Volume II: Filmography

UNDER FALSE COLORS

(Pathé Exchange)

September 23, 1917 (Sunday)

Length: 5 reels

Character: Drama; Pathé Gold Rooster Play

Director: Emile Chautard

Scenario: Lloyd F. Lonergan

Cameraman: Jacques Bizeul

Cast: Frederick Warde (John Colton, financier), Jeanne Eagels (Countess Olga from Russia), Robert Vaughn (Jack Colton), Anne Gregory (Vera Ladislaus), Carey L. Hastings (Mrs. Colton)

Locations: New Rochelle studio; Henry Flagler estate in Mamaroneck, New York

Notes: 1. An unrelated two-reel Thanhouser film with this title, Under False Colors, was released on December 22, 1914. 2. An expanded story, based on the plot of this film, appeared in The Photo-Play Journal, September 1917.

ADVERTISEMENT, The Moving Picture World, September 29, 1917:

"Under False Colors, a five part Gold Rooster Play produced by Thanhouser that is bound to please your audience. Sensationally dramatic, it shows how the devotion to her cause of a fair young Russian revolutionist does not prevent her from falling in love with a fine young American."

ARTICLE, The Moving Picture World, September 15, 1917:

"On September 23, Pathé will release another Gold Rooster Play, in which Frederick Warde and Jeanne Eagels have the leading parts. It is called Under False Colors, written by Lloyd Lonergan, directed by Emile Chautard and produced by Thanhouser. The last time these two stars appeared in the same production was in The Fires of Youth, which was more than ordinarily successful and was very well received by the critics. The story is most timely, dealing as it does with Russia just prior to the dethronement of the czar."

ARTICLE, The Morning Telegraph, September 16, 1917:

"On September 23 the Pathé Company will release a Gold Rooster play, in which Frederick Warde and Jeanne Eagels have the leading parts. It is called Under False Colors, written by Lloyd Lonergan, directed by Emile Chautard and produced by the Thanhouser Company. The last film those two stars appeared in was The Fires of Youth, which was well received by the critics. The story is timely, dealing with Russia just prior to the dethronement of the Czar. Mr. Warde plays the part of John Colton, an American millionaire. The house obtained for use as his 'residence' in the picture is the home of Henry M. Flagler. All the outdoor scenes were taken on the Flagler estate at Orient Point, Mamaroneck, N.Y. Jeanne Eagels plays the Countess Olga, a Russian nihilist. Fleeing to this country to escape arrest in her own country, she impersonates the daughter of a Polish friend of Mr. Colton and so gains his confidence. He and his wife practically adopt her as their daughter. She makes use of the intimacy, thus created to get tips on the stock market. These tips she conveys to her nihilist friends in New York. They make use of them to enrich themselves. Eventually she finds that she has been the innocent tool of a band of up-to-date crooks who have imposed upon her loyalty to the Russian Revolution. But when the truth comes out she finds that her sweetness and amiability have gained for her true love in the Colton family, and she leaves her faithless old friends for the new."

ARTICLE, Exhibitor's Trade Review, September 22, 1917:

"A story having to do with the Russian Revolution. The use of newspaper items and photographs of actual scenes during the revolution would be good stuff to use in the lobby. Headlines from the papers telling the story of the Czar's overthrow would be bully good material to paste at the top of lobby frames in which the stills of the Revolution scenes are displayed. The name of Frederick Warde should be featured and his photographs used in the lobby and in any other places where such stuff can be displayed. The name of Jeanne Eagels should also come in for some boosting. The house staff might be costumed as Russian peasants and a man so dressed sent around town to distribute advertising matter. He should be on horseback if possible.

"General Advertising: Stories can be worked up dealing with the way in which the young Russian helped her country gain its freedom. Also mention should be made of Frederick Warde's stage career. For cards, circulars, throwaways follow this wording: 'She was helping Russia gain its freedom. The police were on her trail but a young American helped her escape to this country. Here she sailed under false colors but saved the life of the man who befriended her and helped the Secret Service men to round up some revolutionists. There are scenes that will thrill you and acting that is exceptional in Pathé's latest feature, Under False Colors with Frederick Warde. See this dramatic story of downtrodden Russia at the BLANK theatre today.'

"Headlines are: 'Russia is Free,' 'Frederick Warde - A Real American,' 'She Helped Her Country,' 'In the Throes of Revolution.'"

ARTICLE, The Moving Picture World, September 22, 1917:

"The five reel production of the week [in the Pathé program] is Frederick Warde and Jeanne Eagels in Under False Colors. It is an original story by Lloyd Lonergan, produced by Thanhouser under the direction of Emile Chautard, with one of the best starring combinations ever seen on the screen - the best known Shakespearean actor in America in the role of a modern financier, the most charming young leading woman on the American stage in the role of a beautiful Russian countess, forced to take refuge in United States under a false passport."

SYNOPSIS, Exhibitors Herald, October 6, 1917:

"Olga, escaping from Russia, goes to America for safety. She meets Vera, a young American, who is on her way to an American home to remain until after the war. The boat on which they are traveling is torpedoed and Vera dies from exposure. Olga goes to the Colton home, posing as Vera. She joins a secret band of her countrymen. They decide to put Colton out of the way. Vera saves his life and then Colton shows Vera and the other members of the gang that their leader is working for his own riches only. When Colton's son returns and tells his father that he loves Olga his father is very willing that they marry."

SYNOPSIS, The Moving Picture World, October 6, 1917:

"Jack Colton, son of John Colton, the money king, in Petrograd making arrangements for a big loan to Russia, secures a passport for an unknown lady, who takes refuge from the Secret Service in his apartment. On the trans-Atlantic liner, the Countess Olga finds a stateroom companion in a young girl who, with her home in danger from the advancing company, is on her way to America to live with her father's friend, John Colton, Sr. The boat is torpedoed, the little girl perishes from exposure, and the Countess cannot resist the temptation of appropriating her identity. Events happen with lightning speed from then on. The suspense is sustained up to the last scene, in which John Colton, the elder, puts the girl to the test and finds her tempered steel; John Colton, Jr., asks and receives her hand in marriage."

REVIEW, Exhibitors Herald, October 13, 1917:

"As a whole: full of action; story: gripping; star: gives finished performance; support: excellent; settings: in keeping; photography: clear.

"Under False Colors is an interesting story written about the Russian Revolution, but for the most part the scenes are laid in America. Frederick Warde, the able tragedian, is cast as an American capitalist, who is financing the revolution, and brings into play every bit of his strong personality and wonderful stage experience. In support appears Robert Vaughn as Jack Colton, his son; Jeanne Eagels as Countess Olga, and Carey Hastings as Mrs. Colton. The play is full of action and contains plenty of suspense. The direction of Emile Chautard is superb and the photography clear throughout. The story was written by Lloyd Lonergan and is a photoplay that should please the most exacting audiences.

"The story: Colton sends his son Jack to Russia to complete the details of a loan to that government. While there Jack assists the Countess Olga, who is hounded by spies, out of the country. She sails for America and on the same steamer meets Vera Ladislaus, who is going to make her home with the Coltons. The steamer is torpedoed and Vera loses her life. Olga, upon arrival in New York, poses as Vera, to secure information in the Colton home, as she has been told he was aiding the Russian government. Becoming established in the home, the kindness of the Coltons makes her regret her position. Jack's return home, and the arrival of Vera's father, an old friend of the Coltons, complicates matters. However, upon Colton's statement to the assembled Russians at their headquarters that he is in reality helping the cause of freedom, Olga's true feelings toward the Coltons, and especially toward Jack, are seen."

REVIEW by Charles E. Wagner, Exhibitor's Trade Review, September 22, 1917:

"A scene of timely interest and a story brimming over with human interest marks this production as an acceptable Pathé offering. While it does fail to place Frederick Warde in a character that is best suited to him, his characterization can at least be classed as pleasing. To find him in the role of an easy-going Wall Street broker might be disappointing to those who are used to associate Mr. Warde with more substantial roles, but nevertheless, those who are not familiar with Mr. Warde's stage career will become reconciled to the production as it exists. The story deals with the present Russian revolution, eliminating any war stuff, but merely offering the intrigues of the Russian reactionaries in America. This point makes the production acceptable. There are a number of strong situations that are somewhat novel for the usual modern day photoplay output. One point in the plot development that hinders the sympathetic appeal surrounding the character of Olga is the haze surrounding the villainies of the leader of the Russians in America. Not until the very last will the audience discover that he is in fact really a villain. However, this point does not hinder the suspense or interest that the production contained. The direction is good and the photoplay entirely up to Pathé standard. The acting, too, is acceptable. Frederick Warde is appealing as the Wall Street broker, and while handicapped by limitations, still lends a touch of human appeal that is strikingly real. Jeanne Eagels does exceptionally well as the Countess Olga. She has never been seen in a role where her pleasing personality was so pronounced. The rest of the cast likewise should receive worthy commendations. Under False Colors will please the patrons of community or family theatres particularly. The theme is timely and the story itself is one that will supply an hour of clean entertainment. Furthermore, it is linked with the name of a star of unquestionable box office value.

"Balance of the program: A lively slapstick two-reel comedy together with a newsreel or split reel educational and cartoon comedy would be most appropriate. Musical suggestion: See cue sheet furnished by Pathé."

REVIEW, The Moving Picture World, September 29, 1917:

"An 'up to the minute' five-reel subject, by Lloyd Lonergan, featuring Frederick Warde and Jeanne Eagels. The story concerns the recent Russian revolution and the scenes are laid in Petrograd and America. This has a good dramatic plot and is presented by a strong cast. Reviewed at length elsewhere."

REVIEW by Robert C. McElravy, The Moving Picture World, September 29, 1917: This review is reprinted in the narrative section of the present work.

REVIEW, The New York Dramatic Mirror, September 22, 1917:

"Points of Interest: An interesting story of the struggle between love and patriotism. The delightful combination of Frederick Warde and Jeanne Eagels in characteristic roles.

"The chief merit of Under False Colors is that it provides charming and characteristic roles for Frederick Warde and Jeanne Eagels, who hold the interest and suspense of the play through their sympathetic and convincing acting. The combination of this delightful young heroine with the distinguished and kindly old gentleman who is her guardian, is a particularly fortunate one and carries an unusual and piquant appeal. Miss Eagels is a new and refreshing type of ingenue who does not indulge in soubrette tricks to get her effects, but who behaves like a very real and appealing young girl whose youth is not without dignity. Frederick Warde's restrained and compelling work is well known on the screen and the honors are equally divided between one of the oldest and the youngest stars in the films today.

"The story follows the adventures of the Princess Olga, a Russian noblewoman who, in an effort to help her country's fight for freedom, reluctantly poses as the ward of an elderly American millionaire who is believed to be assisting the reactionary party. The old gentleman soon discovers that she is an impostor but he has grown so attached to her that he puts the most charitable interpretation on her position. The film ends with a thrilling scene in the secret meeting place of the revolutionists where the news of Russia's freedom dissolves the band and the old man is revealed as one of the chief backers of the revolutionary party. A pretty romance between Olga and the old man's nephew runs as a counterplot to her action as a spy. Although the play is well staged and directed its success rests primarily with the actors who have raised it far above the somewhat mediocre lines of the plot. The combined names of Frederick Warde and Jeanne Eagels are its best medium for advertising. - A.G.S."

REVIEW, Variety, October 12, 1917:

"Under False Colors is of the Thanhouser brand that has been taken over by Pathé for film distribution. The featured players are Jeanne Eagle [sic] and Frederick Warde. The picture is up to date as far as the scenario theme is considered.

"A Russian countess is assisted by a young American as she flees from Russia under an assumed name. On the way over a torpedo sinks the ship, but she and a young American girl take to the same boat with lifesavers. The American girl dies from exposure and turns over some valuable papers to be delivered to a very rich American named Colton. The Russian lady of nobility passes as the other girl and is adopted by Colton. She is in league with a Russian band that is led by a scoundrel who is finally unmasked after trials and tribulations for the countess and her guardian, Colton. As Colton Mr. Warde gives a finished portrayal of the rich man who despite his immense wealth wasn't such a bad sort after all. Miss Eagels plays Olga effectively. There are a number of dramatic climaxes with the submarine's action and the torpedoing of the liner commendable; Under False Colors, while a conventional picture will hold its own on the service program of multiple-reeled subjects. The photography at times appeared off color, the players and scenic investiture appearing indistinct. - Mark."

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