Volume II: Filmography

THE ROAD TO FAME

September 28, 1915 (Tuesday)

Length: 2 reels

Character: Drama

Director: Ernest C. Warde

Cast: George Harris (theatrical manager), Winifred Kingston (Viola Montrose), Bert Delaney (her husband), Morgan Jones (his father), Inda Palmer (husband's mother), Paul T. Lawrence (Count de Varille, in Camille)

Locations: New Rochelle, New York; Stamford, Connecticut (where Camille was photographed)

Note: An article in The Cleveland Plain Dealer, September 9, 1915, discussed the career of Clevelander Paul T. Lawrence, and stated that a few months earlier he had the role of Count de Varille in Camille, produced at the Thanhouser studios. The text of the article is reprinted under Lawrence's entry in the biographical section of the present work. It is apparent that he appeared in The Road to Fame, which had Camille as an interior play-within-a-photoplay.

ARTICLE, The New Rochelle Pioneer, August 7, 1915:

"The drama Camille is being staged in movies at the Stamford Theatre by a troupe of 25 actors and actresses under the direction of Ernest C. Warde."

ARTICLE, Reel Life, October 2, 1915:

"That genius is born out of the depths of human experience, and that no great emotional art can we have, except the artist himself has really lived, is the impelling theme of The Road to Fame, screened by Thanhouser, for release in the regular Mutual program, September 28th. This strong story of a woman's love revolves about the central figure of 'Viola Montrose,' actress, played by Winifred Kingston. Miss Kingston has realized the dramatic possibilities of a role, wonderful for its intense human appeal, for its faithfulness to life, and for the simplicity and power of its motives. She is ably supported by Bert Delaney and George Harris, between whom the honors of hero are about evenly divided."

SYNOPSIS, Reel Life, October 2, 1915:

"Viola Montrose, in the eyes of Gilbert Laurell, her manager, was a great discovery. She was fascinating, beautiful, with a wonderful stage presence, and Laurell was convinced that soon he should succeed in making her one of the distinguished women of the dramatic profession. But her debut in Camille was disappointing. However, as her manager was very much in love with her, he went to her after the opening performance and asked her to marry him. Viola told him that a few weeks before she had been married secretly to the only son of a wealthy family whose name carried great weight in society. It had seemed to her husband best to await a propitious moment for announcing to his parents their marriage. Viola did not care whether she succeeded on the stage or not. She could think of nothing except the quiet, happy home life in store for her.

"Though Ronald Hartshorn's people consented to receive his wife, Viola found herself intensely miserable in her new surroundings. She shared the home with her husband's father and mother, who could not overcome their resentment that an actress had won the heart of their son. The bride soon came to believe that Ronald himself regretted his step. So she went secretly to her father-in-law and told him that she would go away if he would advance her a large sum of money. Hartshorn, the elder, was only too glad to make such a bargain. Viola told her husband that she had decided to return to the stage, her only hope of happiness, and Ronald was deceived. But his father, happening to see Viola tear up the check, throw away the pieces, and burst into tears, kept his own counsel. Laurell readily was convinced that sorrow had given Viola the depth of emotional expression which her work had previously lacked. For her sake he revived Camille. The critics were astonished by the power she put into the part. At the close of the third act, Laurell went back stage to congratulate his star. He found her weeping. 'Fame is nothing to me,' she sobbed. 'I have lost the love of the one man whom I ever could care for.' The manager knew that the Hartshorns were in the audience. They had come as the guests of a friend, without realizing the attraction they were to see. Laurell sought Ronald Hartshorn. At first, the husband would not believe. But the elder Hartshorn had had his last doubt removed by Viola's Camille. He confessed to the incident of the destroyed check. 'She was only acting, son - for your sake,' he said. Ronald hurried behind scenes to his wife. Laurell found that self-sacrificing love may be rich in compensation."

REVIEW, The Moving Picture World, October 9, 1915:

"A theatrical story in two reels, demonstrating the old theory that a girl must suffer and know life before she can act. The young actress falls down in the part of Camille. She marries a man whose parents do not like her. The experience so deepens her sensibilities that she flees back to the old part and makes a success of it. The story is well enacted by a capable cast and makes a pleasing departure from the average stage offering."

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