Manslaughter | |
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The famous orgy scene from the film
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Directed by | Cecil B. DeMille |
Produced by | Cecil B. DeMille Jesse L. Lasky |
Written by | Jeanie MacPherson |
Based on |
Manslaughter by Alice Duer Miller |
Starring | Leatrice Joy |
Cinematography | L. Guy Wilky Alvin Wyckoff |
Edited by | Anne Bauchens |
Production
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Distributed by | Paramount Pictures |
Release date
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Running time
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100 minutes (10 reels; 9,061 feet) |
Country | United States |
Language |
Silent English intertitles |
Budget | $385,000 |
Manslaughter is a 1922 American silent drama film directed by Cecil B. DeMille and starring Thomas Meighan, Leatrice Joy, and Lois Wilson. It was written by Jeanie MacPherson based upon the novel of the same name by Alice Duer Miller.
A wild, wealthy woman (Joy) is brought to heel by a sermonizing district attorney after she accidentally hits and kills a motorcycle cop.
According to Leatrice Joy, the filming of the car chase scene was extremely nerve-wracking because she herself had to drive the car, which had been fitted with a platform to support two cameramen and the director, plus equipment. Their safety depended entirely upon her skills as a motorist. Joy did most of her own driving, though in some shots the car was driven by stunt double Leo Nomis. During the shooting of a prison sequence, Joy burned her hand accidentally with soup in a prop cauldron; assistant director Cullen Tate had neglected to inform her that the soup was scalding hot.
Manslaughter is thought of by historians as one of De Mille's lesser efforts as a director. Historian Kevin Brownlow notes that Joy and Wilson "both give far better performances than the film deserves." "It is hard to believe that such a crude and unsubtle film could come from a veteran like De Mille," said a 1963 Theodore Huff Society program note for the film, "harder still to believe that this came from the same year that Orphans of the Storm, Down to the Sea in Ships", and Foolish Wives. The amateurish and crudely faked chase scenes that start the film are of less technical slickness than Sennett had been getting ten years earlier. Manslaughter is exactly the kind of picture that the unknowing regard as typical of the silent film - overwrought, pantomimically acted, written in the manner of a Victorian melodrama, the kind of film that invites laughter at it rather than with it."