Minor Spoilers ahead. Maurice Troureur is one of the great directors of early cinema, and one of the least well known. He was particularly adept at creating atmosphere and composing his sets and shots (this skill is called "mise-en-scene"). Many of his films are lost and many others are simply unavailable except on bad bootleg VHS copies. "Victory," is an exception.
The film, has many interesting elements, but one of the most interesting is how it foreshadows both film noir and Hitchcock. With deft touches of mise-en-scene, Tourneur, creates a steamy, sordid atmosphere in this creepy film. The three villains are perfectly cast. There is the cold emotionless intellectual criminal who kills as a means to an end (Ben Deeley), the strong brute, who has deep loyalties and deeper hatreds (Bull Montana), and finally the sadistic, killer who loves to see his victims squirm (Lon Chaney). The first shot of this charming threesome shows them looking down from the deck of a ship. The camera hangs on them, giving us time to study their personalities written so plainly on their faces. You won't see another scene like this until the 30's.
Lon Chaney appears here in one of his early roles. This film was a bit of a break for Chaney. Prior to this, his roles were not as interesting, but in this film Tournour brought the best in him and from here on out he would develop his famous acting persona.
The malevolent atmosphere and suspense builds in a way that is so Hitchcockian that you have to recheck the date of the film to decide who influenced whom. The lecherous, cowardly and vindictive innkeeper is perfectly played by Wallace Beery, but it is Lon Chaney who stands out as he sadistically plays mind games with anyone who has the misfortune to be around. You feel as if he might suddenly kill someone for no better reason than to improve his boredom.
The other major player is Seena Owen. Largely forgotten today, probably because she made so few films. She shows herself to be a noir heroine that is easily the equal to Lon Chaney in this film. Beautiful, sensuous and knowing, the scenes between her and Chaney are priceless. In one, Chaney attempts to rape her. She successfully fights him off. As they look at each other from different parts of the room, panting from the fight, Chaney compliments her on being able to resist him. She smiles, as she adjusts her clothing, and thanks him for the compliment. A scene like that in 1919! You wouldn't see another to match it until the mid 1930's.
Is it the first film noir? Did the film influence Hitchcock? Who can say? But one thing is certain, the film is well worth watching.
The film, has many interesting elements, but one of the most interesting is how it foreshadows both film noir and Hitchcock. With deft touches of mise-en-scene, Tourneur, creates a steamy, sordid atmosphere in this creepy film. The three villains are perfectly cast. There is the cold emotionless intellectual criminal who kills as a means to an end (Ben Deeley), the strong brute, who has deep loyalties and deeper hatreds (Bull Montana), and finally the sadistic, killer who loves to see his victims squirm (Lon Chaney). The first shot of this charming threesome shows them looking down from the deck of a ship. The camera hangs on them, giving us time to study their personalities written so plainly on their faces. You won't see another scene like this until the 30's.
Lon Chaney appears here in one of his early roles. This film was a bit of a break for Chaney. Prior to this, his roles were not as interesting, but in this film Tournour brought the best in him and from here on out he would develop his famous acting persona.
The malevolent atmosphere and suspense builds in a way that is so Hitchcockian that you have to recheck the date of the film to decide who influenced whom. The lecherous, cowardly and vindictive innkeeper is perfectly played by Wallace Beery, but it is Lon Chaney who stands out as he sadistically plays mind games with anyone who has the misfortune to be around. You feel as if he might suddenly kill someone for no better reason than to improve his boredom.
The other major player is Seena Owen. Largely forgotten today, probably because she made so few films. She shows herself to be a noir heroine that is easily the equal to Lon Chaney in this film. Beautiful, sensuous and knowing, the scenes between her and Chaney are priceless. In one, Chaney attempts to rape her. She successfully fights him off. As they look at each other from different parts of the room, panting from the fight, Chaney compliments her on being able to resist him. She smiles, as she adjusts her clothing, and thanks him for the compliment. A scene like that in 1919! You wouldn't see another to match it until the mid 1930's.
Is it the first film noir? Did the film influence Hitchcock? Who can say? But one thing is certain, the film is well worth watching.