The Inside of the White Slave Traffic (1913)
A dramatization of the methods in which young women are abducted or otherwise procured for prostitution.
Country United States
Genre Short, Drama
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The Devil's Needle and Other Tales of Vice and Redemption Blu-ray
Casey Broadwater | Blu-ray.com | www.blu-ray.com | English
Social ills in early cinema.
Reviewed by Casey Broadwater, July 10, 2012The progressive-era, from roughly the turn of the 20th century to the start of World War I, found America in a state of flux. Industrialization and
unionization. Political reform and the fight for women's suffrage. Science as the impetus of social progress and religious fervor as a catalyst for moral
outrage. The rapid changes gave way to an unprecedented level of cultural self-criticism, with pundits and the public alike voicing opinions on issues
that had been taboo or at least impolite conversation fodder during the more prudish Victorian times. Unsurprisingly, the cinema from the period also
reflects this newfound openness about complicated urban problems. In The Devil's Needle and Other Tales of Vice and Redemption, Kino-Lorber
has gathered together three films from the 1910s that look respectively at drug addiction, prostitution, and unsafe factory conditions. Lightly lurid for
the times?but, it should be noted, exceptionally tame for ours?these might be thought of as proto-exploitation films, condemning the actions they
depict but also giving audiences a mildly titillating thrill.
The Devil's Needle (1916, 66 min.)
The collection draws its title from The Devil's Needle, an early Reefer Madness-style anti-doping drama?directed by D.W. Griffith
protege Chet Withey?that was considered blas? even in its own time. The initial review in Variety said "everything in and about it is tame"
and that it's "a very commonplace story and picture in these modern days." However commonplace it was then, it's significantly rarer now, seeing as
how many of its cinematic predecessors have been lost to time. The value of the film, then?and of this collection as a whole?is primarily historical,
standing as a visual record of then-contemporary social attitudes. You're certainly not going to get much out of the story, which is indeed rote, not to
mention quaintly simplistic when it comes to its depiction of kicking the drug habit.
Screen legend Norma Talmadge (Smilin' Through) plays Renee Duprez, a fetching model and morphine addict who?when she finally
drags herself out of bed?poses for John Minturn (Tully Marshall), an up-and-coming "artist of the modern school." Renee has a thing for the painter,
and she convinces him to try smack, telling him that it "kindles the fire of genius." The film's two best scenes show Minturn under the effects of the
drug, painting the hallucinated image of a model and succumbing to visions of two women frolicking in a meadow that appears inside his fireplace after
he shoots up. The plot has its share of superficial histrionics, with Minturn falling for Patricia (Marguerite Marsh), the engaged daughter of a wealthy
businessman, marrying her in secret, and then chasing her maniacally around the house, attempting to jab her with a hypodermic. The message isn't
too different from today's?hard drugs will turn you into a crazy-eyed lunatic. (I was reminded of the recent "Miami Zombie" incident.) The finale
features a daring rescue scene?Patricia is locked in a cellar by a dealer who suspects her of being an informant?and delivers the naively optimistic
coda that anyone can break an addiction by following "Nature's own prescription, fresh air and hard work."
Children of Eve (1915, 73 min.)
Produced by Edison Studios and directed by John Collins?a promising filmmaker who died young of influenza?Children of Eve is one part call
for industrial reform to two parts convoluted melodrama. A flashback prologue sets the scene; living in a flophouse, down-and-out businessman Henry
Clay Madison (Robert Conness) falls in love with Flossie, the follies dancer in the adjoining room. She gets pregnant, but to save his reputation
she runs away and dies shortly after childbirth, leaving her baby to be raised by another woman. Seventeen years later, Henry has become a rich and
calloused capitalist, while his long-lost daughter, "Fifty-Fifty" Mamie (Viola Dana), is on her mother's path to ruin, dating a sketchy guy known as
"Bernie the Gyp" and spending her time in a dancehall called The Bucket of Blood. By chance, Mamie meets Henry's adopted nephew Bert (Robert
Walker), a left-leaning social worker nephew who's out to convince his uncle/father that industrial working conditions?especially for children?need to
be improved. Bert falls in love with Mamie, naturally, and in his effort to reform her, he gives her a Bible and lands her a job as an undercover inspector
at a canning factory with severe safety violations. The film is most notable for its literally fiery conclusion, which dramatically restages the real-life
events of the 1911 Triangle Shirt Waist factory fire, which killed 146 workers. The sequence is impressively staged and surprisingly bleak?one shot
even shows three children lying dead on the ground outside the inferno.
The Inside of the White Slave Traffic (1913, 28 min.)
The most fascinating film in the collection is unfortunately also the one most affected by the passage of time. Originally a four-reel feature, only two of
the reels remain, with the others considered lost for good. Kino's version does feature explanatory intertitles that describe the missing footage, though,
and even without the lost reels it's easy to see why The Inside of the White Slave Traffic was considered the best of a rash of prostitution-
related films in the early 1910s. Produced by sociologist and investigator Samuel H. London?with cooperation from the United States Department of
Justice?the film was partially shot on location in actual red-light districts in Denver and El Paso, giving the film an unusual sense of documentary-like
realism, presenting the white slave trade "without any exaggeration or fictional indulgence." The goal of the film?and this is certainly a film with a goal
?is to show exactly how well-intentioned women can get suckered into prostitution. The story follows Annie, a "good girl with a strong work ethic" who
falls prey to a "procurer"?played by prolific actor/director Edwin Carewe?who seduces her and tricks her into a sham marriage. Completely dependent,
Annie has no choice but to do what her pimp says; even when she tries to run away, a network of underground sex traffickers keeps tabs on her,
reporting to one another using encoded telegrams. The film's most memorable image is an intertitle that explains their secret language: "Apple" means
danger. "Gillette blade" means girl. "Sunshine" means jewelry. How 'bout them apples?
The Devil's Needle and Other Tales of Vice and Redemption Blu-ray, Video Quality
A disclaimer on the last page of the included booklet says basically everything you need to know: "The films in this collection have been mastered in HD
from archival film elements and are backed with newly commissioned musical scores. In some cases, the films survive in poor condition. Kino Classics
believes that these historically important films be preserved and circulated in spite of their flaws, lest they be allowed to disappear entirely from the
Indeed, it is a wonder that the films have survived for nearly 100 years in any condition, so I think we can look past the print damage present
here in varying degrees. Of the three, Children of Eve is in the best shape, but still there are near-constant scratches and specks on the 35mm
picture. The Inside of the White Slave Traffic is grooved with heavy vertical lines?while also looking somewhat washed out?and The Devil's
Needle, though presentable for its first half, grows progressively warped and faded and blotchy with nitrate deterioration. At this point, there's not
much that can be done to clean up any of these films?presenting a clear case for the importance of film preservation?but the sheer act of remastering
them in high definition has definitely given them new life. Each is presented with a 1080p/AVC encode?untouched by excessive DNR or edge
enhancement?and if you can look past the age-related degradation you'll notice a strong level of clarity, with details visible in the image that you'd
never see in standard definition. And although blacks can look a bit faded and whites occasionally too peaked, I have no doubt Kino's Blu-ray producer
Brett Wood did the best he could with the source materials.
The Devil's Needle and Other Tales of Vice and Redemption Blu-ray, Audio Quality
No problems here. Each film in the collection features a newly commissioned and recorded score, presented in uncompressed Linear PCM 2.0 stereo.
Using his own arrangements as well as vintage photoplay compositions, Rodney Sauer provides the music for
The Devil's Needle and
of Eve, while Ben Model's piano accompanies
The Inside of the White Slave Traffic. The scores complement the films nicely?they're era-
appropriate and never overshadow the onscreen action?and although the low-key music never has a particularly aggressive presence dynamically, it's
always clean and clear and well-rounded sounding. As for the dialogue, the original intertitles have been kept where they still exist, but have been
replaced in other scenes where they're missing. There are no options for any foreign language subtitles.
The Devil's Needle and Other Tales of Vice And Redemption Blu-ray Norma Talmadge
Gary Tooze | DVDBeaver - Blu-ray | www.dvdbeaver.com | English
THE DEVIL'S NEEDLE AND OTHER TALES OF VICE AND REDEMPTION is comprised
of three feature films that dared to address incendiary subject matter:
drug abuse, prostitution, and the exploitation of labor. By folding
these explosive issues within layers of melodramatic storytelling, the
filmmakers were able to dodge public criticism while making their
political views even more compelling. These films were among the first
to demonstrate the cinema's potential as a persuasive cultural force.
THE DEVIL'S NEEDLE (1916, dir: Chester Withey) stars silent superstar
Norma Talmadge as Renee, a French artist's model who uses morphine as an
escape from the dull reality of her life. She recommends it to a
neurotic artist played by Tully Marshall (Queen Kelly), because ''it
kindles the fires of genius.'' The artist quickly becomes addicted to
the drug and the quality of his work begins to disintegrate. He takes on
a new model, marries her, and starts her on the same path of moral
degradation, until a guilt-ridden Renee decides to intervene in order to
save them both. According to silent film historian Kevin Brownlow, THE
DEVIL'S NEEDLE was banned by the state of Ohio, but the censor board
reversed its decision after recognizing the positive message beneath the
film's scandalous surface. This special edition was mastered from a 35mm
preservation print of the 1923 re-release version. The only known
surviving copy, the element suffers significant nitrate decomposition
during some scenes. (66 min)
CHILDREN OF EVE (1915; dir: John Collins) is most famous today for its
detailed reenactment of the tragic fire at the Triangle Shirtwaist
Factory in 1911, which had become a symbol of unsafe working conditions
and capital's apparent disregard for labor. Viola Dana stars as an
illegitimate child of the slums who labors in an oppressive canning
company, not realizing she has a significant connection to the
cold-hearted factory owner. This special edition includes outtake
footage of the sensational fire scene, for which the Edison Studios set
an actual four-story factory ablaze. (73 min)
THE INSIDE OF THE WHITE SLAVE TRAFFIC (1913, dir: Frank Beal) is one of
the most notorious films of the silent era, as it not only centered on
the theme of forced prostitution, ''It goes in for the utmost fidelity
in picturing the evil which has been its inspiration'' (Variety).
Demonstrating the methods of the network of American pimps known as
''white slavers'' in meticulous detail (including a helpful guide to
underworld slang), the film plays more like docudrama than melodrama. It
is easy to see why it was such a public sensation upon its release. The
complete four-reel version of the film no longer exists. This edition
was mastered from the sole surviving copy, a two-reel version that has
experienced significant damage. Explanatory titles have been added to
bridge missing footage. (28 min)
DVD Talk Review of the Blu-ray
Ian Jane | DVD Talk - Blu-ray | www.dvdtalk.com | English
The Movies:As part of their Classics line, Kino, in conjunction with the Library Of Congress, offers up three silent films from the 1910s, each of which focuses on 'incendiary issues' of the time in which they were made. While these may seem tame in some regards, at least by modern standards, when approached in the proper historical context it's easy to see why these three films would have ruffled a few feathers by having the gall to approach subjects as sordid and immoral as prostitution drug use and child labor. Here's a look at what you'll find underneath the menus of this single disc Blu-ray release...
The Devil's Needle (1916):
The main attraction is director Chester Withey's The Devil's Needle, a sixty-six minute silent that stars Tully Marshall as a painter named David White who falls in with his model, Renee, played by the gorgeous and prolific star of many silent films, Norma Talmadge. They get involved despite the scandalous nature of their relationship but it soon comes to pass that Renee's bad habits, chief amongst those her reliance on morphine to calm her nerves whenever she starts to get upset, are contagious. During this time, he marries Wynne (Marguerite Marsh) the daughter of a well to do attorney, William Mortimer (F.A. Turner), something that his relationship with Renee is obviously going to have an effect on. When David's tendency to worry and fret over various things starts to wear at Renne, she introduces him to the drug in hopes that it will calm him the way that it calmed her. He becomes addicted seemingly overnight, at which point his world comes crashing down around him and his personal and professional life both pay the price for his indulgence.
Supervised by none other than D.W. Griffith, who took director Withey under his arm to show him the ropes, the film was made for the Fine Arts company and was re-released in 1923 to capitalize on the death of Wallace Reid who had just passed away as the result of an overdose. It's from this 1923 reissue print of the film that this disc was mastered. Regardless, The Devil's Needle is quite an interesting little shocker. It's quite blunt in its depiction of drug related domestic issues and it's quite fascinating to watch Marshall deliver his take on his character's descent into morphine induced madness. He really goes all out in the physicality of his performance and even without the aid of dialogue, we're able to completely grasp what it is that he's going through. His interactions with Talmadge as Renee become increasingly strained as do his relationships with pretty much everyone else that he comes into contact with and all of this show in his facial expressions and his body language quite well.
The movie is shot with a bit of style but not so much that it takes away from the storyline. There's an effective simplicity to much of the camerawork and although things can be a bit on the stagey side more often than not, the picture is quite well put together and it has a good flow to it. It's also interesting to see how Marshall's character eventually kicks his habit - but to go into further detail on that would spoil an interesting aspect of the storyline, one that is very much a product of the time in which it was made.
The Inside Of White Slave Traffic (1913):
Directed by Frank Beal, 1913's The Inside Of White Slave Traffic stars Virginia Mann as a woman who leaves home only to be conned into marrying a man she barely knows. From here, she's sent off from New York City to New Orleans where she's forced to work as a prostitute in a Big Easy brothel, or house of ill repute if you will. Eventually she manages to escape and make her way back to New York City where she hopes to put her life back together but unfortunately she finds that the world is a cold, cruel place. With no other way to support herself, she soon resorts back to the world's oldest profession to pay her bills in a society that has no sympathy for her nor understanding of her plight.
Made the same year that Universal released the better known Traffic In Souls, a more successful film that dealt with similar themes, Beal's film was supervised by Samuel H. London, a federal agent recognized as an authority on the slave trade and related issues. The film is of interest more for where it was shot and how it was put together than for the storyline, which doesn't differentiate from other similar morality tales and cautionary tales made around the same era. Shot in and around New York City we do get some interesting location footage used to nice effect here, and additionally the film includes an intertitle card that includes a glossary of underworld slang which was supposedly used in the prostitution racket of the day.
At only twenty-eight minutes in length this one doesn't have as much meat on its bones, story wise, as the other two features in the set but it does feature some interesting moralizing, even if its message seems to be fairly confused.
Children Of Eve (1915):
Last but not least is the most ambitious of the three films in this collection, a 1915 feature directed by John H. Collins also known as Fifty-Fifty Mamie filmed on location around the New York City harbor front area of the day for Edison Studios. The film was inspired by the Triangle Shirtwaist Factory fire of 1911 where the aforementioned factory, based in New York City near Washington Square East, caught on fire. Because of the working conditions inside the factory, 146 immigrant workers were killed in the ensuing blaze and the event had a fairly massive impact on the labor movement of the time.
When the story begins, a student named Henry Clay Madison (Robert Connessfalls in love with the girl next door, Flossy Wilson (Nellie Grant), who works as an. He asks her to marry him but she declines, feeling that she's not up to his standards and that it wouldn't work. From here her life goes downhill quickly and she winds up living in the projects. She gives birth to a daughter named Mamie but dies soon after. We catch up with Mamie (Viola Dana, the wife of the director) as she gets involved with a young man named Bennie (Thomas F. Blake). Madison, however, is still around and doing just fine. He's filthy rich and not seemingly nearly as concerned about the child labor allegations that have been raised against his factory as he should be. Soon, Mamie gets involved with a social worker named Bert (Robert Walker) who just so happens to be Madison's nephew. They hit it off and she decides to help him make the city a better place but when Bert takes ill, Madison does what he can get her out of the picture. When Mamie goes undercover to work in Madison's factory in hopes of exposing the horrible conditions and child labor practices, she becomes injured when the place catches fire. As there's only one staircase going up and down and no fire escape, many perish and Mamie, in her injured state, puts together the puzzle pieces of her past.
While the story very definitely falls into melodramatic traps, there's no denying the impressive finale that Collins creates here depicting the fire without the aid of digital effects. This was all done in camera and even by modern standards it seems dangerously impressive. The acting is decent, if a little overwrought at times, and the film definitely seems to have had its heart in the right place by exposing an issue that was very definitely a serious problem in its time. The film moves at a good pace and does a pretty good job of recreating the horrible working conditions that existed during the real life incident from which it took its inspiration. It's a bit of a soap opera for most of its running time but stick with it, the ending wraps the story up quite well and the end result is quite impressive, at least on a technical level. Collins died in 1918 a few years after this film was made from influenza.
All three films are presented in their original fullframe aspect ratio in AVC encoded 1080p high definition transfers taken from the only existing film elements left and which are now stored in the Library Of Congress. There are plenty of instances of age related wear and tear evident throughout each of the three movies but they remain pretty watchable save for a few minutes of nitrate decomposition that does get pretty distracting. This was obviously unable to be removed or restored any further as the damage was just too severe. Understandable source related issues aside, the authoring here is fine. Detail and texture is about as good as you'd expect for films of this vintage and there are no problems with compression artifacts, edge enhancement or noise reduction. It's doubtful that, unless additional materials surface somewhere, these films are going to look much better than they do here.
Sound:As these are silent films, there isn't a whole lot to discuss here but the LPCM 2.0 stereo tracks that handle the scores used sound quite good. There are no issues with hiss or distortion and the levels are nicely balanced.
Extras:Given the age and obscurity of these three films, it's not surprising that there aren't a ton of extra features included on this release but Kino have been able to include a few items of interest starting with some unedited out-take footage from Children Of Eve. There's roughly eight minutes of material here and it concentrates on the fire that happens at the climax and includes some fairly disturbing footage of (obviously fake) bodies falling from the factory as it burns. Also worth checking out is the raw surviving footage from The Inside Of The White Slave Traffic. There's nineteen minutes worth of material here and while it doesn't have the same context as the version presented as part of the feature attraction, it's interesting to compare them. The disc also features menu and chapter selection. Inside the keepcase is a booklet of liner notes written by film historian Richard Koszarski which do a nice job of putting this material in its proper historical context and in providing some welcome background information on the movies included here and the people who made them.
Final Thoughts:Kino's release of Devil's Needle & Other Tales Of Vice And Redemption is a good one. Film history buffs will appreciate seeing these preserved and brought to a modern audience in the best condition possible while exploitation fans will get a kick out of the more salacious elements that are indisputably a key part of the appeal of these pictures. The technical side of the presentation is about as good as it's likely going to get and the extra footage from two of the three features is a nice touch, as are the liner notes. Recommended.
Ian lives in NYC with his wife where he writes for DVD Talk, runs Rock! Shock! Pop!. He likes NYC a lot, even if it is expensive and loud.
What Do You Think?
DVD Talk Review of the DVD Video
Jamie S. Rich | DVD Talk | www.dvdtalk.com | English
Kino brings together three early examples of exploitation films under the banner of The Devil's Needle and Other Tales of Vice and Redemption. The three silent movies, released originally between 1913 and 1916, profess a social conscience but wrap their cautionary tales in heightened melodrama. The results at best are more lurid than educational, straddling the line between being genuine social drama and a peek at the dark side of American culture.
The earliest film, The Inside of the White Slave Trade (1913; 28 minutes), pushes its credentials pretty hard, not just professing to be the work of a major sociologist, but one endorsed by his peers from one coast to the other. Directed and co-written by Frank Beal, The Inside of the White Slave Trade follows a procurer (Edwin Carewe) as he seduces a woman into spending a night with him, and then after she is "ruined," pretends to marry her before abandoning her and selling her to a pimp. The film professes to have been shot on actual streets where such activities take place, and indeed, was shot on location in New Orleans and Houston, though the legal hot water Beal and producer Samuel H. London got into years later calls into question any claims of true documentary.
The story itself is fairly average and predictable, though it is effective in showing the cycle of turnover in this kind of crime. Once one girl is arrested or falls out of favor, another is brought in. It's hard to tell how much more effective The Inside of the White Slave Trade might also be if seen in its complete form, as almost half of it is missing and seemingly lost for good. Though, I will say it's nice to see an unfavorable portrait of a pimp for once, given the disgusting appropriation of the term by pop culture in the last twenty years. What seems to be lacking is any real empathy toward the women who get enslaved. There seems to be some understanding of the psychology where "Annie" is broken down and becomes dependent on her pimp, but it also shows her returning to prostitution because retail work doesn't pay enough. That motivation is dubious, and the consequences underwhelming.
Children of Eve (1915; 73 min.) is a more developed, more straightforward melodrama. Designed as a vehicle for star Viola Dana, who was also the wife of director John H. Collins, the film uses a rather conventional narrative to highlight the poverty of the slums and unsafe working conditions in child labor sweatshops. The film begins in the late 19th Century. Robert Conness plays Madison, an upcoming industrialist who falls in love with his showgirl neighbor (Nellie Grant). His affection helps her turn her life around, but when she gets pregnant, she leaves him rather than ruin his reputation. The fallen mother dies on the street, and her daughter is taken in by a kindly old woman.
Jump ahead seventeen years, and the girl, Mamie (Dana), is a nightclub dancer hooked up with a two-bit crook nicknamed "The Gyp" (Tom Blake). Meanwhile, the lonely old businessman has now become a successful codger, running a cannery full of underage workers. Bert (Robert Walker), the nephew he has raised as a son, has become a Christian reformer who tries to get his adopted father to change his ways. Bert also meets Mamie, and his efforts with her are more successful. They are, of course, unaware of their family connections, leading to some bitter ironies. Her young appearance allows her to go undercover to inspect the conditions of the factory, leading to tragic results. Naturally, Madison sees the error of his selfish ways, even if it's too late. Even Mamie's old boyfriend gets his, ending up in jail shortly after Mamie rejects him.
The moralizing in Children of Eve is surprisingly undersold for a film with such a clear agenda. Bert is a well-meaning drip, taken more to quiet urging than forceful histrionics. Not surprisingly, the movie is at its most lively when Mamie is with her bad friends. The nightclub scenes are fun--if not only for the comical dancing in the crowd; talk about overacting!--and the circumstances under which Mamie and Bert meet are pretty amusing. Collins' major achievement is in the climax, however, when a fire destroys Madison's factory. Basing this on a real industrial tragedy from several years before, the director really goes for broke, burning down a building for real as actors playing firemen and workers stage their escape. It looks incredibly dangerous, making for a nail-biting penultimate sequence.
The best of the lot is The Devil's Needle (1916; 66 min.), which gets a considerable boost by featuring Norma Talmadge in the starring role. She has considerable screen charisma and is the most comfortable on camera of anyone on this disc. Talmadge plays Renee, an artist's model who picked up a morphine habit when she previously had the drug prescribed for nerves. Jealous when Minturn (Tully Marshall), the artist painting her, develops eyes for a little rich girl model (Marguerite Marsh), Renee convinces him to try a little "readymade inspiration." The plan backfires: Minturn steals the girl from her fiancé and her father, and he develops a full-blown addiction. Renee has ruined his life and her own, making it possible for him to marry her rival. Cut to a year later, and Renee is clean. She helps undo the damage she did to Minturn, though the fact that she still lives on the wrong side of town means there is danger lying in the shadows.
The Devil's Needle was directed by Chester Withey, his first of 33 directorial efforts. It's surprising that this is his debut, as it's easily the most accomplished of the trio presented here and benefits from having the most concise story. There aren't really any tangents, the narrative stays on track. Though Minturn's hallucinations are a bit silly, his getting strung out and jonesing for a fix is pretty harsh. He is a demonic mess. Talmadge impresses by going from opportunistic and conniving to sweet and caring. There is little surprise in the action-laced climax, and little in terms of consequences for a movie about the ravages of drugs, but it's still fairly entertaining.
Which is a pretty good way to sum up The Devil's Needle and Other Tales of Vice and Redemption. These aren't award winners, not by a long shot, but for film fans, it provides a glimpse at how early cinema approached controversial subjects. It's a long way from later drug movies, cautionary or otherwise, like Reefer Madness or Pineapple Express; the filmmakers have yet to find the less heavy, goofy side of getting high, nor have they fully embraced the darkness, and depending on which side of the moral divide you land, that could or could not make a difference in how you react to these silent curios.
The three films presented here, released on one disc in a standard plastic case with a slipcover, are shown at a full 1.33:1 aspect ratio in black-and-white. The quality of the transfers varies, but really only depending on how beat up the source material was. White Slave Trade is the worst, with lots of scratches and tears. It also has the most missing. The Devil's Needle has one scene missing, and suffers from splotches and print damage. Children of Eve has the least noticeable problems--though all are completely watchable. The image is never so obscured as to be impossible to see.
All the films have new scores mixed in 2.0 for the DVD. The Inside of the White Slave Trade is by Ben Model, while the other two are by Rodney Sauer. All three are simple and effective, with good sound quality, and enhance the films well. They are mostly piano-driven, though Sauer includes trumpet on Children of Eve, including instances when an actual musician appears onscreen.
The Inside of the White Slave Trade's title cards are a mix of the original cards and newly created ones when the originals weren't available.
Extra outtake footage of Children of Eve is a fairly interesting 8-minute snippet of material from the fire sequence, showing some better views of the rudimentary "special effects" from the time.
The Inside of the White Slave Trade comes with a second version, showing the raw footage before it was restored. It clocks in at 19 minutes and is shown without musical accompaniment. It's an interesting demonstration of the work that went into restoring the films here, but by no means a necessary extra.
A small booklet inside the DVD case features liner notes by historian Richard Koszarski that sheds some light on the films contained herein.
I am glad I saw The Devil's Needle and Other Tales of Vice and Redemption and would recommend silent film fans and students of cinema history all give this collection a spin. All three films have something of interest, and I recommend watching them like I did, in chronological order, as they get better as time marches on. I suggest you Rent It, though, since I don't see The Devil's Needle and Other Tales of Vice and Redemption as having much repeat value.
left to right: The Devil's Needle; Children of Eve
Jamie S. Rich is a novelist and comic book writer. He is best known for his collaborations with Joelle Jones, including the hardboiled crime comic book You Have Killed Me, the challenging romance 12 Reasons Why I Love Her, and the 2007 prose novel Have You Seen the Horizon Lately?, for which Jones did the cover. All three were published by Oni Press. His most recent projects include the futuristic romance A Boy and a Girl with Natalie Nourigat; Archer Coe and the Thousand Natural Shocks, a loopy crime tale drawn by Dan Christensen; and the horror miniseries Madame Frankenstein, a collaboration with Megan Levens. Follow Rich's blog at Confessions123.com.What Do You Think?