JohnHowardReid "One Exciting Night" (1922) is not terribly exciting, although it has its moments. Alas, without Billy Bitzer at the camera, D.W. Griffith is not exactly the most innovative of directors. Everything is played at the camera as if the actors were on a stage. There is only one pan (broken into two shots by an insert) in the entire movie. The film is obviously angled at keen Carol Dempster fans. She is given more close-ups than the rest of the extensive cast combined. The plot is not particularly interesting, but – chiefly thanks to Dempster – it just manages to hold attention – in Alpha DVD's quite watchable cutdown 108 minutes version anyway. (The movie originally ran 128 minutes).

wes-connors Like so many D.W. Griffith films, "One Exciting Nigh": has an informative subtitle, so "A Comedy Drama of Mystery" opens in "somber Africa", where the origin of Carol Dempster (as Agnes Harrington) is shown. Moreover, title cards advise viewers to watch the film's beginning scenes with intensity. It's good advice. Indeed, the well-designed plot unfolds in layers; and, the film's characterizations are a great strength. The drama centers on Ms. Dempster, and two suitors - Henry Hull (as John Fairfax) and Morgan Wallace (as J. Wilson Rockmaine). Dempster has accepted a proposal of marriage to Mr. Wallace; not for love, but to save her foster mother from scandal; Wallace witnessed Mrs. Harrington (Margaret Dale) steal a watch, as the Harrington family faced financial ruin. Then, Dempster catches Mr. Hull's eye; and, the two fall desperately in love… Intricate, imaginative storytelling, and direction from Griffith, who weaves his characters into the standard mysterious "Old Dark House" formula, involving, of course, money and murder. The film's strong performances are tainted by some disturbingly offensive racial stereotypes. For example, the depiction of ambition among black-faced Porter Strong (as Romeo Washington), introduced in his listless "colored" community, is bound to leave you stone-faced. At least Mr. Strong's rolling bug-eyed "darkie" will provide a classic example of a racist character "type", if you're interested. However, such depictions taint an otherwise excellent, near indispensable, Griffith film.Dempster was not always well-served by mentor Griffith; but, herein, she excels. Her awkwardly beautiful, and naively vulnerable character offered Dempster one of her best roles; and, it is delivered at a time when she had the silent acting prowess necessary for a leading role. Hull is outstanding as her leading man; a thoroughly believable young romantic, he makes their relationship work. Watch for the great courtship scene with Hull, Dempster, and her parasol; it defines their young, innocent love. Wallace is fine as the man who comes between them. Smaller roles, like Charles Mack's turn as an unfortunate houseguest, are likewise expertly played. "One Exciting Night" is perhaps too long; but, Griffith keeps thing moving, and little seems superfluous. The close-to-the-edge and ending scenes could blow you away. ******** One Exciting Night (10/2/22) D.W. Griffith ~ Carol Dempster, Henry Hull, Morgan Wallace, Charles Emmett Mack

Mart Sander Nice goings-on in an old mansion. But several flaws as well. The plot is a bit over-written, and there are numerous warnings on title cards to be very attentive, to be very afraid and so on. One step away from a brainwash really. From the first moments it's difficult to understand who's who - especially if you have a washed out bootleg copy, such as mine. You just don't distinguish the many faces. Plus there are several black-face performances, which is really stupid, as the men who are supposed to be black servants, have especially distinctive paleface features. Needless to say, they also provide the comic relief, and needless to say, it's all about rolling the eyes, waxing stiff, falling down, and running around in terror, yelling "lawdy, lawdy!" or something similar. In other words, not funny. I did like the leading lady and I can't blame Griffith for falling madly in love with her. Fortunately she's not only pretty, but also quite convincing as a 16-year old precious little rich girl, hungry for her mother's love. I immediately went browsing the net and found two more films where she is in, so I'll know a bit more when these arrive. Strangely enough her career totally ended a few years after this film, and I would like to know the reason, why. The leading man was a new face to me as well, even though looking at the list of his films, I realized I have seen several, but from the later period. He looks like he could be 16 himself, whereas in reality he was 32. Very handsome and moving as a young man tortured by love, he left a very good impression on me. There are nice interiors and some very good 1922 fashions displayed. I only wish there were a good, sharp, legitimate copy released. Despite some obvious flaws in the story, the complexity of the plot and the irritating comic subplot, a thoroughly enjoyable dark old house flick.

rsoonsa D. W. Griffith made his only venture into the mystery field here, primarily due to the success of the "old dark house" genre, stimulated by Mary Roberts Rinehart's novel, THE CIRCULAR STAIRCASE, which was very successfully filmed and staged (with Avery Hopwood) as THE BAT. The script written by Griffith (as Irene Sinclair) is extremely complicated, and engages the cast in a jointed series of plots revolving for the most part about attempts at discovery of a missing half-million dollars of bootlegger takings, secreted somewhere within a mansion that is replete with secret passages and hidden panels. Griffith gave his mistress, Carol Dempster, the female lead romantically linked with Henry Hull, whose kinetic limberness is difficult to match, although she acts well, and vigorously too, as much of the scenario provides comedic lunacy; Morgan Wallace is particularly engaging as a Dempster suitor. The film is well-edited, and the special effects by Edward Scholl are creative, to say the least; however, Griffith's penchant for adding numerous story lines to his cinematic landscape causes more than a bit of weariness in the viewer as the work pitches constantly among romantic, mystery and comedy themes; as to be expected, the small moments of detail when the talented players are given rein are generally the most satisfying.