Tyrant Fear (1918) Poster

(1918)

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Even With Much of the Film Lost, an Unforgettable Opening Reel
briantaves16 October 2011
Warning: Spoilers
Having contracted with Paramount for a several stars in 1917, Thomas Ince became responsible for a series with Dorothy Dalton, as I outline in my Ince biography. Among her most vivid roles are in Tyrant Fear (1918). The only surviving portion, the first reel, reveals the fate of a woman sold into a marriage to a man who has no feeling for her. Her own father only cares about the payment he has received for giving his daughter as a bride.

During the wedding festivities, the groom, longing for "warmer" girls who are not Canadian, without a moment's hesitation tries to seduce another who flirts with him. When this results in his beating by a rival, he is cared for by his wife. However, regaining consciousness, he pushes her away, still wanting only the flirt. He ultimately packs up his wife and leads her off into the snows of the northwest, indicating the terrible isolation she will face at his brutish hands. Ultimately, he loses her to another man, who forces her to dance in a saloon, and she hates all men until meeting a dissipated pianist who is revitalized through her love.
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The story is sordid, but has possibilities of strong drama
deickemeyer14 November 2015
Life in the raw is shown in "Tyrant Fear," a five-part Paramount picture written by R. Cecil Smith and directed by R. William Neill under the supervision of Thomas H. Ince. Dorothy Dalton is the star. Much of the action takes place in a Northwest gambling hell and dance hall, and the unlovely side of humanity is shown with stark realism. Primitive passions that are supposed to belong only to the caveman are the foundation of most of the scenes, arid there is the usual rough-and-tumble fight. Men bargain for a woman as if she were a beast of burden, and the woman fights her way out of the mire fate has thrown her into, and drags the man she loves with her. Cowed by the matter-of-fact way in which her father forces her to marry a brute of a trapper and her husband turns her over to the keeper of the dance hall, the woman drifts with the tide until she meets the man who awakens her real nature. The story is sordid, but has possibilities of strong drama. In its present form it does not convince, and its direction is not clean-cut. There is no lack of movement, but the situations are often merely theatric. The Nativity scenes are entirely out of place; the atmosphere of lust that pervades the story is not refined by the introduction of this sacred subject. Dorothy Dalton defines the two phases of Allaine Grandet's character distinctly, and puts real power into her big situations. Thurston Hall as Harley Dane, Melbourne MacDowell as James Dermot, William Conklin as Jules Latour, Lou Salter as Theodore De Coppee, and Carmen Phillips as Marie Courtot make the most of their opportunities. John Stumar, the photographer, has taken a number of striking long shots of winter exteriors. – The Moving Picture World, May 4, 1918
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