Volume II: Filmography

SHE STOOPS TO CONQUER

August 19, 1910 (Friday)

Length: 1,000 feet

Character: Comedy-drama

Scenario: From the play by Oliver Goldsmith

Cast: Anna Rosemond, Frank Crane

BACKGROUND OF THE SCENARIO: Oliver Goldsmith (1728-1774), writer of this comedy, was born in Ireland, either at Pallas, County Longford, or Elphin, Roscommon, the son of an English clergyman. After spending his youth at Lisson he was educated at Trinity College. Rejected for ordination to the priesthood, he then studied medicine at Edinburgh and Leyden. In 1755 he commenced wandering about France, Switzerland, and Italy, after which he arrived in London in 1756, in destitute circumstances. There he lived under difficulty and may have returned to Trinity College for a medical degree. Rejected for a medical post he sought in India, Goldsmith changed his career objectives once again, and became a critic and writer for the Monthly Review. By 1759 he was a contributor to many periodicals, and for a two-month period even published his own journal, The Bee.

In 1761 Goldsmith met Samuel Johnson, one of the most prominent literary figures of the mid-18th century. Johnson arranged the sale of The Vicar of Wakefield (made into a Thanhouser film released on December 27, 1910, to which refer), which was published in 1764, saving Goldsmith from arrest for debt. Goldsmith's first comedy, The Good-Natured Man, was only a moderate success, but his second, She Stoops to Conquer, was widely acclaimed and is still produced today. However, by the time that Thanhouser dramatized it for the screen it was somewhat dated and was not familiar to most theatregoers. Goldsmith's works were reactions to the popular "sentimental comedies" of the day. He called his productions "laughing comedies." His attacks on the sentimental dramas were justified by the success of She Stoops to Conquer. Never married, Goldsmith spent most of his adult years writing poetry, biographies, reviews, children's tales, and histories in addition to his well-known comedies.

She Stoops to Conquer features the Hardcastle household. Hardcastle, the old and lover of the old, contrasts sharply with his wife, the pretentious lower class woman who fancies herself much higher in social rank. Other characters include her cunning and mischievous son Tony Lumpkin, their daughter, Miss Hardcastle, and the older and younger Marlows, friends of the family. Young Marlow is proposed for Miss Hardcastle by his father and is sent to call upon the household. Stopping at the local tavern, Tony Lumpkin's favorite hang-out, young Marlow asks for directions to the nearest inn, not knowing how close he is to the Hardcastle household. Tony, recognizing him, sends him to the household, telling him that it is an inn. The ensuing scenes in which young Marlow rudely treats his hosts, as if they were innkeepers, and toys with the "barmaid" Miss Hardcastle, provide much hilarity in the play. Eventually the older Marlow arrives and straightens the situation out, but not before many more pranks are played by Tony.

ADVERTISEMENT, The New York Dramatic Mirror, August 20, 1910:

"Here you have a prize version of the prize comedy of the great Goldsmith - the best known comedy in the English language, in fact. During his lifetime Stewart Robson used it as a starring vehicle and brought renewed fame to himself as well as the play. So revered is She Stoops to Conquer in the hearts of the American public that recently they saw it as an all-star Broadway production with Eleanor Robson as Kate and Kyrle Bellew as Marlow, and it scored an epoch-making success. The present producers don't claim it to be a Broadway production but they DO know it's the best picture thing of its kind that has been released this far in the game. Just see if they're right!"

SYNOPSIS, The Moving Picture World, August 20, 1910:

"The play deals with the love affair of two young people, both of whose parents are anxious that they should wed. Young Marlow sent by his father to court the daughter of an old friend, Mr. Hardcastle. Marlow has spent very little time in the company of the fairer sex, and as a consequence thereof is always shy and nervous in their presence. He, therefore, accepts his father's orders unwillingly and, accompanied by his friend, young Hastings, rides out to meet his future bride. On the road the travelers encounter Hardcastle's stepson, Tony Lumpkin, who in revenge for punishment his stepfather has inflicted, directs Marlow and his friend to the Hardcastle mansion, claiming that it is an inn where they will be well treated.

"In the meantime, great preparations are being made at the Hardcastle home for the reception of Hardcastle's old friend, and when Tony ushers in young Marlow, thinking Hardcastle merely the proprietor of an inn, he treats him with scant courtesy and orders him about, much to the older man's chagrin. Hardcastle is subjected to his daughter's extravagant costumes, and she appears on this memorable evening dressed in a simple dress and wearing the cap and apron that housewives in the neighborhood assume. This costume greatly pleases her father, but leads young Marlow further astray. He immediately jumps to the conclusion that she is a most attractive barmaid and loses his heart to her in short order. Upon the arrival of his father, Marlow learns his mistake as regards the inn question, but flatly refuses to marry Hardcastle's daughter, claiming that she is too grand for him, and citing his preference for the maid servant. While in the act of making love to the supposed barmaid he is discovered by his father, and, when told that this is the young lady his father had intended him to marry, he is overjoyed, as he feels sure that his bashful disposition would never have allowed him to woo and win her had he known her to be a lady of fashion."

REVIEW, The Moving Picture World, September 3, 1910:

"Goldsmith's well-known comedy put upon the films. Opinions may differ as to whether it is an artistic triumph or not, but the fact remains that the actors have interpreted the parts with reasonable accuracy. It is so seldom that this comedy is seen in these times that comparatively few are familiar with it. Perhaps the mere fact that it is here adequately shown will be of benefit since it will encourage re-perusal of the play. The characters of Hardcastle, Kate and Marlow are admirably done and seem to correctly interpret the original. The staging and costuming are in harmony with the play and reproduce the scenery of the time depicted with accuracy. The usefulness of a work of this sort does not end with the presentation of the play itself. There is an educational value which includes the costuming and reproduction of the surroundings of the time. These are so unfamiliar now that they afford not a little addition to the interest and pleasure of such a film. The work has been done so well that the company deserves commendation for undertaking the task. It is not an easy manner to reproduce a play of this character, and when it is well done the company performing it deserves praise."

REVIEW, The New York Dramatic Mirror, August 27, 1910:

"Goldsmith's comedy is arranged in this film for pantomime presentation. More time is spent on the exposition than in the original, and less time is spent on the compilation. The secondary story of young Hastings and Constance Neville is eliminated. The acting makes matters clear enough to the spectators, so that a previous knowledge is not necessary. In numerous details the illusion is dispelled, for the scenery is manifestly not of the eighteenth century. No contemporary of Goldsmith ever rode in such a barouche as appears in this film, nor lived in such a house as Mr. Hardcastle. The final tableau is as artificial as set pieces which have gone out of style at funerals. With all of its imperfections there is considerable of virile comedy in the film."

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