Universal launched numerous common horror movies through the 1930s and director James Whale crafted some of the finest from that renowned cycle: "Frankenstein," "Bride of Frankenstein," "The Old Dark House" and "The Invisible Man." Whale brought a dazzling stylishness to what had been primarily very low-budget horror movies and, in the scenario of "The Invisible Man," produced complex special outcomes, aided by John P.
Fulton. Griffith designed "Intolerance" as a direct response to the detrimental community response to the overt racism depicted in "The Birth of a Nation," which was unveiled a year earlier. As with "The Birth of a Nation," Griffith introduced new cinematic strategies in "Intolerance" that are now regarded as commonplace in modern movement picture industry.
Critic Andre Sennwald, creating in the New York Times, praised Ford's course: "In his palms 'The Informer' turns into at the same time a placing psychological ***yze of a gutter Judas and a raw *** picture of the Dublin underworld in the course of the Black and Tan terror." Ford and cinematographer Joseph August borrowed from German expressionism to convey the Dublin environment.
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