Perils of Pauline

Perils of Pauline

cliff-hangers in which Pauline’s life is recurrently in danger. [Am. Cinema: Halliwell, 559]
See: Danger
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Known as the "fiancee of danger", she was the model for the silent film series The Perils of Pauline.
They produced early serials, perhaps the most well-known being oThe Perils of Pauline,o and distributed Harold Lloyd, Laurel and Hardy, and Our Gang, among others, all certainly known to movie buffs.
While waiting for him, Evie becomes the focal point of a rebellion that gets bloody, courtesy of Mother's Enforcers, while several Perils of Pauline scenarios have her struggling to make sense of what is going on, not the least of which is the surprising twist at the end.
Critique: A deftly written, uproariously funny, exceptionally entertaining novel, "The Perils of Pauline" clearly document author Collette Yvonne as a gifted author of the first order.
In the case of Pathe's 1914 American release The Perils of Pauline, the only extant version is a greatly edited French cut which, when compared with the existing newspaper tie-ins, reveals significant differences that call into question the tie-in's status as a lesser art designed to capitalize on the release of a film, instead suggesting that tie-ins can be understood as wholly autonomous art forms in their own right, offering a more complete vision than that contained within the film.
Would you want to make 100 episodes of "True Detective?" Because what happens is it immediately becomes "The Perils of Pauline." It's almost impossible to sustain that level of drama and quality when you're going for quantity.
But in 1914 what took them back to the Playhouse week after week was a serial, The Perils of Pauline, billed as "The Eclectic Film Company's Great $25,000 Photo-Play."
This begins a series of events, reminiscent of The Perils of Pauline, which first brings her to a French town up the Mississippi, back to New England and finally to land her in the middle of the French and Indian War.
King astutely points out that the industry had to negotiate a profound double bind that required it to be a 'big business' (where serials like The Perils of Pauline would bring in a mass audience) while pursuing a 'goal of uplift' (118) that would sanctify cinema by recasting comic shorts as feature-length dramas.
She is a prominent intellectual, and her article was entitled "The New Perils of Pauline".
AFrank Loesser penned it for her 1947 movie The Perils Of Pauline.