Hoog enters thefilm in white tie and tails.

There will be a long traditionof good guys in Lang films showing up in rectilinear environments:see the hero's hotel room and bath in , the hero'sapartment in , Glenn Ford's home and officein , and the minister and his church in .

A number of running elements in their films are shared by both Ford and Dwan:

Both films show sinister dictators and anti-democratic forces:the Caliph in the Persian episode, the Emperor in the Chinese,the member of the secret Council of 14 in the Venetian episode.

Both films havetheir complete plots built around these land rushes.

Directors often compared to Ford,  and , liked tails and regularly employed them in their films.

(Cross-cutting is not much employedin .) In general, silent films often seem morelike a "collection of photographs about a subject",and less like an illusionistic "you are really there watchingthe action of the film" medium.

These sections too relateto political ideas and situations in .

His clothes, gestures and body postureswhile taking off his top coat remind one exactly of Keaton's whilehe makes entrance as the Great Detective Sherlock,Jr in that film.

The two groups are totally different morallyand politically.

Both windup kidnapping the young hero of the film, and taking him captiveinside their impregnable fortress: in the inspector's case, ScotlandYard headquarters.

This is the largest and most forceful ofall the circles in the film.

Just as in Blyth,they have powerful people on their side: in Lang's films, thereis a team of top businessmen, clad in the frock coats of the richof their time, who secretly meet together and finance The Spiders'operations.

The film is basicallya love story, between the husband and the wife.

Both also note the way the film moves in many different directions (Sarris) and how "the building up of tangential incidents diverts us from a pointless story" (Gallagher).

So do thehorror films (1942), directed by ,and Ulmer's

Many films, as Bordwell points out, have a goal: something which the hero is trying to accomplish throughout the picture, and at which he succeeds or fails at the film's end.

The landscapes in this film are notable for their rocks.

Early filmmakers who might have influenced Lang are discussed:Louis Feuillade, Maurice Tourneur, Mauritz Stiller, Rex Ingram,the films starring Rudolph Valentino, and later, the films ofAlfred Hitchcock.

Lang returnsto the phone company again and again throughout the film.

Between the croupier and the playersare a set of radial arcs, which divide a huge circular platforminto segments that approximate the triangles we saw earlier inthe film.