The Avenger · Chapter
XIII: The Trap That Failed explained
Michael Brixan confronts Sir Gregory Penne after a failed ambush in his study, firing at a shutter lock to scare off an intruder.
What happens
Michael Brixan confronts Sir Gregory Penne after a failed ambush in his study, firing at a shutter lock to scare off an intruder. He finds a silk scarf left behind and warns Penne of Nemesis. Meanwhile, Jack Knebworth praises Adele Leamington's film performance, criticizes the British film industry, and rejects Stella Mendoza's return to the picture, supported by Reggie Connolly's threat to quit unless Mendoza is reinstated.
Themes in this chapter
Deception and Appearances
Penne feigns ignorance and blusters to hide his complicity in the ambush; Mendoza puts on a show of penitence while harboring anger; Connolly's nervousness is a pretext for his threat.
Ambition and Failure
Knebworth laments the lack of opportunity for English film stars, highlighting the systemic barriers to success in the British cinema industry.
Characters to notice
- Mike Brixan
Investigates Penne's house, fires at a shutter lock to thwart an ambush, warns Penne about Nemesis, and returns to the Dower House for breakfast.
- Sir Gregory Penne
Panics after the gunshot, blusters and threatens Brixan, but wilts when Brixan mentions the swords above the mantelpiece.
- Jack Knebworth
Praises Adele's performance, criticizes the British film industry, and rejects Stella Mendoza's return to the picture.
- Adele Leamington
Noted as having performed remarkably well in the film, watched Brixan's departure from the tower window with despair.
- Stella Mendoza
Visits Knebworth to apologize and ask for her role back, but is rejected; shows anger beneath a penitent facade.
- Reggie Connolly
Threatens to quit the picture unless Mendoza returns, claiming nervousness and inability to do justice without her.
Key passages
“I can do myself justice with Miss Mendoza out of the cast,” said Reggie. “I really don’t! I feel most awfully, terribly nervous, and it’s difficult to express one’s personality when one’s awfully, terribly nervous. In fact,” he said recklessly, “I’m not inclined to go on with the picture unless Miss Mendoza returns.””
Reggie claims he cannot perform well without Mendoza, citing extreme nervousness, and threatens to quit the film if she is not brought back.
Reggie uses nervousness as a pretext to pressure Knebworth into reinstating Mendoza.
“Film stars aren’t born, they’re made; they’re made by bitter experience, patience and suffering. They have got to pass through stages of stark inefficiency, during which they’re liable to be discarded, before they win out. Your girl has skipped all the intervening phases, and has won at the first time of asking.”
Knebworth explains that film stars are developed through hardship and practice, but Adele has bypassed the usual struggles and succeeded immediately.
Knebworth's praise of Adele contrasts with his earlier skepticism about her potential.
“What chance has a girl in England? ... Production in this country is streets behind production either in America or in Germany. It is even behind the French, though the French films are nearly the dullest in the world.”
Knebworth argues that the British film industry lags far behind America, Germany, and even France, offering little opportunity for aspiring actresses.
Knebworth's critique reflects the historical context of the British cinema industry in the 1920s.