The Intrigue
"A Gripping Story of Present International Conditions"
Plot
Guy Longstreet, a brilliant American inventor, develops a revolutionary 'X-ray gun' capable of incinerating targets from a distance of twenty-five miles. After the United States government shortsightedly rejects his invention, a frustrated Longstreet travels to Europe to sell the weapon to the highest bidder amidst the chaos of World War I. Baron Rogniat, an agent for a foreign power, successfully negotiates for the device and accompanies Longstreet back to his American laboratory to secure the plans. However, a rival nation dispatches their elite operative, Countess Sonia Varnli, who goes undercover as a peasant maid to infiltrate Longstreet's household. As she uncovers a treacherous plot to assassinate the inventor and seize the weapon, Sonia finds herself torn between her duty to her country and her growing moral conviction that such a devastating weapon must never be used.
About the Production
The film was a collaboration between director Frank Lloyd and screenwriter Julia Crawford Ivers, a prolific female pioneer in early Hollywood. It was produced by Pallas Pictures, a short-lived subsidiary of Famous Players-Lasky. The production utilized early special effects to depict the 'death ray' in action, including a demonstration scene involving a sheep and a crate of explosives. Notably, the film features a very young King Vidor in an uncredited acting role years before he became a legendary director himself.
Historical Background
Released in 1916, 'The Intrigue' arrived while the United States was still officially neutral in World War I, but public fascination and anxiety regarding the 'Great War' were at their peak. The film taps into the era's 'preparedness' movement and the fear of 'super-weapons' that could change the tide of the conflict. It also reflects the early 20th-century obsession with X-rays and radium, which were often viewed with a mix of scientific wonder and gothic horror. The portrayal of a female master spy also mirrors the real-life headlines of the time, such as the exploits of Mata Hari.
Why This Film Matters
The film is historically significant as one of the earliest surviving examples of American science fiction cinema. It established several tropes that would become staples of the 'mad scientist' and 'secret agent' genres, specifically the idea of a weapon so powerful that its creator must ultimately destroy it to save humanity. Furthermore, as a work written by Julia Crawford Ivers, it stands as a vital piece of evidence for the significant role women played in shaping early Hollywood narratives and production.
Making Of
The production was a family affair in many ways, with Julia Crawford Ivers writing the script and her son James Van Trees handling the camera work. Frank Lloyd, though early in his career, was already known for his efficiency and ability to handle complex melodramas. The casting of Lenore Ulric was a significant coup for Pallas Pictures, as she was a celebrated stage actress whose 'magnetic' screen presence was heavily marketed. During filming, the production faced the challenge of depicting futuristic technology with limited resources, leading to the use of creative lighting and 'iris' shots to focus the audience's attention on the ray gun's effects. The film also reflects the transition of the industry from New York to Hollywood, as Pallas was one of the many companies establishing roots in the burgeoning California film scene.
Visual Style
James Van Trees utilized a largely naturalistic style, though he employed 'Rembrandt-style' high-contrast lighting for interior scenes involving the inventor’s workshop. The film makes extensive use of the 'proscenium' view common in the 1910s, but Frank Lloyd introduced several 'nifty' directorial flourishes, including deep-focus compositions and the effective use of iris-ins and iris-outs to punctuate dramatic moments.
Innovations
The film is notable for its early use of practical special effects to simulate the destructive power of the X-ray gun. It is also a rare surviving example of a 1910s feature that successfully integrated science fiction elements into a standard war melodrama.
Music
As a silent film, it had no original recorded score. Modern restorations, such as the Kino Lorber release, feature a newly composed piano score by silent film specialist Ben Model.
Famous Quotes
Countess Sonia: 'For the good of future civilization, you must destroy this terrible instrument of destruction.'
Memorable Scenes
- The demonstration of the X-ray gun where it incinerates a sheep and a crate of explosives to prove its lethality to the foreign ambassadors.
- The early wartime sequence depicting a field hospital, which was noted by critics for its surprisingly gritty and realistic execution for the time.
- The climax where the inventor, moved by the Countess's plea, burns his blueprints and destroys the machine to prevent it from falling into the wrong hands.
Did You Know?
- The film is cited by the Historical Dictionary of Science Fiction as one of the earliest recorded uses of the term 'ray gun' in a descriptive context.
- Lenore Ulric, a major Broadway star, is credited as 'Lenore Ulrich' in this film; she later dropped the 'h' from her surname.
- The film features the screen debut of Florence Vidor, who would go on to become a major silent film star and the wife of director King Vidor.
- King Vidor appears in the film as an unbilled extra, marking one of his earliest professional experiences in the film industry.
- The screenwriter, Julia Crawford Ivers, was the mother of the film's cinematographer, James Van Trees.
- The film was thought to be lost for decades before a tinted print was discovered and preserved by the Library of Congress.
- Despite being a war-themed film, it avoids naming specific European nations to maintain neutrality and international marketability.
- The 'death ray' device was actually referred to in the script as an 'X-ray cannon'.
- Director Frank Lloyd would later win two Academy Awards for Best Director (for 'The Divine Lady' and 'Cavalcade').
What Critics Said
At the time of its release, Variety and other trade papers gave it mixed to positive reviews, praising Lenore Ulric's performance but finding the plot somewhat conventional. Modern critics, such as those at 'Trailers From Hell' and 'Sci-Fiist', view it as a 'nifty' but uneven example of 'spy-fi', noting that while the direction is static by modern standards, the visual effects and the 'pacifist' ending are quite progressive for 1916.
What Audiences Thought
Contemporary audiences in 1916 were reportedly enthralled by the 'death ray' concept, which fit the 'sweet spot' of public expectations for wartime thrills. The film was a successful vehicle for Lenore Ulric, helping to solidify her status as a cross-over star from the stage to the screen.
Film Connections
Influenced By
- The Exploits of Elaine (1914)
- The Perils of Pauline (1914)
- The scientific romances of H.G. Wells
This Film Influenced
- The Invisible Ray (1936)
- The Girl from U.N.C.L.E. (TV Series)
- Various 'Deadly Invention' tropes in 1930s serials
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Film Restoration
Preserved. A complete, color-tinted print is held by the Library of Congress. It was recently restored and released on Blu-ray as part of the 'Pioneers: First Women Filmmakers' collection.