The Grim Game

Originally made in 1919 and long thought lost, this recently-restored full-length movie features the legendary Harry Houdini, performing the sort of escapes for which he was celebrated in his own time and is still famous even today. For that reason alone, this film deserves 10- out-of-10. Since his death in 1924 many magicians and escape artists have striven to replicate the incredible things Houdini did, and many of his feats have still not been done. Those expecting subtle characterization or modern production values need to look elsewhere. However, for those with an appreciation of something absolutely unique, something that simply cannot be duplicated today, this film is truly priceless.

The fact is that the "The Grim Game" was considered lost. Actually the only existing copy of the 71-minute feature was lovingly preserved by a private party (Larry Weeks) in Pennsylvania. In 2014, after financing by Turner Classic Movies (TCM), it was restored with a new music score; it was first televised in 2015.

The first title card reads, "Remote and isolated, behind high walls and barred gates, the Cameron home repels intrusion." There is even an armed guard at the main entrance. Nevertheless, Harvey Hanford (Harry Houdini) is able to enter through the side gate. He, a reporter for the Daily Call, is in love with Mary Wentworth (Ann Forrest). He has come to see her. But the wealthy recluse Dudley Cameron (Thomas Jefferson) is at odds with nephew Harvey. Now Cameron is cared for by his ward and heiress, Mary Wentworth (Ann Forrest) and two servants. Harry eagerly tells Mary that her first story will appear in Sunday's newspaper.

It has been stipulated in Dudley Cameron's will that Mary will be unable to marry while he lives. Cameron has planned for Mary to marry Doc Tyson (Arthur Hoyt) after his death. Doc Tyson is a shifty type. Cameron has previously lent the owner of the Daily Call, David Allison (Augustus Phillips) cash to keep the paper afloat, but refuses to give any more. Phillips is desperate. Meanwhile lawyer Nick Raven (Tully Marshall) is in deep cow-plop. For Cameron has caught him forging his signature. Cameron will not turn in Raven as long as he does Cameron's will. So now we have met the three schemers: Tyson, Allison, and Raven. But they work independently of each other.

Knowing that the Daily Call is failing, Harvey presents his plan to the three men. It is intricate and involves a false kidnapping, the temporary disappearance of Cameron. Harvey has also purposely planted evidence to incriminate himself. Of course, the main bad guy turns it into murder; Cameron's body is discovered in a well on his property. Harvey Hanford is accused and eventually imprisoned – but as he is really Houdini after all – he engineers a series of fantastic escapes, beginning with his breakout from prison shackles. He even slips away after he is tied up in a strait-jacket upside down alongside a multi-story building. There are several coincidences typical of many silent films, but Houdini hangs in there and shows his abilities and his stamina. Finally there is the aerial stunt: a biplane with the hero actually flying chasing another airplane with the bad guy (and Mary). It concludes with a real crash.

Although the script offers little suspense until the last reel, this film is quite good, and it was nice to see the great escape artist/stage magician in action. Houdini was even a skilled aviator. He was born in Budapest, Hungary when it was part of the old Austro-Hungarian Empire. He immigrated to the USA in the nineteenth century and was raised in Appleton, Wisconsin. His attractive co- star, Ann Forrest, born in Denmark, was quite camera-friendly on screen. She makes a desirable lady-in-distress. The feature itself is a curio that should offer bona fide entertainment for movie buffs. It is said that perhaps 80% of all silent films are lost, so it is nice to have this one back from the grave.

The Grim Game (1919)

** 1/2 (out of 4)

Reporter Harvey Hanford (Harry Houdini), wanting to save his newspaper as well as show how corrupt "circumstancial evidence" can be, stages a murder where the victim is actually alive but what little evidence there is shows that he's dead and that the reporter committed the crime. The plan is for the "dead" man to come back after the reporter is in jail and show how you can't always go by evidence. The problem is that once the reporter is in jail the man really is murdered so the reporter must break out of prison and search for the real killer.

This same story would be redone decades later by Fritz Lang in BEYOND A REASONABLE DOUBT so it's interesting to see it done here first. For the most part this is an entertaining movie, although it certainly falls a bit short of actually being a good one. With that said, if you're a fan of the legendary magician then you'll certainly want to check this out since he does perform some nice tricks plus there's just not enough footage of him around so getting to see him in the few movies he made is nice.

With that said, obviously the main reason to watch this are for the Houdini tricks, which includes him escaping several times throughout. The famous straight-jacket routine is performed here as well as other chains that the magician is strapped into. There are some nice action/stunts throughout including one where the magician (or his double) are hanging on a flag pole. The highlight of the film comes at the end when there are two planes flying and Houdini (or his double) are on a rope going from one plane to the other. I won't ruin what happens but the scene is terrific.

The story itself is interesting but very little is done with it because people weren't really coming to this film for a story. People wanted to see Houdini in action so obviously that's what the producers gave them.

I was skeptical of this film and prepared not to like it, However, I was pleasantly surprised by the TCM 'television premier' last Sunday of a nicely completed full-length restoration. I find most films from the 1916-1920 era to be horribly dated with that era's overdone style of acting. There are notable exceptions like Pickford, Chaplin, and Fairbanks, of course, but these older silents are sometimes hard to watch and even absurdly clumsy. The Grim Game has some of that chewed-scenery aspect, but overall it is well done. The story is a bit far fetched, but nonetheless entertaining. And many of our later favorites - Tully Marshall, Mae Busch, and Arthur Hoyt - appear. As for Houdini, he performs as expected in several escape scenes which naturally is what one expects. I had never seen him before and considering that his name is still legendary after 100 years, the film is worth a look if only for that. The Grim Game also has some really interesting 'snapshots' of the era including an incredible (in the sense of 'not believable') aeroplane (sic) chase. All of that having been said, kudos to preservationists and restorers for their tedious and painstaking work on films like these. It is greatly appreciated by me and legions of movie buffs.

With financing from TCM, the only known print of Houdini's first film was restored to near-perfect condition (except for some deterioration damage toward the end) and found its television premiere on TCM on Sunday, October 18, 2015. A recap of the finding and restoring of the film can be found in ellebrennan's review here of October 20.

Although Brennan's recap (excerpted from Houdini.org) credits renowned composer Brane Živković with having created a new score for the restoration, what neither hers nor any other review here to date of the restored film mentions is that TCM showed the film twice that night, first with Živković's score, then again later with a more traditional silent film score by Steve Sterner.

Unfortunately, I missed what host Robert Osborne may or may not have said about the Sterner score, but in my estimation, although less innovative, it may in some way be preferable.

Živković's score is thematically more operatic in that characters have their own themes assigned to them. Since Houdini (and his character) is on the screen so much throughout the film, his theme eventually becomes monotonous. Variations of his theme would be highly appreciated.

Sterner's score, being more traditional as silent film scores go, does not vary with the characters, per se, but if with anything, the action.

Let the discussion begin.