The Impalement

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Bored by a doting wife who is too eager to please (she even puts a cigar in his mouth and lights it), Mr. Avery falls for a dancer, and is invited to a party she is throwing in his honor. Over her husband’s shoulder, the wife reads a letter from the dancer, with the telltale salutation "My dear boy", and threatens to poison herself if he goes. To show that he is not to be deterred by such a melodramatic trick, Avery takes the vial and pours the poison into a wine glass, saying if she decides to do this, why not do it with style? He then leaves, but not without misgivings. At the party the dancer offers him wine in a glass which looks exactly like the one he had handed to his suicidal spouse. This triggers an attack of conscience, and Avery rushes home, to find his wife in a swoon which he takes for her threat fulfilled. Madly, he bursts into the dancer’s party, confesses assisted suicide, and dies.

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21-04-1910

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US

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17 min

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Director
D.W. Griffith

D.W. Griffith

David Llewelyn Wark Griffith was a premier pioneering American film director. He is best known as the director of the controversial and groundbreaking 1915 film The Birth of a Nation and the subsequent film Intolerance (1916). Griffith's film The Birth of a Nation made pioneering use of advanced camera and narrative techniques, and its immense popularity set the stage for the dominance of the feature-length film. It also proved extremely controversial at the time and ever since for its negative depiction of Black Americans and their supporters, and its positive portrayal of slavery and the Ku Klux Klan. Griffith responded to his critics with his next film, Intolerance, intended to show the dangers of prejudiced thought and behavior. The film was not the financial success that its predecessor had been, but was received warmly by critics. Several of his later films were also successful, but high production, promotional, and roadshow costs often made his ventures commercial failures. Even so, he is generally considered one of the most important figures of early cinema.
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