La carte fatale

An anarchist group decides that one man has lived too long. His executioner will be determined by chance. One of the group deals out cards to the rest. The one who gets the ace of hearts becomes the assassin. Two young men (Lon Chaney and John Bowers) desperately want that card. They are both courting the sole female member (Leatrice Joy), who thinks of nothing but The Cause. When Fate deals her own hand, one of the suitors (Chaney) must determine if he really loves the girl—or merely wants to possess her.

The themes of love, honor, unrequited love and self-sacrifice pervade this fine suspense thriller. The script, written by Ruth Wightman from a story by Gouverneur Morris, and directed by Wallace Worsley, is extraordinarily deft at creating and maintaining suspense. All the details—what we see and don't see; what we are told about this anarchist group and what we're left to guess; and the moment when a certain character is at last introduced—are well chosen. The film only loses its footing briefly during the fatuous intertitles near the end ("Love is construction!").

Lon Chaney is a great actor, but that doesn't mean he's perfect. He has a great face and a way of compelling our attention and sympathies. I think his main defect is best demonstrated by the scene where Lilith shows up at the door, and he expresses shock. He was clearly expecting this "shock." Lon Chaney is not always what actors call "living in the moment"—feeling things as the character feels them without anticipating the next line in the script. His ability to concentrate on his performance is said to have been intense; but he doesn't always live with his character moment by moment. The trouble is not his era's acting style. Even though people have knocked silent movie acting since the days of silent movies, the exaggerated expressions and gestures are really very powerful. So they are with Chaney.

This excellent silent film was given an enormous boost in 2000 when Vivek Maddala won a competition and was hired to write the score, a job he performed beautifully. My high rating applies to the 2000 version of this film.

The members of a secret society vote on condemning a man to death. Two members of the society, Farralone and Forrest, are in love with the only female member, Lilith. Lilith deals cards to the members, and Forrest gets the ace of hearts, which means he has the "honor" to kill the victim the next day. Lilith agrees to marry Forrest that night, and then tries to convince him not to go through with the murder. But Forrest feels duty bound to carry out the deed. Lilith tries to get Farralone to intercede, but he offers her a bargain instead. Circumstances prevent Forrest from committing the murder, which causes the other members to condemn him to death. Farralone gets the ace of hearts. But he has another plan in mind. He begins to laugh ...

I've seen this twice, and upon further review, I can say it's an interesting story, but it's almost done in by some overacting by the three leads.

There are also plenty of holes in the film. I wanted to know how this society was formed, why it only has one female member, why Chaney has a George Washington haircut, why everyone except Bowers and Joy looks to be in their 50s or 60s, why they chose their victim (referring to him as "the man who lived too long"), etc. If you can ignore all this, you'll probably like the film.

...the plot isn't particularly strong to begin with; one has to have a good knowledge of the post-WW1 "Red Scare" to get out of it what the filmmakers intended, and even then it's not much to speak of. However, that actually works in an odd way, since it allows for this picture to be an example of how Lon Chaney's acting talents contributed to his movies. They truly carry the show here, especially the subtleties of his facial expressions. There's also a rare opportunity to see John Bowers, one of the stars of silent cinema whose career came to a screeching halt with the advent of talkies; the character of Norman Maine in the first two Hollywood productions of A STAR IS BORN was in part based on Bowers. It's also interesting to see the original Goldwyn Pictures logo at the beginning of the picture, before the design was only slightly adapted for use by Metro-Goldwyn-Mayer three years later...

I think it's a mistake to compare silent movies in general to modern films. The medium is just plain different- subtlety isn't a strong point- kind of like vaudeville. This movie is a great little snippet of history. The story- about anarchists preparing to assassinate a "bad man" is very current for its time- only 3 years after WWI- caused by the assassination of a world figure by an anarchist. So, the message of the movie, that love trumps anarchy was current, and timely. Lon Chaney was a master of silent emoting- and yes, perhaps the acting seems stylized and mannered, but taken in context, it's a great deal of fun. It's also an interesting portrayal of a woman within a political movement- first as an ideologue detached from love and romance and then as a woman consumed by her passion and ready for her husband to abandon his principles to remain at her side. She's in some ways the villain of this piece- and in some ways the hero. Very nice shades of ethical grays.

Although the plot is definitely one of its weaker points, it is nevertheless an entertaining and well done movie. Turner Classic Movies has recently re-mastered, restored and re-scored the film and it is quite an impressive effort. The political basis of the plot is rather hard to believe, but the love triangle is quite touching. Lon Chaney's character is very convincing, if a bit over the top (which can be quite common in silent pictures.) Leatrice Joy and John Bowers are also quite good as the lovers who second guess their original political beliefs.