#Tyrone Power Sr

[perfettamentechic]

23 dicembre … ricordiamo …

23 dicembre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2022: Maria Del Monte, pseudonimo di Maria Esposito, attrice e cantante italiana. Fu un’attrice caratterista, conosciuta per la sua partecipazione nei film accanto a Alessandro Siani, Maurizio Casagrande e Vincenzo Salemme. Iniziò giovanissima a recitare, interpretando ruoli da caratterista. Nel 1964 incise, insieme a protagonisti del moJmento, scenette comiche su 45 giri. Nel 1979 debuttò al…

[from1837to1945]

Baby Fraser and Tyrone Power Sr. in Sweet Alyssum (1915)

[vintagedreamsofsennett]

Sweet Alyssum (1915, Colin Campbell)

[hotvintagepoll]

Congrats to the ultimate winner of the Hot & Vintage Movie Men Tournament, Mr. Toshiro Mifune! May he live happily and well where the sun always shines, enjoying the glories of a battle hard fought.

A loving farewell to all of our previous contestants, who are now banished to the shadow realm and all its dark joys and whispered horrors—I hear there's a picnic on the village green today. If you want to remember the fallen heroes, you can find them all beneath the cut.

What happens next? I'll be taking a break of two weeks to rest from this and prep for the Hot & Vintage Ladies Tournament. I'll still be around but only minimally, posting a few last odes to the hot men before transitioning into a little early ladies content, just like I did with this last tournament. The submission form for the Hot & Vintage Ladies tournament will remain up for one more week (closing February 21st), so get your submissions in for that asap! Once the form closes, there will be one more week of break. The first round of the Hot & Vintage Ladies Tournament will be posted on February 29th, as Leap Year Day seems like a fitting allusion to leaping into these ladies' arms.

Thanks for being here! Enjoy the two weeks off, and send me some great propaganda.

In order of the last round they survived—

ROUND ONE HOTTIES:

Richard Burton

Tony Curtis

Red Skelton

Keir Dullea

Jack Lemmon

Kirk Douglas

Marcello Mastroianni

Jean-Pierre Cassel

Robert Wagner

James Garner

James Coburn

Rex Harrison

George Chakiris

Dean Martin

Sean Connery

Tab Hunter

Howard Keel

James Mason

Steve McQueen

George Peppard

Elvis Presley

Rudolph Valentino

Joseph Schildkraut

Ray Milland

Claude Rains

John Wayne

William Holden

Douglas Fairbanks Sr.

Harold Lloyd

Charlie Chaplin

John Gilbert

Ramon Novarro

Slim Thompson

John Barrymore

Edward G. Robinson

William Powell

Leslie Howard

Peter Lawford

Mel Ferrer

Joseph Cotten

Keye Luke

Ivan Mosjoukine

Spencer Tracy

Felix Bressart

Ronald Reagan (here to be dunked on)

Peter Lorre

Bob Hope

Paul Muni

Cornel Wilde

John Garfield

Cantinflas

Henry Fonda

Robert Mitchum

Van Johnson

José Ferrer

Robert Preston

Jack Benny

Fredric March

Gene Autry

Alec Guinness

Fayard Nicholas

Ray Bolger

Orson Welles

Mickey Rooney

Glenn Ford

James Cagney

ROUND TWO SWOONERS:

Dick Van Dyke

James Edwards

Sammy Davis Jr.

Alain Delon

Peter O'Toole

Robert Redford

Charlton Heston

Cesar Romero

Noble Johnson

Lex Barker

David Niven

Robert Earl Jones

Turhan Bey

Bela Lugosi

Donald O'Connor

Carman Newsome

Oscar Micheaux

Benson Fong

Clint Eastwood

Sabu Dastagir

Rex Ingram

Burt Lancaster

Paul Newman

Montgomery Clift

Fred Astaire

Boris Karloff

Gilbert Roland

Peter Cushing

Frank Sinatra

Harold Nicholas

Guy Madison

Danny Kaye

John Carradine

Ricardo Montalbán

Bing Crosby

ROUND THREE SMOKESHOWS:

Marlon Brando

Anthony Perkins

Michael Redgrave

Gary Cooper

Conrad Veidt

Ronald Colman

Rock Hudson

Basil Rathbone

Laurence Olivier

Christopher Plummer

Johnny Weismuller

Clark Gable

Fernando Lamas

Errol Flynn

Tyrone Power

Humphrey Bogart

ROUND 4 STUNGUNS:

James Dean

Cary Grant

Gregory Peck

Sessue Hayakawa

Harry Belafonte

James Stewart

Gene Kelly

Peter Falk

QUARTERFINALIST VOLCANIC TOWERS OF LUST:

Jeremy Brett

Vincent Price

James Shigeta

Buster Keaton

SEMIFINALIST SUPERMEN:

Omar Sharif

Paul Robeson

FINALIST FANTASIES:

Sidney Poitier

Toshiro Mifune

and ok, sure, here's the shadow-bracket-style winner's portrait of Toshiro Mifune.

[erstwhile-punk-guerito]

[markwatnae]

Masterpost of Hot Old Man Round 1 Polls

Paul Newman v Richard Burton

Omar Sharif v Tony Curtis

Red Skelton v Burt Lancaster

Christopher Plummer v Keir Dullea

Anthony Perkins vJack Lemmon

Kirk Douglas v Alain Delon

James Dean v Marcello Mastroianni

Harry Belafonte v Jean-Pierre Cassel

Marlon Brando v Robert Wagner

Sammy Davis Jr. v James Garner

James Coburn v Rock Hudson

Peter Cushing v Rex Harrison

George Chakiris v Sidney Poitier

Dean Martin v Sean Connery v Jeremy Brett

Tab Hunter v Toshiro Mifune

Howard Keel v Peter O'Toole

Robert Redford v James Mason

Steve McQueen v Charlton Heston

Dick Van Dyke v George Peppard

Elvis Presley v Peter Falk

Oscar Micheaux v Rudolph Valentino

Joseph Schildkraut v Buster Keaton

Jimmy Stewart v Ray Milland

Cary Grant v Claude Rains

John Wayne v Errol Flynn

Clint Eastwood v William Holden

Douglas Fairbanks Sr. v Sessue Hayakawa

Carman Newsome v Harold Lloyd

Noble Johnson v Charlie Chaplin

John Gilbert v Conrad Veidt

Ramon Novarro v Robert Earl Jones

Slim Thompson v Gary Cooper

John Barrymore v Paul Robeson

Edward G. Robinson v Clark Gable

Humphrey Bogart v William Powell

Leslie Howard v Ronald Colman

Peter Lawford v Vincent Price

Harold Nicholas v Mel Ferrer

Joseph Cotten v Danny Kaye

John Carradine v Keye Luke

Ivan Mosjoukine v Gilbert Roland

Benson Fong v Spencer Tracy

Guy Madison v Felix Bressart

James Shigeta v Ronald Reagan

Montgomery Clift v Ricardo Montalbon

Peter Lorre v Frank Sinatra

Bob Hope v Gregory Peck

Fred Astaire v Paul Muni

Bela Lugosi v Cornel Wilde

Cesar Romero v John Garfield

Basil Rathbone v Cantinflas

Henry Fonda v Turhan Bey

Boris Karloff v Robert Mitchum

David Niven v Van Johnson

Gene Kelly v José Ferrer

Robert Preston v Tyrone Power

Jack Benny v Donald O'Connor

Fredric March v Lex Barker

Michael Redgrave v Gene Autry

James Edwards v Alec Guinness

Fayard Nicholas v Fernando Lamas

Ray Bolger v Johnny Weismuller

Orson Welles v Sabu Dastigir

Mickey Rooney v Laurence Olivier

Rex Ingram v Glenn Ford

Bing Crosby v James Cagney

@hotvintagepoll

[jartita-me-teneis]

La sorprendente vida de la Reina de Saba, hermosa mujer dotada de una inteligencia y diplomacia excepcionales, cuyas leyes a favor de los derechos de la mujer, y su juramento de perpetua virginidad, parecieron marcar un destino cuyo rumbo quedó alterado tras su encuentro con el amor y el placer encarnados en el rey Salomón.

El Cine plasmó la historia en "Salomón y la Reina de Saba"

(1959). La producción corrió a cargo de Tyrone Power y su interpretación, hasta su fallecimiento repentino en Madrid.

Dirigida por King Vidor, el rodaje transcurrió sin incidencias hasta que llegó el fatídico día 15 de noviembre de 1958. Power, que ya había rodado más de las tres cuartas partes de las secuencias en las que su personaje aparecía, manifestó sentirse indispuesto al llegar al plató.

No obstante, insistió en rodar la escena prevista para ese día, el enfrentamiento a espada entre Salomón y Adonijah a las puertas del templo de Jerusalén. Según su amigo Ray Sebastian, el clima en el plató era excesivamente gélido y a Tyrone Power siempre le había afectado bastante el frío, lo cual era preocupante en aquéllas circunstancias, si tenemos en cuenta que el actor se encontraba rodando en pleno otoño madrileño y con vestuario de la época del antiguo testamento, que no contribuía precisamente a mejorar la situación.

Power inició el rodaje de la escena con Sanders, que finalizó, de repente, a petición del primero al manifestar que no se encontraba bien. Tyrone Power, con el rostro congestionado, se retiró hacia su set, y tras manifestar que le faltaba el aire, sufrió un infarto en presencia de Gina Lollobrigida, en cuyo coche Ty, y ataviado aún con el atuendo de rodaje, fue llevado urgentemente al hospital donde ingresó ya cadáver.

Curiosamente, Tyrone Power era hijo de un actor del mismo nombre, Tyrone Power, Sr. y heredero de un linaje vinculado al Cine y a la interpretación teatral, y que falleció en brazos de su hijo, el 23 de diciembre de 1931, cuando contaba con 17 años, también de un infarto fulminante.

En 1931, su padre se preparaba para rodar una versión sonora de la película "El hombre milagroso"

(1932), que había sido una gran éxito del Cine mudo en 1919, de la mano de Lon Chaney.

Se habían rodado unas pocas escenas del film, cuando Tyrone padre murió. El actor tenía 62 años. Su papel pasó a ser interpretado por Hobart Bosworth.

La Reina bellísima... / Gina Lollobrigida.

[titleleaf]

As Zanuck Sr. repeatedly told his son, had Valley of the Dolls been a product of the Hollywood studio system at its apex, in less than a week he would have assigned it to a contract director, one or more of the studio’s stable of thirty-plus top screenwriters, an available cameraman, production and costume designer, a composer, and a cast selected from 20th’s contract talent roster. It isn’t hard to imagine a forties-era Valley of the Dolls. On tap at the studio were any number of great beauties and “types,” some of them quite talented. And if those weren’t quite right, Zanuck might have arranged to borrow talent from other studios. There was Gene Tierney, Linda Darnell, or Jeanne Crain to play the reserved New Englander Anne Welles. Betty Grable, Rita Hayworth, or Lana Turner might have played the luckless showgirl Jennifer North. The young Bette Davis, Susan Hayward, or Ida Lupino would have fit as brilliantly talented, tormented Neely O’Hara. Tyrone Power/Gregory Peck/Cornel Wilde could have slipped easily into the role of suave, slippery Lyon Burke, alongside Dana Andrews as press agent Mel, Vincent Price as Charles Revson–inspired cosmetics empire maven Kevin Gillmore, and Clifton Webb as fashion designer Ted Casablanca. For good measure, Zanuck could have thrown in Gertrude Lawrence as fading Broadway virago Helen Lawson, Frank Sinatra/Dean Martin/Vic Damone as Tony Polar, and Geraldine Fitzgerald as Miriam, sister of the sexy, childlike crooner. Or had Zanuck made the movie later in his career, he could have helped himself to the talents of, respectively, Hope Lange, Diane Varsi, or Shirley Jones as Anne, Marilyn Monroe, Joan Collins, or Debra Paget as Jennifer, Joanne Woodward as Neely, Richard Burton or Stephen Boyd as Lyon, Roddy McDowall as Ted Casablanca, Claudette Colbert or Mary Martin as Helen, Elvis Presley as Tony with Angela Lansbury as Miriam. But in 1966, the days of the studio system and exclusive contracts were on life support. With the long shadow of Darryl F. Zanuck looming over Valley of the Dolls, it would take Richard D. Zanuck, producer David Weisbart, and director Mark Robson long, torturous months and many reversals before the casting—let alone the entire production—finally pulled together. And, from his Paris headquarters, Zanuck Sr. thought that was laughable—when he didn’t find it infuriating.

-- Dolls! Dolls! Dolls!: Deep Inside Valley of the Dolls, the Most Beloved Bad Book and Movie of All Time, Stephen Rebello

Rebello's bonkers fancasts here have captivated me.

[jedivoodoochile]

CESAR ROMERO AS THE JOKER & 36 OTHER 'BATMAN' VILLAINS!

SEE THEM ALL HERE: https://www.mentalfloss.com/article/60213/visual-guide-all-37-villains-batman-tv-series?a_aid=46813

Remembering film, radio, and TV actor CESAR ROMERO (Feb 15, 1907 – Jan 1, 1994)

César Julio Romero Jr. enjoyed a nearly sixty-year career in film, radio, and television.

Born in New York City, Romero was the son of César Julio Romero Sr. and María Mantilla, the latter being the biological daughter of Cuban national hero José Martí. Romero grew up in Bradley Beach, New Jersey, and attended several schools, including Asbury Park High School, Collegiate School, and Riverdale Country Day School. After the Wall Street crash of 1929, his Hollywood earnings helped support his family.

In 1942, Romero enlisted in the United States Coast Guard as an apprentice seaman and saw action in the invasions of Tinian and Saipan. In his acting career, Romero frequently played "Latin lovers" in films from the 1930s until the 1950s, usually in supporting roles. He starred as the Cisco Kid in six westerns between 1939 and 1941, played a minor role in the 1942 20th Century Fox musical Orchestra Wives, and played Khoda Khan in the British Raj-era action film Wee Willie Winkie (1937), among many other roles.

Romero's range of screen roles included historical figures in costume dramas, characters in light domestic comedies, and the Joker on the Batman television series, making him the first actor to play the character. He was included in TV Guide's 2013 list of The 60 Nastiest Villains of All Time. Romero occasionally played leading roles, such as in Allan Dwan's 15 Maiden Lane (1936) and Dwan's Wyatt Earp saga Frontier Marshal (1939). He was also selected to co-star with Tyrone Power in the Technicolor historical epic Captain from Castile (1947), directed by Henry King. Romero portrayed the historical conquistador Hernán Cortés.

Romero's television credits included The Martha Raye Show in the mid-1950s and several appearances as Don Diego de la Vega's maternal uncle in a number of Season 2 Zorro episodes. In 1958, he guest-starred as Ramon Valdez in How to Marry a Millionaire in the episode entitled "The Big Order".

Throughout his career, Romero was known for his good looks and charm. In a 1973 interview with the Los Angeles Times, he said, "I'm just a lucky slob from downtown New York." Romero passed away on January 1, 1994, at the age of 86.

[thekingsofitall]

I’ve finally watched “The Big Trail” and it’s a wonderful, masterfully created movie. Not much of a plot, and it doesn’t really need one to get your attention - there’s a slew of colorful characters for that. (And if you are not charmed by a character of Gus and his mother-in-law and his noble steed aptly named Useless, I swear, you must be dead inside - this bunch is hilarious.) Some very intense scenes, too; I read that several people actually died in accidents, and also quite a number of steers probably, that river crossing was a brutal thing to watch. Filmmaking could be a very dangerous endeavor back then. 

Of course, there’s young Duke, who wasn’t even “John Wayne” yet - Marion Morrison got his iconic name on this very movie. (Marion, for goodness’ sake! Who names their son that?..) Slender as a reed, hot as a dog and green as grass. I don’t know if they filmed in sequence, but he seems to get a little bit better as the movie progresses. Still, a delightful sight. What a shame “The Big Trail” turned out to be the big fail (but why?..) and this young charmer had to wait nine more years to become a new big name and then a legend. 

And I’ve never seen such big settler wagons in any other movie. They’re called Conestoga wagons, I believe, and those things are as freaking huge as longships. Imagine living in one of them for months, through heat, rain and snow, slowly traveling to your new life that you’ll have to build from the ground up. I wish there were more movies about that - a look from inside the wagon, you know. 

[perfettamentechic]

23 dicembre … ricordiamo …

23 dicembre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic #felicementechic #lynda

2020: Rebecca Luker, Rebecca Joan Luker, soprano e attrice statunitense nota soprattutto come interprete di musical a Broadway. Fu sposata con l’attore Gregory Jbara dal 1993 al 1996, dopo il divorzio, si risposò con l’attore Danny Burstein nel giugno del 2000. Nel 2020 dichiarò di essere stata diagnosticata di SLA, che nei mesi successivi l’avrebbe portata alla perdita dell’uso delle gambe,…

[theteej]

“You need to take serious time for yourself, do self-care, or something,” my best friend Mark said to me, uncomfortably earnestly. 

“I’m serious.  You haven’t been letting anything in, and you just have to sit and stop running.  Go process, or feel, or just let it sink in that you did things and you surprisingly don’t suck.”

Fuck, he’s right.

And so that’s what I’m doing.  Last week I booked an Airbnb in La Jolla, a tony coastal enclave of San Diego near where I went to undergrad.  I pretended I was on vacation, but in a pandemic.  I booked a small studio near the water, and planned to spend these next few days reading, reflecting, walking along the ocean, and staying otherwise indoors and trying to wrestle with this whole semester.  I pulled up to the studio last night, unpacked my bags, and cried.  Like cried a lot.  I felt lonely and scared, but also so numb.  I felt a sea of blankness all around me, and a sense of trepidation.

Honestly, I don’t know what to do about all of my stupid feelings.

 

Where to start?

 

I feel like I’ve been anxious nearly my whole life.  It’s absolutely something that developed as a kid with a violent, drunken father.  You learn to live in between heartbeats like that, always testing what’s about to happen, trying to think of the next thing to plan in order to stay safe.  Sure, your brain says tauntingly.  Things are OK right now, but what if they’re not in a few minutes?  Or even worse: Things ARE terrible—what are you going to do if they stay that way forever?  These are the gifts Tyrone Tallie Sr left me, along with an unoriginal legal name and a stubborn widows peak visible whenever I grow my hair out for a few weeks.

Couple that with a natural tendency to think quickly, and you have the birth of a personality that masked my calculating self-security by turning those constant permutations into clever moments for interaction or comment.  Like many people, my wit is born of trauma; the ability to process things in quick time is born out of needing to feel safe, and frequently gets deployed to put others at ease.  That’s one of the weirder contradictory things about being me.  I am simultaneously witty and clever and in control, and I am also always quietly freaking out, or at the very least, waiting for the other shoe to drop.

Which is why this has been….a damn semester.  Teaching two classes fully remotely with panicked, overwhelmed students in the shadow of an ever-worsening pandemic that stretches on and on without end and feeling daily gaslighted by the endless selfishness of your fellow citizens—what a gift for the anxious.  Ironically, anxiety helped to a certain extent because I didn’t have the shock of falling into a new world of uncertainty or fear that so many non-anxious folk did this year.  But that’s hardly a gift, is it?  Congratulations! You’re already living as if a bomb can go off at any moment, so you’re not struggling to adjust to the new horror show of life!

Teaching this semester has been…just without any context.  I’ve taught online, but not in this same planned way and with everyone panicking, and the looming threat of pandemic and election.  And yet we did it.  We pulled ourselves together, and my students were honest about their needs and their breakdowns and I tried to model humility and grace and confusion and rage as well as they did.  We didn’t fuck it up.  Or, we all fucked up, and it was okay.  We learned things. Students surprised me, and it was glorious.  I got to be broken and I didn’t die.

It was an intense semester of overworking as well.  I was on a bunch of committees, formal and informal, and we managed to get a new minor—African Studies—passed.  I’ll be heading a new program on campus next year, and that’s exciting and terrifying.  And on top of all of that, I couldn’t stop volunteering for stuff, or talking about things I cared about.  In addition to teaching, I gave fourteen different presentations or talks this semester, an increase in expectations or agreements on my part thanks to the ubiquity of zoom.  It grinds on you: the whole, get up, trudge to the back room, power up a personality for the zoom camera, and pour yourself digitally into a screen, only to feel yourself broken into little packets of light and data and scattered across the universe.

The talks went well.  The student evaluations went well.  Honestly, both were fucking great.  And I haven’t let myself feel a goddamn thing.  I let it slide off me like rain on a waxed deck, the droplets beading on the slick wood before slipping away into the darkness.  I cant let it sink in, because then something good might be happening, and the very skills that have made me capable—the whip-fast reflexes, the self-deprecating humour, the rapid analysis—are also tied to the very deep-seeded anxiety. Everything has to be calculated and understood and prepared for, because at some moment a dark curtain is going to fall over the face of a man with my same name. He will smack me so hard I will go flying out of a chair and hit the wall with a soft, sickly whump, a particularly unpleasant of me at seven that I carry sewn into every cell of my skin and fiber of my being. 

I can’t stop and let it sink in because I have internalized the worst calculus of overachiever life—push harder, don’t stop for the good, that’s normal.  Stop only for the bad to learn from it, take in its horror, and let it never happen to you again.  And so I found myself at the end of the semester holding a bag of relative joy like a party favour, looking around anxiously for bullies to come snatch it out of my hands.

And then Jeopardy fucking happened.

I got to be on television. I got to talk to Alex Trebek, the same man who held my grandmother’s hand on Classic Concentration and saw that her for the beautiful, formidable queen that she was. I got to turn silly trivia knowledge into cash—and I got to do it while being me. And to my confusion—people liked me.  It went well, they felt I resonated with something inside of them, and they liked it.

I do not, in my own skill set, have the tools to deal with that.  I am supposed to be clever and fast, and witty, and engaging and lovable—but I do not know how to actually think of receiving goodness.  I know how to process being witty and clever and delightful—I did what I was supposed to do, good job, next—but I don’t know how to actually take that positivity in.

I keep waiting for all of this to fall apart, for everyone to hate me in the reassuring ways that I distrust or marginalize or disbelieve myself.  And yet, I know that’s not helpful.  Hence, overachiever’s therapy: forcing oneself to prematurely trade on prize money and spend a three day love/relaxation retreat, less than fifteen miles from my own apartment.

I woke up and cried a little.  I then tried to mediate or at least focus on the positives of late.  Nope. Nothing came.  I decided it was time for coffee.  I drank some that I made in the Airbnb, but realized I needed to get outside for a walk.  I changed into a bright yellow caftan and an extra-dramatic face mask, and went for a walk on the streets of La Jolla, the bougie and strange bubble by the sea.

La Jolla can double in weird ways like other parts of the world I frequent.  It feels sometimes like I’m in Durban (if you’re more partial to Umhlanga Rocks or Durban North) or Wellington (if you love Mount Vic or Oriental Bay), or even Vancouver (if you feel like West Point Grey or the haughtiest parts of Kitsilano are your thing).  It’s a rich place, one that I don’t belong in, but one that I can feign a few hours of enjoyment and sun.

Today I walked down palm tree lined streets in the perfect weather, the breeze pushing through my still-short hair with a strange urgency.  I picked up a cold brew coffee and a freshly caught and grilled halibut sandwich that my therapist recommended (we decided to briefly be pescatarian for a day and chalked it up to the ‘medical advice.’), then I turned toward the coast.  I sat for a long time looking at the waves—unsurprisingly—with a bit of anxiety. 

What if I relaxed WRONG?  What if I couldn’t let myself feel joy?  What if I just wasted the day by…eating this sandwich and not fully appreciating the beautiful ocean waves, golden sun, or nature all around me.  After a while I realized that sounded ridiculous, and just forced myself to sit.

And as the old Zulu language dance song “Unamanga” by the late Patricia Majalisa started to filter to my headphones, as I stared out at the sea and the sun, something shifted.  I felt something like, I don’t know, a failure in the sealnt around myself, and some drops dripped in, slowly.  Maybe, just maybe, I didn’t have to do this in a grand gesture.  I could enjoy myself and the small joys I’d found in life so far. 

I could be grateful and quietly glad for the little things that happened.  It wasn’t about deserving it, or about it being worthy of me.  I could imagine for right now, that this was a thing that I could have.  I could sit and marvel that some great shit happened to me, and it was OK.  Let’s not get it twisted—I didn’t have an epiphany, there were no turnbacks on the road to Emmaus.  But I did find a little quietude in my soul for a second and stopped frantically Teflon-ing my heart from joy for a second.

I survived a hell semester, and did well. I got a wonderful opportunity and it went well.  I could just let hat happen and also not ignore that it happened, to focus on negatives in an outsized way.  I could, in this single afternoon moment, be delighted that things had gone okay.  And not worry or strategize about the next disaster, which would happen on its own anyway.  And…that’s all I can do right now.

Also, I’m going to work on this more, this whole letting people love me and letting it sink in.  I usually avoid it because I feel like it keeps me off my game from the inevitable disaster to follow.  But that’s not how I want to live.  I’m going to try to think about what it means that some of you all tell me you love me, and then to show it.  I need to reconcile the nonstop whirligig of my mind also turns menacingly in on itself so often, and that acknowledging the gift of calculated wit and mirth also means I have to cultivate love and joy.

So tomorrow, I’m going to go for a brief run, I’m going to drink some lovely coffee, and I’m going to walk along the ocean again.  (And then I’m going to keep staying in this Airbnb so I don’t catch or spread this plague.)

 

What a fucking semester, y’all.

[frankenpagie]

2.15.18 (5)

[citizenscreen]

Tyrone Power Sr. #botd in 1869 https://www.instagram.com/citizenscreen/p/Bw-0dyzAHRP/?utm_source=ig_tumblr_share&igshid=un589vfjesic

[aion-rsa]

Batman v Superman: Dawn of Justice - Complete DC Comics Easter Eggs and Reference Guide

https://ift.tt/2JBh7bw

Your complete guide to DC Comics references, Justice League movie hints, and DCEU Easter eggs in Batman v Superman: Dawn of Justice!

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Feature

Books

Mike Cecchini

Batman V Superman: Dawn of Justice

Mar 22, 2019

Batman

Superman

Zack Snyder

DC Entertainment

Justice League

Wonder Woman

This article contains nothing but Batman v Superman: Dawn of Justice and DCEU spoilers. 

Batman v Superman: Dawn of Justice is the second movie in the DC Extended Universe series, which began with Man of Steel, and continued in the Wonder Woman movie, will continue further with the Justice League movie, and more. As a result, it's positively packed with references to DC Comics, and hints about the future of the DC Extended Universe.

Here's our complete and spoiler-filled breakdown of everything you might have missed in Batman v Superman: Dawn of Justice.

Batman's Origin

- Just as Man of Steel opened with Superman's origin (his literal birth, in fact), so does Batman v Superman: Dawn of Justice open with Batman's origin story. Thank heavens for that, because if we don't see what motivated young Bruce Wayne to become the Batman, we might never know! That is, of course, a joke.

While Batman first appeared in Detective Comics #27 in 1939, we didn't see his actual origin until a two-page segment in Detective Comics #33. To make up for that six month gap, DC Comics and their media partners are now contractually obligated to re-tell Batman's origin in some form, whether it's in the comics, on the screen, or via finger puppets, every six months in perpetuity. That's not true, but it sometimes feels that way.

The visual inspiration for this origin sequence is, like many things in the film, taken from Frank Miller, Klaus Janson, and Lynn Varley's seminal The Dark Knight Returns, which was first published in 1986. Things like the mustachioed Thomas Wayne and the string of pearls caught on the barrell of the gun are right out of there, as well as the (dream?) sequence where young Bruce is surrounded by bats after accidentally discovering the bat cave.

Watch Batman v Superman: Dawn of Justice on Amazon

The Waynes leave the movie theater after a revival screening of the 1940 version of The Mark of Zorro starring Tyrone Power. That particular Zorro film holds up really well, is a great watch, and feels like a superhero movie before there was ever really any such thing. Totally worth your time. I also believe that The Dark Knight Returns was where it was first revealed that this was the film the Waynes saw on that fateful night.

You can also spot Excalibur on the marquee, which is John Boorman's highly stylized, overly serious 140-minute take on the King Arthur legend (sounds like another movie we know), here to help illustrate that this sequence takes place in 1981. Excalibur feels like a very long film at 140 minutes. Batman v Superman, on the other hand, feels even longer than its 153 minute run time.

We wrote lots more on John Boorman's Excalibur right here, if you want to learn more about this crazy movie.

I owe a special thanks to Peter in the comments for catching this next little detail, Excalibur is listed as "coming next Wednesday." Now, aside from the fact that the movie actually opened on Friday, April 10th, 1981, "coming next Wednesday" is still pretty significant. First of all, new comic books come out every Wednesday, so this is a nod to that.

The Justice League can be seen as a modern day Knights of the Round Table. Couple that with the fact that the Excalibur movie is "coming soon" (and on a Wednesday, no less!) it's kind of an in-joke about how the Justice League movie is next on the schedule. That's pretty cool.

There's more on Excalibur coming down below, just be patient...

- Visible in the Wayne graveyard is the name "Solomon." Solomon Wayne was Bruce's Great, Great, Great Grandfather. When the Batman comics decided they wanted their Gotham City to look a little bit more like Anton Furst's Gotham designs from Tim Burton's Batman movies, a story was crafted to make it happen, and Solomon Wayne was part of that.

- It's also worth noting that this movie marks the first time we've seen Bill Finger's name in the opening credits of a Batman movie. That's a huge deal, as Finger was a major creative driving force behind Batman and his supporting cast, but for years, Bob Kane took all the credit. We have a little bit more about Bill Finger's bat-legacy right here.

The Supporting Characters

- Anatoli Knyazev is known to comic book fans as (wait for it) the KGBeast, because he was created in 1988 when that was what you named these kinds of villains. Anatoli has appeared in non-beastly form on a number of episodes of Arrow, as well. He first appeared in a story called "Ten Nights of the Beast" which is a pretty cool read if you can track it down.

- The photographer who is apparently working for the CIA during Lois' misadventure in the desert is played by Argo's Michael Cassidy. And yes, as credited and as revealed in the film's Ultimate Edition, he is indeed Jimmy Olsen. "Superman's Pal" is promptly and brutally murdered. So, yeah, you can forget about that little piece of Superman mythology in the DC Extended Universe, as well. Read more about Mr. Snyder's comments on the matter here.

- Alfred Pennyworth first appeared in 1943's Batman #16. Like most enduring Batman characters, he was created by Bob Kane, Bill Finger, and Jerry Robinson. Alfred cut a rather different figure in his early appearances, and through the years he has become more of an aggressively badass figure. 

Lex Luthor

- Lex Luthor has been around since Action Comics #23 in 1940 (you'll note that at the end of the movie, his prisoner number is AC23-1940), and as we see here, he had lustrous red hair. Later appearances alternately identified Lex as a shortening of Alexander or Alexei, and even later appearances revealed he was a childhood friend of Clark Kent, before a lab accident stole his luscious locks.

read more: The Actors Who Have Played Lex Luthor

- Lex Luthor's prison garb has the prisoner number of 16-TK421. TK421 is a reference to Star Wars when Luke and Han took on Stormtrooper disguises. You know, "TK421, why aren't you at your post?" Batman v Superman and The Force Awakens were tweaking each other with little social media crossovers during filming, but it appears this is the only one of those in-jokes made it to film.

Also, while orange prison jumpsuits certainly aren't just a DC Universe thing, Lex was looking a bit like Grant Morrison and Frank Quitely's vision of the character from All-Star Superman in this scene.

The Lex of this film is "Alexander Luthor, Jr." Which means his father's name isn't "Lionel" as it was in the Smallville TV series or a handful of the comics that followed. Something tells me that Alex Sr. didn't die of natural causes.

Luthor has been something of a jerk-of-all-trades during his career, from straight mad scientist to captain of industry to President of the United States. I wrote much more about that stuff right here.

Mercy Graves is Lex Luthor's bodyguard, a super strong badass, although you don't see any of that in this movie. Mercy was first introduced in Superman: The Animated Series where she had considerably more to do than she does in this film, and has recently appeared on the Supergirl TV series.

Kryptonite

Let's get into a few notes about Kryptonite...

- It's amazing that Man of Steel went an entire movie without going down the Kryptonite road, but we do finally get it here. Kryptonite was actually a creation of the (awesome) Adventures of Superman radio show, a necessary plot device so that original Man of Steel Bud Collyer could take a vacation from the radio show's punishing, almost daily schedule. For weeks, Superman was played by another actor, who was only required to groan in agony while Supes was at the mercy of the alien mineral.

- Here's something I never would have noticed (thanks to JACS in the comments!). Ralph Lister is credited as Emmett Vale, and he isn't the guy who finds the hunk of Kryptonite in the Indian Ocean as I initially thought, but he appears in Lex Luthor's laboratory. Dr. Vale is the creator of Metallo, the cyborg with the Kryptonite heart who would be a great choice to give Superman a headache if we were ever going to get another Superman solo movie, but since who knows if that will ever happen, well...forget it.

The way Kryptonite looks in this movie is a little like how it was shown in Superman: The Movie. Later in that film, when Supes is debilitated by the effects of Batman's Kryptonite spear, Lois chucks it in the water to get it away from him. That kinda' reminds me of the Supes/Miss Teschmacher exchange from the end of that movie, too.

Speaking of that Kryptonite spear, wireman (cool handle, by the way) in the comments found this little gem from the comics, that I wasn't aware of:

The Dark Knight Returns Influences

In The Dark Knight Returns, a comic which obviously has influenced this movie quite heavily, when Batman first returns to action he lends a hand to two cops in pursuit of suspects, one who isn't old enough to remember Batman in action, and one veteran who advises him to chill out and enjoy the show.

The rookie cop and the veteran cop, who Batman encounters while out whupping ass, remind me a little bit of this pair from Dark Knight Returns:

It can also be noted that this exchange played out much the same way in 2012's The Dark Knight Rises when Christian Bale's Batman first returns from retirement, much like in the iconic Frank Miller graphic novel.

By the way, the two officers in question are named "Officer Rucka" and "Officer Mazzucchelli." Greg Rucka was the writer of the excellent Gotham Central comic, and David Mazzucchelli was the artist on Frank Miller's other great Batman story, Batman: Year One. 

The news montage (which, rather surprisingly, features a cameo by Andrew Sullivan!) is another nod to The Dark Knight Returns, which helped set up its near-future vision of the DCU via TV news clips. You may recognize some of the anti-superhero sentiment from these, as well. Also, we get the return of Glen Woodburn from Man of Steel, too.

read more: Ranking the Superman Movies

- Alfred's quote about "the next generation of Waynes" facing "an empty wine cellar" is lifted straight out of The Dark Knight Returns. You're going to read words very much like that a lot in the course of this article.

While most Batman costumes are fairly similar in essence, the proportions and lines on this particular version are also right out Frank Miller's artwork: 

Pretty cool, right?

The bit with Batman sighting a rifle atop a tower calls to mind still more stuff from Dark Knight Returns, albeit there it was a "grappling hook" gun, while here it's to fire a tracer.

- Also, I don't suppose that I need to explain Bruce's "freaks dressed like clowns" joke, right? Of course I don't.

The shot of Superman lifting the Russian rocket (numbered 300 of course) over his head has a hint of this page from The Dark Knight Returns to it...

Batman's opening gambit in his fight with Superman is to hit him with a sonic blast, this (again) is straight out of Dark Knight Returns. Same with the Kryptonite dust/gas projectile.

There are lots of other direct similarities to the comics in that battle, too...

Look familiar? Check out that first panel on the left!

That armor looks pretty familiar too:

You get the idea, I'm sure.

- When Batman shows up to take out the KGBeast, the action comes right out of the first chapter of (say it with me now, kids!) The Dark Knight Returns. Batman bursts up out of the floor to whup ass. Batman bursts through the wall to take a giant honkin' gun from some dude. Batman says "I believe you" after armed asshat says "believe me, I'll kill her" and then takes him out. All from DKR. Just change the names of the goons.

During the Doomsday battle, complete with lightning bolts, we get a recreation of the cover of The Dark Knight Returns #1. No, seriously, check it out...

Told ya.

Also in Dark Knight Returns, Bruce is often brooding over a Robin costume in a glass case, and Alfred reminds him about "what happened to Jason..." which brings us to...

The Robin Connection

Needless to say, there's only one character who would have spray painted that on Robin's body, so this mirrors the events of the 1988 Batman comic event, "A Death in the Family," which allowed readers to decide (via a 1-900 number... those were different times) whether the second Robin would survive a brutal beating (with a crowbar) at the hands of the Joker and a subsequent warehouse explosion.

It's tough to really see the colors on this, and they're certainly muted, but the basic design certainly mirrors that of the first Tim Drake Robin costume, which also happened to be the first one in the main DC Universe continuity that looked genuinely badass.

It was designed by legendary Bat-artist Neal Adams and first brought to comics by Norm Breyfogle (thanks to our very own JL Bell for keeping me honest here!) and remains one of my favorite costume designs of all time. You can see Jason Todd's Robin costume in a similar glass case in the above image, as well.

It's never made clear which Robin this is supposed to be in the movie, but it's certainly Jason Todd. After all, there's a Nightwing movie in development and they can't do that if Dick Grayson is dead.

Zack Snyder clarified that whoever this Robin is, he died about ten years ago. He later specified that it's probably Dick Grayson. But since we know that this version of Batman has been active for at least 15 years (Alfred says 20), and that's about enough time for this to line up with the Jason Todd version of the character.

The Knightmare

During Batman's weird little nightmare/dream sequence, you can spot several clues as to the identity of the big villain of the DCEU. There's a gigantic Omega symbol in the sand, and Earth appears to have had fire pits (ala the planet Apokolips) installed.

Couple that with what appeared to be Parademons attacking the Dark Knight, and, well... it's looking more and more likely that Darkseid, Jack Kirby's most famous DC Comics creation (and one of the greatest comic book villains of all time) was supposed to make his debut in Justice League 2.

The strange symbol carved into the desert there is Darkseid's, while the winged creatures flying around are his Parademon minions...

For reference, here's what they look like when drawn by Jim Lee in the New 52 Justice League re-launch, which featured Darkseid as the team's first big threat, and which was clearly meant to inform their film efforts...

Also, the sharp-eyed JACS (who is quickly becoming the MVP of the comments on this thing) pointed out the similarities to Batman's Mad Max garb here and the nightmarish future Batman that Damian Wayne becomes during Grant Morrison's run as writer on the character.

Doomsday

  - Doomsday was created by Dan Jurgens, Brett Breeding, Jerry Ordway, Louise Simonson, and Roger Stern in 1992 with the express purpose of killing Superman dead and driving up sales. He succeeded in all possible respects in Superman #75.

Doomsday's Kryptonian origins weren't revealed until much later, although he was never a Frankenstein's Monster version of Zod, nor did he have Lex Luthor's DNA, nor did he... ummm... you get the point. But the idea of Doomsday as a highly evolved/continuously evolving killing machine came right out of the comics, as does the "he grows more spikes as he takes damage" thing.

- When Superman and Doomsday take their battle to Stryker's Island, we're told it's uninhabited. In the comics, Stryker's Island is the home of a massive Metropolis penitentiary. Clearly that isn't the case here...unless in the bleak moral universe of the DCEU, the inhabitants of a prison are completely expendable forms of human life.

- Superman getting caught in a nuclear explosion, becoming a weird zombified thing, and then charging up/healing via the power of the sun comes straight out of a particular Batman story that has been referenced numerous times throughout this article... you have three guesses. Go ahead. Guess. 

-Superman flying to almost certain death while carrying a Kryptonian object (albeit a much smaller one) also calls back to mind a similar storytelling beat from the end of Superman Returns.

- Lex Luthor in Zod's old ship, talking to the AI, feels similar to Lex's infiltration of the Fortress of Solitude in Superman II.

- Luthor using the ship to turn Zod's body into Doomsday is also quite reminiscent (intentionally or not) of Kevin Spacey's Lex Luthor using Kryptonian crystals to make a giant Kryptonite continent in Superman Returns.

Also, when Lex is talking to Zod's corpse (oofah), he says "you flew too close to the sun." This is a reference to the myth of Icarus, which doesn't remotely seem to apply to anything regarding Zod's arc. Unless he means "you flew too close to the son," as in "The Last Son of Krypton," but somehow I don't think that much thought went into this scene.

read more: Complete Schedule of Upcoming DCEU Superhero Movies

- Lex didn't create Doomsday in the comics, but in many recent versions of the story, Lex did create Bizarro, notably as an imperfect Kryptonian duplicate. There's a little bit of a similarity to that here. Bizarro is, of course, not in the movie, despite some hilariously inaccurate rumors.

Miscellaneous Cool Stuff

- Clark bringing Lois flowers and groceries is faintly reminiscent of their brief shot at domestic bliss in Superman II where Superman famously cooked Lois a souflee using heat vision, and flew around the world to get her some nice tropical flowers. This scene also illustrates the age old Supes/Lois problem, where she knows that he "belongs to the world" and not to her.

- Pery White refers to Clark as "Smallville" more than once in the film. That was Lois Lane's affectionate/condescending nickname for Clark on Superman: The Animated Series, which is an excellent way to spend your time, I might add.

Later, while admonishing Clark for actually, y'know, wanting to be a reporter and tell the truth, Perry says, "It's not 1938 anymore." 1938 is, of course, the year that Action Comics #1, the first appearance of Superman, was published. In other words, here's Perry White speaking for Zack Snyder, telling fans to stop whining over the fact that Superman doesn't behave very much like Superman in these movies.

- It appears that the Metropolis News channel, Channel 8, is indeed a GBS/Galaxy Broadcasting affiliate station. You can also spot a GBS microphone during a press conference later on, which is perhaps representative of their cable outlet or something similar.

- You can spot a mention of Gotham's Blackgate Prison when Clark is doing his investigation into Batman. 

Incidentally, the Ultimate Edition has a lot more going on as far as Clark's investigative reporting, and that along with Henry Cavill's performance remind me quite  abit of the better moments of the 1950s Adventures of Superman TV series. George Reeves routinely played Clark has a hard-edged reporter, and Cavill definitely channels some of that here.

read more - Men of Steel: 11 Actors Who Have Played Superman on Screen

- Bruce Wayne's "one percent chance" logic is childish and horrifying, and sounds like something Donald Trump would say about immigrants. It certainly was the logic that Dick Cheney used to condone "enhanced interrogation techniques."

- You can spot "Nicholson Terminal," which the Batmobile obliterates. Maybe this is a nod to Jack Nicholson's iconic take on the Joker. Maybe it isn't. Does this movie really ever make sense?

- When Senator Finch is asked "Must there be a Superman" well, that's a reference to a classic Superman tale. Not just any classic Superman story, either. The first published Superman story by Supes-writer extraordinaire, Elliott S! Maggin (that's not a typo) in Superman #247 from 1972. That story is far more nuanced and interesting in its 24 pages than this movie in its two and a half hours, and it's 100 percent worth reading.

- There's a pretty hilarious Wilhelm Scream when the Batmobile overturns some poor hood's car.

- Ma Kent's "you don't owe this world a thing" speech marks the return of evil, dystopian, Hunger Games Smallville logic to the series. For real, is it any wonder that the DCEU's Clark Kent is such a brooding mope? Between stuff like this and hallucination Pa Kent telling Clark about the time he drowned a bunch of horses by accident, it's a miracle that Superman isn't just snapping necks like... oh, wait, he already did that.

read more: Does Superman Have a Future in the DCEU?

- Hey, remember when the internet said that Scoot McNairy was playing Hal Jordan/Jimmy Olsen/Ted Kord/Morgan Edge/Che Guevara/Spider-Man/Ad Nauseum? Yeah. That didn't happen. He's Wallace Keefe, a character we've never heard of. The only Keef I give a damn about is Richards.

- Ma Kent is now working at Rolli's Diner. Now, there's two smaller Lex Luthor stories from the comics that Rolli's ties into. Superman #9 (1987) featured a backup story called "Metropolis, 900 miles" which dealt with Lex Luthor offering a kind of "indecent proposal" to a waitress at Rolli's.

Lex's kidnapping of Martha Kent is also kinda' like a story from Superman #2 (1987) where he kidnapped Lana Lang after he figured out that young Superman had ties to Smallville. He ended up figuring out that Superman was Clark Kent but refused to believe it. 

- In the background during these scenes there's a prominent piece of question mark graffiti, which may or may not be a reference to the Riddler. There's some "Who Watches the Watchmen?" graffiti (not in this image), too.

- Lois boards a red helicopter on the Daily Planet rooftop, which reminds me of the best scene in the best Superman movie, the immortal Superman: The Movie. 

The Justice League Connection

- So, in case you cannot tell because he's almost unrecognizable, the lightning tornado dream sequence echo voice thing is the DC Extended Universe version of The Flash (and that's Ezra Miller in the role). The Flash appearing in mysterious form, kind of like a dream, and possibly from a different point in time, is very much a reference to Crisis on Infinite Earths where Flash was appearing to various heroes trying to warn them of what was to come while he was busy dying later in the story fighting the very same threat.

Flash also seems to be teasing something about Lois Lane being "the key." If Bruce is right about Superman, that means Flash is speaking to Bruce from a time in the future where Superman has become a threat, perhaps because of the death of Lois Lane...or maybe Lois is the key to turning him good again, or bringing him back to life.

This could be a reference to the Injustice: Gods Among Us video game and comics, which features a morally compromised DC Universe where heroes fight each other and Superman is a terrible person. So, you know, that sounds awfully familiar all of a sudden, doesn't it?

We wrote more about the Injustice comics right here, if you're interested. I'm saving some more about the implications of this for another article, too.

- I'm sure you all realized that was Jason Momoa as Aquaman during the underwater sequence, right? His look here is reminiscent of how he appeared on the excellent Justice League animated series and his mid-90s makeover.

- The weird horror movie/RoboCop sequence is the origin of Cyborg, played by Ray Fisher, who made his next appearance in Justice League. He was scheduled to get his own movie in 2020, but that no longer appears to be happening.

read more: Every DCEU Easter Egg in the Aquaman Movie

One cool thing about that scene is that the weird cube thing that apparently makes the Cyborg project successful is a Mother Box, which makes this the film's second overt Jack Kirby reference, and the imminent arrival of Steppenwolf as the villain of Justice League. 

Wonder Woman

- By the way, Wonder Woman first appeared in All Star Comics #8 in 1941, but the Wonder Woman in this movie is even older than that. Gal Gadot's Wonder Woman garb is reminiscent of how artists like Alex Ross drew her in Kingdom Come and Darwyn Cooke did in New Frontier to make her look more like the warrior princess she's traditionally depicted as.

You can also spot Chris Pine as Steve Trevor in that photo from 1918 and the rest of his World War I crew that we got to meet in her movie.

Gal Gadot's Wonder Woman performance is even better with a little more context after seeing her in action in her solo flick. For example, I only just noticed how immediately bored/disgusted she is with Lex Luthor when he's giving his little speech at the party. She sees right through him. It's awesome.

The Death of Superman

A few notes about the "death" of Superman...

I have to admit, this is really cool. Remember all the Excalibur stuff up top? It's back! A few of you sharp-eyed folks pointed out the similarities to this scene in Boorman's flick, and they are undeniable...

Video of Excalibur Mordred's death

- When you see his body cradled by Lois Lane, it's a nod to Dan Jurgens and Brett Breeding's art from Superman #75.

- In the Ultimate Edition, before Lex is captured, he's seen communing with a mysterious figure on the ship. This is likely Steppenwolf, the villain of the Justice League movie, although there's a slight chance it's Yuga Khan, the father of Darkseid. But really, it's probably Steppenwolf.

- Ending on "Amazing Grace" and an ambiguous/hopeful note is more than a little reminiscent of Star Trek II: The Wrath of Khan, which featured the death of Spock. Superman has somehow managed to show even less emotion and seemed even more alien than Spock ever did in this franchise so far, so it's really, really appropriate.

- You can see the weird little telekinetic effect that was used to show that Superman's powers were about to manifest in Man of Steel. So, y'know, of course he's not dead. 

I explained the implications of Superman's death and the ending of this movie in greater detail here.

- Superman's coffin is black with a silver "S" logo. When Superman returned from the dead during the Death and Return of Superman story in the '90s, he wore a black suit with a silver "S" on it.

- By the way, it's worth noting that Warner Bros. has been trying to kill Superman on screen since at least 1995. Virtually every draft of every Superman movie of the last twenty years featured some form of Superman getting croaked (occasionally at the hands of Doomsday), while most others at least teased, it, too...including Superman Returns.

- To bring things full circle, I should also bring up the fact that The Dark Knight Returns also ends a "death" albeit Batman's (he isn't really dead, either). That hopeful ending involves Superman overhearing Bruce's heartbeat. Some folks claim they can hear a heartbeat as we zoom in on Clark's coffin, and that's another DKR reference for you!

Mike Cecchini is the Editor in Chief of Den of Geek. You can read more of his work here. Follow him on Twitter @wayoutstuff.

from Books https://ift.tt/2JzT7p6

[lost-but-not-forgotton]

The Daring Years (1923)

The Daring Years is 1923 American silent melodrama film directed by Kenneth Webb and produced by Daniel Carson Goodman. The film starred Mildred Harris, Clara Bow, Charles Emmett Mack, and Tyrone Power, Sr.

With no prints of The Daring Years located in any film archives, it is a lost film.

Plot: A university student named John Browning (Charles Emmett Mack) goes against his mother's wishes and becomes involved in a torrid love-affair with a fickle young cabaret singer named Susie LaMotte (Mildred Harris). LaMotte toys with the youth's affections and does not tell him that she is already romantically involved with a boxer named Jim Moran (Joe King).

One evening John Browning discovers that Susie and Moran are having a relationship when he accidentally walks in on them. Outraged, Browning and Moran become embroiled in an argument. Moran pulls out a pistol, but during the ensuing struggle accidentally mortally wounds himself. Overcome with rage, Susie blames John Browning for Moran's death and Browning is subsequently tried, convicted and sentenced to death.

Browning languishes in prison for some time, and just as he is strapped into the electric chair to be executed for the murder of Jim Moran, a bolt of lightning strikes the prison knocking out the power. Meanwhile, Moran's widow (Clara Bow) implores Susie to tell the authorities the truth surrounding the circumstances of the death of Jim Moran. Susie eventually folds and confesses that she had lied and that Jim Moran had in fact accidentally shot himself after pulling a gun on John Browning.

John is pardoned by the governor and leaves prison a free man.