this news. The climax of the film involves Dead Legs' struggle to save his own offspring from the customary death sentence that his own deadly scheme has set in motion. Dead Legs ultimately suffers the consequences of his "horribly misdirected revenge ploy." The redemptive element with which Browning-Chaney endows Pharos/Dead Legs fate is noted by Rosenthal: "West of Zanzibar reaches the peak of its psychological horror when Chaney discovers that the girl he is using as a pawn in his revenge scheme is his own daughter. Dead Legs undertook his mission of revenge with complete confidence in the righteousness of his cause. Now he is suddenly overwhelmed by the realization of his own guilt. That Barrymore as Crane committed the original transgression in no way diminishes that guilt." Dead Legs' physical deformity reduces him to crawling on the ground, and thus to the "state of an animal." Browning's camera placement accentuates his snake-like "slithering" and establishes "his animal transformation by suddenly changing the visual frame of reference to one that puts the viewer on the same level as the beast on the screen, thereby making him vulnerable to it, accomplished by tilting the camera up at floor level in front of the moving subject [used to] accentuate Chaney's [Dead Legs] slithering movements in West of Zanzibar." Film historians Stephanie Diekmann and Ekkehard Knörer state more generally "...the spectator in Browning's films can never remain a voyeur; or rather, he is never safe in his voyeuristic position..." Diekmann and Knörer also place West of Zanzibar in the within the realm of the Grand Guignol tradition: Despite being characterized as a "cess-pool" by the censorious Harrison's Reports motion picture trade journal, West of Zanzibar enjoyed popular success at the box office. Where East Is East (1929) Adapted by Waldemar Young from a story by Browning and Harry Sinclair Drago, Where East Is East borrows its title from the opening and closing verses of Rudyard Kipling's 1889 poem "The Ballad of East and West": "Oh! East is East, and West is West, and never the twain shall meet..." Browning's appropriation of the term "Where East Is East" is both ironic and subversive with regard to his simultaneous cinematic presentation of Eurocentric cliches of the "East" (common in early 20th Century advertising, literature and film), and his exposure of these memes as myths. Film historian Stefan Brandt writes that this verse was commonly invoked