|College of Communications|
Robert W. Chambers
proprietary research for upcoming
|Title and Credits
|The Hidden Children (1917)|
USA 1917 B&W
Second Unit Director or Assistant Director
The Hidden Children
Cast: Harold Lockwood (Evan Loskiel)
|Cast (in credits order)
Harold Lockwood .... Evan Loskiel
Synopsis: This picture, adapted from a Robert W. Chambers novel bearing the same title, involves an old Indian custom: alien children are "hidden" with a friendly tribe, and when they reach maturity, they are brought back to form new families amongst the old tribe. Euan Loskiel (Harold Lockwood) and Lois de Contrecoeur (May Allison ) are two such "hidden children." In the midst of trouble between the Mohicans, the Iroquois and the White Man, Euan and Lois fall in love. Lois wants to find her mother, and with Euan's protection, she does, in a dramatic climax that involves a fight between Euan and Amochol, an Indian chief (George MacDaniel). Beautiful location photography helped draw interest to this rather confusing story. ~ Janiss Garza, All Movie Guide
May Allison (1890-1989) was a major star of the silent
screen who appeared in almost 60 films in her brief, 12-year film career.
In 1926 she married the editor of Photoplay magazine, retired from films
the next year, and after his death stepped into his shoes as editor.
|Fettered Woman (1917)|
Color: Black and White
Sound Mix: Silent
Written by Garfield Thompson
The Fettered Woman
Cast: Alice Joyce (Angelina Allende)
|Cast (in credits order)
Alice Joyce .... Angelina Allende
Fettered Woman (1917) Vitagraph Co. of America. A Blue Ribbon Feature.
Distributor: Greater Vitagraph (V.L.S.E., Inc) Director: Tom Terriss. Scenario:
Garfield Thompson. Camera: Joseph Schelderfer. Cast: Alice Joyce, Webster
Campbell, Donald McBride, Lionel Grey, Templer Saxe. Woman unjustly sent
to prison by real estate swindlers is shunned by neighbors .
Synopsis: When her father goes broke and commits suicide, Angelina Allende (Alice Joyce ) is left with no money, only the old homestead and a lot of worthless land. Some real estate sharks, Jack Wolver (Donald McBride) and Adolph Bink (Templar Saxe ) try to swindle her out of what little she has, but when they take her to a restaurant, Bink attacks her. An argument springs up between the two men, and Bink is shot. They accuse Angelina of the shooting, however, and she is sent to a reformatory. When she gets out and returns home to the village, she is ostracized. In need of money, she advertises for boarders and a man from the city, James Deane (Webster Campbell ) responds.This comedy-drama was based on the novel Anne's Bridge) by Robert W. Chambers, a very popular author during the days of silent cinema. ~ Janiss Garza, All Movie Guide
|Review from Variety, November 2,
THE FETTERED WOMAN
Angelina Allende Alice Joyce
James Deane Webster Campbell
Jack Wolver Donald McBride
Tobe Lionel Grey
Adolph Bink Templar Saxe
Vitagraph's Nov. 5 release under
the Blue Ribbon Brand is "The Fettered Woman," from the pen of Robert W.
Chambers, directed by Tom Terris. While the denoument [sic] is evident
very early in its progression, the story is, nevertheless, an interesting
one, and quite a departure from conventional lines. A once prosperous village
has gone to decay and Angelina's father commits suicide, leaving her only
3,000 acres of unsaleable land and no cash. Reared in refinement, the girl's
future is a serious problem to her. A couple of unscrupulous real estate
sharks persuade her to come to New York under the pretext of selling her
property to a syndicate. They endeavor to get her to sign away her land
and one of them covets the girl. They take her to a public restaurant and
one of the men attacks her. The other interferes, there is a quarrel between
the men, and one is shot in the arm. They swear the girl did the shooting
and she is sent to a reformatory for three years. Being a high strung girl
and chafing over the injustice she suffers great anguish, but finally is
released. On her return to the little village she is shunned as a jailbird
and lives alone on the vast estate. She advertises for summer boarders
and a young man from the city comes there for his vacation. From that point
on, although there are a number of interesting events, the finish is apparent.
Mr. Terris has done some excellent work in his direction and the selection
of the locations are in keeping with the narrative. Alice Joyce as the
unfortunate girl gives her usual intelligent interpretation of a rather
difficult role and the remainder of the cast is all that could be desired.
A program feature that is certain to please.
Review from the New York Dramatic
Mirror, November 10, 1917
Five-Part Drama by Robert W. Chambers. Produced by Greater Vitagraph Under the Direction of Tom Terriss.
The Players.--Alice Joyce, Webster Campbell, Donald McBride, Lionel Grey, Templar Saxe.
POINTS OF INTEREST
"The Fettered Woman," made into a photoplay from Robert W. Chambers' novel "Anne's Bridge," is, apart from the somewhat lurid villain element of its plot, a film offering a rare sweetness and charm.
The story is of Angelina Allende, who is left an orphan by the suicide of her father, a real-estate visionary who has beggared not only himself but his friends in a vain attempt to "boom" the deserted hamlet of Anne's Bridge. Receiving news of his death, Angelina returns home, where she is presently inveigled into a trip to New York by two men, one of whom wants the property and the other of whom wants Angelina. In a restaurant scene which follows, Bink, the elder of the conspirators, makes advances to Angelina, is repulsed and then is shot by Wolver his fellow conspirator. The police enter, Angelina is accused of the shooting, and she is sentenced at length to a three-years' term in a home for delinquent girls.
Emerging at the expiration of her sentence, she returns to Anne's Bridge. Here, in the lonely days that follow, she advertises for boarders and is at last rewarded by the appearance of James Deane. It is here that the love story begins; and it progresses until Angelina is cleared, through Deane's efforts, and, finally, is free to marry him.
There is a quality of lonely sweetness in the dark witchery of Alice Joyce's face which makes her performance of Angelina register so truly. Webster Campbell, as James Deane, is a wholesome young hero, while Donald McBride and Templar Saxe are abundantly sinister in their respective roles of greater and lesser villains.
Exhibitors should advertise the
fact that the story is by Robert W. Chambers--indorsement [sic] which is
sufficient in itself
|Reviews from Moving Picture World,
November 17, 1917
"The Fettered Woman"
THERE was a time when a story by Robert W. Chambers meant vigorous situations and careful workmanship. Of late years quantity and not quality has been his motto. "The Fettered Woman" is not one of his best works, although, contrary to custom, it does not deal with the unhampered mortals that spend their time in the pursuit of pleasures as it is understood in certain artistic circles of New York. The five-part Vitagraph Blue Ribbon Feature version of the story, starring Alice Joyce, starts off in real melodramatic fashion. Angeline Allende, the heroine, has been raised in a little town known as Anne's Bridge. After the death of her father she finds herself the owner of a dilapidated old house and several thousand acres of worthless land. She falls into the hands of a pair of real estate swindlers and is induced to go to New York to dispose of her property. Both men try to make love to her, and plot her ruin. They quarrel over her and Angelina is falsely accused of shooting one of the men. She is convicted on the flimsiest kind of evidence and sent to a reformatory for three years.
After serving her term she goes back home, but the neighbors are ready to believe the worst of her and give her the cold shoulder. Forced to earn her living in some way, she advertises for summer boarders. A nice looking young chap from the city comes to Anne's Bridge, in answer to the "ad," and promptly falls in love with the girl. When he learns her story he takes the next train back to New York, hunts up the swindlers, gets the truth from them without any trouble, and goes back to Anne's Bridge with the proof of Angelina's innocence. Wedding bells finish. There is very little suspense in the story, and the director was obliged to put in a lot of local color, helped out by a white Polly and a handsome shepherd dog. But there is one thing he refrained from using that does him credit: Angelina is living all alone when she decides to take boarders. The city chap is the only one she has, but no reference is made to the remarks of the neighbors on the subject. One resolute old gossip to start things and the melodramatic punch that would follow is not difficult to imagine. But the neighbors mind their own business, and Angelina and her lover are not molested.
Alice Joyce contrives to put a great deal of quiet charm into the character of the heroine. Webster Campbell is also well adapted to the role of the city chap, and the spectator is honestly glad when the romance turns out happily for the two. Donald McBride, Lionel Gray and Templar Saxe impress favorably in their allotments, and director Tom Terriss has worked in quite a bit of picturesque scenery during the action of the story.
THE FETTERED WOMAN (Five Parts--Nov. 5.)--The cast: Angelina Allende (Alice Joyce); James Deane (Webster Campbell); Jack Wolver (Donald McBride); Tobe (Lionel Grey); Adolph Bink (Templar Saxe). Directed by Tom Terriss.
Anne's Bridge, a one-time prosperous village and its unused chemical factories, represent the former fortune of Angelina Allende's father. He and his daughter still live in the old estate which comprises 3,000 acres of land, on which he is trying to borrow money, as he has only $600 left in the bank and his daughter is in college. An unscrupulous real estate broker refuses the loan, but suggests that if he could have Angelina the loan might be forthcoming. Ordered from the house, the agent points to a rife and suggests that the old man would be doing the community and his child a favor if he used the weapon on himself. An hour later Anne's Bridge is shocked by the suicide of Allende.
The real estate broker seeks to force his attention on Angelina, on her return from college, but she loathes him. He induces her to go to New York on a pretense that a syndicate is prepared to buy her acres. His plan is to get her to sign away all title and thus get her in his power. With another man, and a woman posing as his wife, they take Angelina to a cafe when he attacks her in a private dining room The other man intereferes and is shot. By perjured testimony they escape and Angelina is sent to a Samaritan home for three years.
Returning to Anne's Bridge she is shunned as a jail bird by the older people and feared by the children, whom she loves. She advertises for summer boarders, but gets only one, a young New Yorker attracted by the trout streams on the Allende estate. He falls in love with Angelina and asks her to marry him, but she refuses on account of her prison record, which she keeps a secret. She loves him, nevertheless. He returns to New York and learns the truth. Then he returns to Anne's Bridge and finds he has removed the only barrier to their happiness.
Review from Photoplay, February 1918
THE FETTERED WOMAN--Vitagraph
|Who Goes There? (1917)|
USA 1917 B&W
Directed by: William P.S. Earle
Written by: A. Van Buren Powell
Cinematography by: John W. Brown
Billy Bletcher .... assistant director
Albert E. Smith .... presenter
Who Goes There!
Cast: Harry T. Morey (Kervyn Guild)
|Cast (in credits order)
Harry T. Morey .... Kervyn Guild
rest of cast listed alphabetically
|Synopsis: At the beginning
of World War I, when the Germans invade Belgium, Kervyn Guild, an American
of Belgian descent, is captured with a group of refugees. He is threatened
with execution, but the commander, General Von Reiter (Arthur Donaldson),
offers to let him and the refugees go free if he goes to London and fetches
his fiancée, a Swiss girl named Karen Girard (Corinne Griffith ).
For the sake of the others, he agrees. But when he finds the girl and brings
her across the channel, he realizes that she has some coded documents.
Before reaching their destination, not only has Guild decoded the messages
and handed them over to the British, he has also convinced Karen that she
does not really want to align herself with the Germans. In an attempt to
protect the girl, Guild gets into a duel with Von Reiter and stabs him.
The dying General forgives him and gives him and Karen safe passage to
Antwerp. This picture was based on a story by Robert W. Chambers, a very
popular author of the day. ~ Janiss Garza, All Movie Guide
A light opera baritone from Sweden, Arthur Donaldson originated the role of The Prince of Pilsen in 1903. In films almost from the beginning, 1908 to be exact, Donaldson joined the New Jersey-based Kalem Company on their famous expeditions to Ireland in 1910 and 1911. Known as the O'Kalems, the company produced scores of one- and two-reelers on the Emerald Isle, including two dramas based on local playwright Dion Boucicault, The Colleen Bawn (1911) and Arrah-na-Pogue (1911). Leaving Kalem in 1914, Donaldson went on to become on of the best regarded character actors of the World War I era, appearing as: nefarious German General Von Blahm in Vitagraph's For France (1917); as the equally contemptible Friedrich Von Emden kidnapping Lois Meredith in a submarine in Over the Top; and as Cap'n Abe a mousy storekeeper turned ferocious pirate leader in The Captain's Captain (1919). Donaldson returned to the stage with more frequency in the 1920s, but kept up a steady stream of film appearances as well, if mainly in programmers. His final role of any importance was as George III in D.W. Griffith's epic America (1924). The following year, Donaldson produced and directed Retribution an experimental sound film intended for a Swedish-speaking audience. Ironically, sound ultimately put an end to Donaldson's screen career. He returned to the stage permanently in 1927, making his Broadway directorial debut in 1934 with The Green Stick. ~ Hans J. Wollstein, All Movie Guide
The Orchid Lady of the silent screen,
Corinne Griffith (born Griffin) became a star with First National in the
1920s, her films more noted for their protagonist's much lauded beauty
than any dramatic claims. Her later court testimony to the contrary, the
former dancer had made her screen debut with Vitagraph as far back as 1915,
when she was considered a replacement for the defecting Anita Stewart .
Top stardom, however, eluded her until signing with First National in 1924.
Tagged The Orchid Lady of the Screen, Griffith played a series of beautiful
yet suffering women in dramas whose focal points became the star's ever-changing
wardrobe. She made up for a lack of thespian talent by sheer beauty, however,
much like the later Billie Dove and Hedy Lamarr . As a personality rather
than an actress, Griffith was ill-equipped to tackle talkies, and is considered
one of the more notorious casualties of sound.
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