THE DEVIL RAISES HIS OWN

The seamy side of silent pictures.

After killing her abusive husband in self-defense, Flavia Purcell leaves Wichita to stay with her grandfather, photographer Bill Ogden, in Los Angeles. In 1916, the Hollywood studios have yet to establish themselves, and filmmaking is a dog-eat-dog world. Clyde Grady, who’s graduated from one-reel comedies to stag films, joins forces with Irene Buntnagel, of the West Coast Art Company, and her husband, George Kaplan, of the film company Provident, whose sex film starring streetwalkers Trudy Crombie and Victoria Tessart encourages him to propose a series of “queer stuff.” The X-rated films produced by Magnificat Educational Distribution Company, Incorporated, are so successful despite flouting the laws of the Postal Service that they provide the thread that (barely) holds together several far-reaching subplots. Small-time criminal Ezra Crombie, Trudy’s long-estranged husband, turns up determined to make a go of it with her. Henry Seghers, who meets Ezra aboard a freight train the two of them have hopped, becomes Bill’s assistant and falls in love with Flavia. Tommy Gill, a vaudeville star whose career in film comedies is on a steep decline, finds himself co-starring with Trudy’s two children by Ezra, who punch and humiliate him onscreen to universal laughter. Postal inspector Melvin van de Kamp switches from patronizing the workers in a local brothel to watching the latest blue movies the madam sets up for him. The city grows sharply divided over the question of whether the U.S. should enter the Great War. The roster of hangers-on is obviously headed for a day of reckoning, but when it finally arrives in a series of violent confrontations, it can’t help seeming anticlimactic.

Less compelling as a story than as a richly teeming historical canvas.