when he went under contract to Twentieth Century Fox in 1935. Arthur Edeson went way back as a cinematographer, way back to 1914. He shot some of Douglas Fairbanks Senior's big productions in the 1920s, including Robin Hood and The Thief of Bagdad. He did the first version of The Lost World in 1925. Edeson and director Lewis Milestone for All Quiet on the Western Front, in 1930, liberated the camera from the cumbersome booths that had been used to muffle noise when sound was introduced in the late 1920s. Believe it or not, there were motion pictures dealing with invisibility as far back as 1904. A little number called The Invisible Siva, a Georges Mйlics French production. Mйlics was famous for doing trick films with the magic executed in the camera. Another French production, The Invisible Thief, was done in 1905. The Invisible Fluid in 1908 bestowed temporary invisibility on men and inanimate objects. Then came the British Invisible Dog in 1910. The Light Unseen in 1914 featured an invisible scientist. A 1923 feature picture directed by Roland West called The Unknown Purple has an inventor, played by Henry B Walthall, discovering a purple light that renders the user invisible. He utilises the light to revenge himself against those who framed him for theft. And in 1933, the same year The Invisible Man was made, there was a German film called The Invisible Man Goes Through the City. Even animated cartoons tried the invisible man theme. One example is a 1939 Warner Brothers Looney Tunes called Porky's Movie Mystery, featuring Porky Pig as Mr Motto. No, not Mr Moto. He's a detective trying to track down the invisible man, who is creating problems at the film studio. Finally, the character becomes visible, and is revealed to be the caricatured image of Warner comedian of the time, Hugh Herbert. The above rundown of films constitutes only some examples, not a definitive and complete listing. Before and after the 1933 Invisible Man film, there were various features, serials, TV versions, even commercials. Whale's biographer, James Curtis, many years ago interviewed Ted Kent, the film editor on nine of the director's films, including The Invisible Man. Recalling Whale's working methods, Kent talked about Whale wanting to maintain control over all aspects of the productions. In scripts, for example, he would point out where close-ups were to be used. Then at the back of his scripts he would make suggested illustrations for the art and costume departments. Apparently, in creative areas, it was difficult for Whale to delegate. This is the first of only two scenes in the entire film between the invisible man and his beloved Flora. In part, it is a very poignant scene. Griffin displays genuine tenderness toward his inamorata. You have the feeling that his love for Flora has temporarily held in check his maniacal behaviour from the effects of the monocane drug. Griffin's vocal delivery reflects his momentary change back to what was surely his personality prior to the nefarious experiment. After some devoted, touching comments by Griffin, Flora asks: - Why did you do this? - For you, Flora. - For me? - Yes, for you, my darling. I wanted to do something tremendous, to achieve what men of science have dreamt of since the world began, to gain wealth and fame and honour, to write my name above the greatest scientists of all time. I was so pitifully poor. I had nothing to offer you, Flora. I was just a poor, struggling chemist. I shall come back to you, Flora, very soon now. The secret of invisibility lies there in my books. I shall work in Kemp's laboratory till I find the way back. There is a way back, Flora. And then I shall come to you. <
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