Volume I: Narrative History

Chapter 9: 1916 February Films

Thanhouserites posed in Florida on February 15, 1916 for a presumably gag picture to impress those back in New Rochelle.

Courtesy of the American Museum of the Moving Image/Lawrence Williams Collection (M-14-X)

One-reel Falstaff comedies, released each Tuesday and Thursday, commenced with A Clever Collie's Comeback on February 1st. In a film similar to the old Shep movies Lady played the part of the Thanhouser Collie. "The number will perhaps have special appeal to children," The Moving Picture World commented. Subsequent Falstaff comedies for the month of February 1916 included Harry's Happy Honeymoon, Booming the Boxing Business, Snow Storm and Sunshine, Perkins' Peace Party, Ruth's Remarkable Reception, and Rustie Reggie's Record. Few reviewers noticed the films.

The Knotted Cord, a three-reel mystery released on February 2nd, was the work of William Parke, who was to direct numerous Thanhouser films during the coming year. The Spirit of the Game, issued on the 9th, was directed by Frederick Sullivan, a Thanhouser mainstay. Included were scenes of a Columbia University football game. Around this time, A.H. Moses, Jr., head cameraman at the Jacksonville studio, signed a contract with Levy's, a local clothier, to make several films of models wearing fashions newly arrived from New York. The pictures were to be shown at the Arcade Theatre, and in connection with the screening Louise Emerald Bates, Thanhouser actress, would be on stage modeling the same items pictured. Outwitted, a Than-O-Play release of February 16th, was directed by Howard M. Mitchell. Lady, the Thanhouser Collie, had a key role.

Of all Thanhouser films released during the first half of 1916, none received greater promotion and publicity than Silas Marner. Note Taking the title role was Frederick Warde, a well-known Shakespearean actor whose signing with the studio was seemingly one of the great highlights of Edwin Thanhouser's life. Innumerable press releases lauded Warde's versatility and the coup the studio engineered when it signed him. The film itself was among the greatest ever produced, if one believed what appeared in print. Joining Warde were many other players, including Louise Emerald Bates and Valkyrien (Baroness DeWitz). Released in seven reels it was the longest Thanhouser film yet.

Reviewers gave varied opinions of Edwin Thanhouser magnum opus. Exhibitors Herald dared to suggest that Warde's acting was just fair:

As a whole: human drama; Story: familiar classic; Star: fair; Photography: good; Settings: picturesque; Support: good; Length: seven reels; Box office possibilities: good.

The Thanhouser Company is entitled to a debt of gratitude for filming this story from the pen of one of the most notable English novelists - George Eliot. The story of Silas Marner has held the interest and delighted millions, and this fact alone should insure a wide popularity for the pictorialized version. It would be a difficult task indeed to film for the entire satisfaction of all a story as familiar as that of Silas Marner, but the Thanhouser Company, with a very commendable attention to detail and atmosphere, has done much toward issuing a production that will please many.

This story is one of such strength and depth that it would seem that seven reels at least are necessary for the pictorializing of it, but the production emphasizes the fact that it is an exceedingly strong story that can be worked up into seven interest-sustaining reels of film. The story is one of wide appeal, and the character of Silas is one long to be remembered. In arranging the story for screen purposes Philip Lonergan has seen to it that the continuity is not lost, and, considering the length, he has managed to keep a good amount of suspense until the very end. Above all he has retained a pleasurable number of human incidents. Perhaps the best moment in the picture is when Silas finds Eppie, the baby daughter of the barmaid and Squire Cass's son, on his hearth. The child has crept into his house out of the snow, and the half-crazy old man believes that the shining hair of the little girl is his stolen gold returned to him. Many delightful scenes between Silas and Eppie follow, which have been handled with delicate humor. It would be unnecessary here to repeat the story.

A feature of the production is the quaint and beautiful settings. Low cottages, ivy-covered houses and picturesque inns give the picture an English atmosphere that is delightful. The interiors are complete in their furnishings, great care being used in the matter of details of the settings. The supporting cast meet the requirements of their roles, Thomas H. Curran and Hector Dion being excellent as the two sons of the squire. Ethel Jewett is attractive as Nancy, and Mlle. Valkyrien played Molly with distinction.

While Exhibitors Herald found Warde's acting just fair and felt that the seven-reel length was ideal, Variety liked Warde's performance but thought it would have been better to have shortened the picture:

This Thanhouser seven reel Mutual Masterpicture is based on the novel of the same name by the late George Eliot. The picture stars Frederick Warde in the title role. Closely following the novel the picturization of Silas Marner furnishes seven reels of interesting film, although it can be readily seen that it would have been more advantageous for the Mutual to have turned the picture out in five reels in order that it would fit more easily into the average picture house program. In its present shape it is far too long for most of them. The story of the old miser who loses his gold and adopts a little girl, finding in her the comfort which he did not have with his money, is told in a way that should make it as interesting in this form as in the book. The cast headed by Warde fits the bill with the star an impressive Marner. The production suffices.

The Reunion, a three-reel Than-O-Play released on February 23rd, was followed on the 24th by The Oval Diamond, a five-reel Mutual Masterpicture, DeLuxe Edition filmed in Atlanta and Jacksonville. An article in The Moving Picture World, February 26, 1916, had the appearance of a review but was based upon studio-generated publicity:

The Oval Diamond has a reminiscent flavor, but it is highly entertaining, now and then a good laugh, always extrication from difficulty, a comedy of ingenuity. The idea of enormous wealth so concentrated that it can be easily lost or hidden has often attracted storytellers, but it has rarely furnished a swifter line of action than that followed in The Oval Diamond.

The play opens well, a touch of mystery stimulating expectation, and it is so admirably constructed by the author that there is no lapse of interest once it is underway. There is a hero of marvelous agility and limitless resource - nothing can daunt him - and a plucky little heroine who bravely seconds his efforts, respectively impersonated by Harris Gordon and Barbara Gilroy.

The oval diamond really belongs to the girl's deceased father, but it has fallen into the hands of her uncle and his son, and at the time the enterprising hero gets into the game through a spirit of adventure there is a villainous gang of four desperate miners plotting to get possession of the valuable gem by reckless exhibitions of cunning and force. The struggle between plotting miners and the scheming relatives of the heroine is given an entirely new and amusing turn by the advent of the hero, a mystifying and dangerous factor in a conflict between two groups of villainous characters, a match for them all in the end. A highly amusing story of cleverness opposed to brute cunning and force.