situation is "set up" for us, develops slowly, even as it cuts between scenes rapidly. The final resolution is not quite clear until it happens, and the final shot is abrupt and poignant to the point of being brilliant and inspired.

There are countless (literally) silent movies of this general type from this period--that is, all kinds of stories that the hungry movie audience of the 1920s at up. And this one is not exceptional from a formal point of view (for example, it has no moving camera, depending on fast cutting and snappy acting for its pace). What makes it interesting (regardless of Weber's gender for now) is the realism of many of the small scenes--the joking at the beginning, the professor's daughter's ease with the camera. There are silent film stiffnesses (for lack of a better word), like the professor in front of the class (no wonder the students are bored) and the professor's wife, who unfortunately has a large role in her unconvincing sorrows. But there are shining moments, including the lead student, who I thought was rather brilliant and only later learned was one of my favorite less known silent actors, Louis Calhern. He makes it worth it alone.

We should ask, is there a woman's touch here? Does Weber give us a view of her female characters that is any different (or better) than what other (male) directors give us? Maybe yes! I'm no scholar for this period at all, and someone would have to dig up not only von Stroheim and other famous directors, but all the routine filmmakers that form the backdrop for the audience of the time (an audience rapt by spectacles, crime flicks, period pieces, comedies and stars themselves, no matter what the genre, like Rudolph Valentino). What strikes me here is the purely normal, domestic basis of most of the scenes--even a cat and its kittens form a second family as a lovable metaphor

The secondary and more interesting conflict is between two middle class families (one clearly with more money than the other), and the women that are in charge of the day to day life of those families. It makes homemaking (cooking, mostly) important. Women are shown to be smart, complicated (within the limits of the plot), and non-objectified. This last is probably where many feminist critics would begin, and it's worth stressing. Even if the heroine in a Griffith film, or a von Sternberg for that matter (they are hardly comparable in the same sentence) is believable and admirable, it is often from a male point of view. They are interesting as the objective (and object) for some man. This is even true for Chaplin, who treats his women with a whole different kind of reverence. But Weber is just a hair different, or at least we can think about it this way. If the professor's daughter is the young "heroine" or female lead, she is no siren, and she does not just conform to some model of mystery, coy sweetness, or plain old beauty. Not completely.

I think I stretch a point--but it's worth looking at. Beyond that, the main conflict, if you can call it that, the one that leads to the romance, is the reason for the title. The "blot" is the shame on a society that doesn't pay its professors (and pastors) the money they deserve. An odd theme (but a good one from my point of view--guess what I do for a living), and one that really just serves as an excuse for the rest of the entertainment. But it has social significance of its own, especially at the beginning of a greedy and capitalist "roaring" decade that The Blot helps kick off.

Check it out. You might be surprised. It's no Sunrise or Greed for sure, but it has its own inner fire.

While watching "The Blot" I found myself pleasantly surprised by so many things about it. Unlike many who have reviewed this film I did not find it the least bit slow. In fact I was very surprised by all the many fast camera cuts and jumping between scenes, that were used and I was very surprised at how well they seemed to make up for the lack of moving cameras that they had at the time. In light of that and many other things, it was quite obvious to me that Lois Weber was extremely talented and ahead of her time. What I enjoyed most about this film was Lois Weber's skill in framing and shooting scenes. The extreme contrast and grainy contrast throughout the film made it seem that nearly every other shot, if put on pause, would make a beautiful, old-fashioned photograph that you might find framed and hung on the wall.

"The Blot", heavy with social issues and purpose that applies to its time, is a very enjoyable and lovely silent film. It does not surprise me that Weber was the highest paid director of her time.