Note, this is not necessarily all of the films for this year, just the ones for which I've been able to locate review or have viewing comments. For list of all the films, see the Filmography
Released Jan. 18, 1913. Vitagraph. Director: James Young. Author: James Young from the novel and play by James M. Barrie. Cast: Clar Kimball Young with James Young, Mrs. Kimball, Flora Finch, Herbert L. Barry, Richard Leslie, W.V. Ranous, Charles Eldridge, William Shea, Robert Gaillord, George Ober, J. Tervor, Edward See, Edward M. Kimball, Frank Currier, Hal Wilson, Rosemary Theby, Kate Price. 3 reels.
"The Little Minister"
A Two-Part Vitagraph Feature
Reviewed by Louis Reeves Harrison
THIS photoplay is made delightful from beginning to end by the engaging charm of Miss Clara Kimball Young. Her acting has the winning spontaneity that Miss Lawrence first injected into the picture comedies, and her character revelations bring her swiftly to the front rank of young actresses who have to depend entirely upon visual appeal to express the sentiments and attributes of a role. She has done fine work before in Vitagraph portrayals-the sympathetic intelligence of a woman far above the average in character and training has been visible in minor opportunities-but the part of Lady Babbie seems to let out what is in her. I am sure that Barrie would have found her just what his imagination pictured, or satisfying enough to have replaced his own ideal.
It is not an easy matter for the most appreciative of critics to closely define what is especially pleasing in a personality of an attractive young actress. Youth and beauty count, and Miss Kimball has both. She has expressive eyes and keeps them very busy. She has a smile that is fascinating, and it is as girlish as her joyous movements. She has variety in swift changes from tragic resentment to tender affection, she is distinctly feminine in her moods, and all these combine to attract and hold the eye from the moment she enters a scene until she leaves it, but I am inclined to think that what goes over is what lies deep in herself, undiscovered by theatrical artifice. Sh has an unconscious manner of showing us a true-hearted young woman of brains and broad sympathies.
Miss Young is extremely fortunate in having James Young play opposite her in the title role. I am reasonably sure that he could have drawn more attention to himself-his big chance has yet to come-but he exhibits great delicacy in not obtruding upon the antics of Lady Babbie. His performance is the more creditable for its responsiveness without enforcement of his prominence. He probably follows the stage play rather than Barrie's story in this respect, filling the impersonation without distracting interest from the real centre figure, her characterization being the more important and decidedly the more interesting. "The Little Minister" is a rather simple gentleman thrown into an environment that calls for patient toleration rather than any striking traits, his congregation being made up of dull, stubborn and Puritanical Scotch farmers of a generation that gave forth sturdy blood, but was extremely narrow-minded in its generation. With these two stars lighting the way, the whole company plays well up to the requirements of the piece. William Shea and W.V. Ranous especially distinguishing themselves-even the elders of the church adding powerfully to the only purpose I can see in the story-a humanizing character contrast-and some well-known names will be found among those taking minor parts.
CAST OF CHARACTERS
The Little Minister ............ Mr. James Young
Mrs. Dishard, his mother .......... Mrs. Kimball
Jeanne, their servant ............. Miss Flora Finch
Lord Rintoul ...................... Mr. Herbert L. Barry
Lady Babby, his ward (the Gypsy)... Miss Clara Kimball Young
McKenzie, friend of Rintoul ....... Mr. Richard Leslie
Rob Dow ........................... Mr. W.V. Ranous
Sanders Webster ................... Mr. Charles Eldridge
Captain Halliwell ................. Mr. William Shea
Wearywold, the policeman .......... Mr. Robert Gaillord
Old Sexton ........................ Mr. George Ober
Gypsy King ........................ Mr. J. Trevor
Elders of the Church-Messrs. Edward See, Edward Kimball, Frank Currier and Hal Wilson.
The screen story deals less with The Little Minister than with the Gypsy girl, who falls out of a wagon unnoticed when she is a child and is picked up and subsequently brought up as his ward by Lord Rintoul. The self-constituted guardian falls in love with the girl as she bursts into full bloom of youthful loveliness-she is now called Lady Babbie-while she becomes slowly attracted by her obvious affinity, the good Little Minister. Her sympathetic and democratic character is shown during a strike of the weavers in the dull little town, for it is she who warns them that the soldiers are coming to disperse the mob and arrest the leaders.
The strike of the weavers affords some fine ensembles in the photoplay, as do the sense before the church where the Little Minister holds forth to a pious and attentive, if not a wholly appreciative congregation. In this congregation are some hard-handed and hard-faced old deacons. Perhaps the "brither Scot" of Mr. Barrie is purely local-A Scotch critic complains that his countrymen are not all ministers, elders, precenters and howlers of tuneless hymns-but the types shown in the picture play are not unknown in our own enlightened body. They represent the old religious element that was cruelly vindictive in condemning human frailty, however illogical their attitude in pretending to follow Christ's gentle and merciful teachings.
Whether Barrie depicted what was rather a phase of human nature as a Scottish characteristic is of no moment. He found in these rigid and bigoted old people the materials for a contrast to the Bohemian and unconventional Lady Babbie and set up his marionettes to be bowled over by the sprightly, changeable and altogether delightful girl of Gypsy descent. Barrie conformed to the good old idea that a girl could not exhibit independence of spirit and be at the same time a proper young lady-so much for not living in America. He is compelled to bring the girl and the young clergyman into rather intimate relations, and resorts to the time-worn expedients of making her a Gypsy by natural tendency and involving her and the Little Minister in a Scotch marriage. He works up an emergency were the young clergyman is forced to declare Lady Babbie to be his wife in order to save her from arrest for warning the strikers.
From a modern story-telling point of view this is all very strained. The elders are duly horrified at the reported intimacy between their pastor and the wicked ward of Lord Rintoul-how all good women love to play wicked parts! The Little Minister is in all kinds of trouble when Lady Babbie runs away from the ceremony to be performed between her and the Lord and enters his house to hide, but she braces him up and they have a ceremony performed in a convenient camp of Gypsies. A villain carries off the bride; everybody gets lost in the woods; Lord Rintoul falls over a cliff; Little Minister jumps down a mere hundred feet or so and saves him. A dummy does the falling and jumping, but the cliff and the raging water are real. When the moist Lord comes to his senses in the home of the Little Minister, and the diminutive clergyman comes to his own in the darling person of Lady Babbie, the noble Lord generously gives up his claim and tells her that the Little Minister is more worthy of her than he is. He approves of their union just as the pesky elders come in to make things characteristically and religiously disagreeable. Now the get theirs, for they dare not dispute the iron will of the noble Lord. Their heathenish faces wrinkle in artificial smiles, and all ends well with an "Ault licht Kirk" wedding. When it is all over we feel mighty glad that it was dominated by the gay and buoyant spirit of lovely and charming Lady Babbie.
[Omitted, two half-page pictures of Young, one with a group of people, with the cutline "Scene from the Two-Part Vitagraph Feature, 'The Little Minister.'" And the other of her outdoors carrying something with the cut line "Miss Clara Kimball Yung as Lady Babbie in "The Little Minister" (Vitagraph).]
Released Jan. 18, 1913. Vitagraph. Director: Maurice Costello. Author: J.W. Ross. Cast: Clara Kimball Young with Maurice Costello, Florence Turner, Harry Berry. 1000 ft.. Available on video from Sunrise Silents as an extra on their Devil's Island DVD-R.
"WHAT A CHANGE OF CLOTHES DID" (Vitagraph), Jan. 20.-The author of this picture, J.W. Ross, doesn't deserve much credit. There is nothing new in it that is a tall convincing and some of it is rather ridiculous. Maurice Costello is the producer and plays a rich man who is sought only for his wealth and goes on a fishing trip. A convict knocks him senseless, robs him and leaves him for dead. This escaping convict is made to seem innocent and the rich man marries his sister. Herbert Barry plays the convict and Clara Kimball Young the sister. The photography is fair.
Released Jan. 25, 1913.Vitagraph. Director: James Young. Author: George D. Baker. Cast: Clara Kimball Young with Flora Finch, Julia Swayne Gordon, James Young. 1000 ft. Held by the Nederlands Filmmuseum with Dutch intertitles, and is available online.
"WHEN MARY GREW UP" (Vitagraph), Jan. 28-Don't again say a woman can't hit that at which she aims. Clara Young, playing the tomboy, aims a half loaf of bread at the head of Flora Finch-and hits the mark. There is not a dull moment in this fine comedy. Mrs. Gordon, as the straight-laced aunt in her prim attire and great eyeglasses, is at her best. Miss Finch, as an extremely proper maid, is as funny as ever. Miss Young? She is improving steadily. There is no longer any ground for belief that she is indifferent or lacks enthusiasm. The finish is a sure laugh-maker.
Viewing comments: A delightful look at a different side of Clara Kimball Young, so different than her later films. She plays a high-spirited girl who is rather bratty, who escapes from her second-floor room dressed as a boy. She has her hair down during most of the film, giving us a nice look at her long hair. She also plays the piano. Print viewed: (online video at Thought Equity)
Released February 1, 1913. Vitagraph. Director: Frederick A. Thomson. Author: Van Dyke Brooke. Cast: John Bunny, Flora Finch, Florence Turner, Lillian Walker, Clara Kimball Young, Norma Talmadge, Anita Stewart?. 1000 ft. Held by the Nederlands Filmmuseum (film and videocassette viewing copy, 35 mm, Dutch intertitles) and is available online.
"STENOGRAPHER TROUBLES" (Vitagraph). Feb. 6.-One of the funniest Bunny pictures that has come out. The very best Vitagraph players have good roles, and it made a houseful roar with laughter. Flora Finch, as the stenographer who is acceptable to the boss, John Bunny, because he thinks there will be no danger of her flirting instead of working, draws a most astonishingly farcical character. When Florence Turner, Bunny's rather fiery wife, got in a rage on account of her the house bellowed. It most surely is a picture not to be missed. It is full of good character and full of laughter from beginning to end. Such a picture will repay special advertising.
John Bunny is the boss in an office filled with randy men. His stenographers are pretty flirtatous as well, and he fires three of them (Lillian Walker, the third, is particularly funny as the insolent, candy gobbling typist). He puts a help-wanted ad in the paper and a bunch of women gather in the office. Norma Talmadge, wearing wire glasses, no makeup, and a hangdog expression, sits near the door and coughs. Clara Kimball Young boldly strides in, surveys the applicants and laughs at them, then rousts Norma out of her chair and sits down. Bunny comes in and rejects them one after another (much to Clara's annoyance after she has tried flirting with him). He finally picks Flora Finch, and the other men in the office don't bother her. But she's able to work her wiles on the Boss himself! She hasn't counted, though, on his angry wife. This film is quite funny and appears to be in good condition. Print viewed: (online video at Thought Equity)
Released February 15, 1913. Vitagraph. Director: James Young. Author: Eugene Mullin from a novel by Booth Tarkington. Cast: CKY with E.R. Phillips, James Morrison, Charles Chapman, Etienne Girardot, Rex Ingram. Held by the National Film and Television Archive, London (unconfirmed).
"Beau Brummel" (Vitagraph).
Reviewed by Louis Reeves Harrison.
IT is because photodramas are presented before millions of people that I think the producer should defer to this vast audience by using infinite pains in the details of a composition; in other words, possess and exhibit a sense of responsibility to the whole people. His medium has become a great expression of life as it was, or as it is, or as it should be according to the ideals of earnest and serious contemporaneous thought. Any man who is so little afraid of criticism that he courts it, who tests and retests his work until it rings true to himself, will have the secret happiness of one who has created well and the satisfaction of intelligent recognition among those who know a good thing when they see it. Thus far can he go-the opinion of the vast audience is more of less a mystery to all of us-but that is better far than writing down to a supposed ignorance among the masses. In this country, you who are reading and I who am writing belong to the masses, are glad of it and resent the idea that any old thing is the line of photospasm will do for us.
The audience is little concerned with what might be called the "mechanics," the wires and wheels and cogs and springs of a photoplay, but as these make up the coherent whole it is in the critic's province to give them especial attention, so I watched "Beau Brummel" for the use of broken-down devices to put a play over because I am long accustomed to see them, but I was agreeably surprised. The director who kept its scene plot clearly before him, who utilized exquisite taste in such effects of environment as furniture properties and costumes, who never slacked in his efforts to make the member of his company express the characters through themselves, has given us something to enjoy and think about in the entertainment he has furnished, and has done this by a high quality of production rarely presented on the screen.
"Beau Brummel" as a drama whose interest centers entirely upon the leading role, would fall into commonplace if not entirely fail without intelligent comprehension and interpretation of the principal character. This was assigned to James Young, a talented actor of interesting personality, who has been associated in his varied experience with Sir Henry Irving, Mrs. Fisk, and Viola Allen, but whose marvelous knowledge of make-up seems even a greater asset, so completely does it submerge his own identity in that of the impersonation.
Mr. Young has done more than correctly portray the character in lead, he has made one which reaches out and enlists our sympathies, although it is that of an effeminate fop, an idler who lived exclusively on what he could win without effort and who did not disdain to let friends show devotion in vain. Ridiculous as his pretentions are, they are so contrasted with those of eminent gentlemen of his times, even those of royal birth and privilege, that we like his nerve and feel sorry for him when he breaks down in adversity. The others' parts are admirably assumed, especially those of Helen Balleret and Isadore. The cast is as follows:
Beau Brummel .......... James Young
Lord Balleret ............ William Phillips
Helen Baleret ............ Clara Kimball Young
The Duchess ............. Julia Swayne Gordon
Lord ALvanley ............ James Morrison
Prince of Wales .......... Charles Chapmay
Isadore, Brummel's valet . Etienne Girardot
The story so largely depends upon characterization and the visual appeal of the dozen beautiful scenes that it is not an easy one to tell in this form. It revolves around the love of Helen Balleret for Beau Brummel and its unhappy issue resulting from the latter's insult to the Prince of Wales. Helen's love is first discovered by the Duchess of Devonshire through a miniature worn by the girl-it is that of the famous Beau. The introductory scenes move slowly, but clearly impress the characters and it is seen that all of them are moving on an even social relation.
The character of Brummel is intensified in the third act, where he is discovered at a dressing-table laden with perfumes and cosmetics, the languid recipient of attentions rom his servant. Wales and Balleret are among the friends who call upon the famous Beau and exhibit interest in the rather feminine details of his toilet, the Prince of Wales expressing particular delight with the snuff Brummel uses, and the inanity of all three is profoundly impressed upon whose who watch the picture. They are about as idle and senseless as a bunch of bridge whist players, though their idiotic pursuits are more wholesome. There is a beautiful ensemble in Scene IV, that of Lady Devonshire's ball. Helen is in the foreground when Brummel is announced and betrays her love for him through her agitation. The girl seems dazed when he speaks to her-she is deeply infatuated, but becomes radiant when he succeeds I leading her away from the throng to a picturesque spot in the garden. There he presses his suit openly and is accepted not only by the girl but by Balleret when the latter appears with the Duchess.
We are well introduced to the principal characters and the happy relation between the lovers is established when the first incident of importance occurs at a smart club of the period. Brummel is discovered gambling wit hWales, Balleret and others, and winning heavily. Brummel pulls the bell rope and orders drinks for his friends and they are served, but Wales is troubled over his losses. He rises angrily and denounces Brummel as a sharper, stating that he will not play with him again. When Brummel good-naturedly offers his snuff-box the Prince knocks it from his hand. Brummel conducts himself with more dignity than the future heir of the throne of England. He asks Wales to ring the bell. This constitutes a dreadful insult in the country of snobs, but I fear its effect upon an American audience will be wholly lost. For the purpose of the play it makes Brummel a social outcast and gives rise to a series of incidents which lead to his downfall. First of these is Balleret's decision that Helen shall not again speak to Brummel until he has apologized to the Prince for his insult. Helen implores the Duchess to take a note to Brummel in which she explains the grave situation. The Duchess goes to Brummel's own rooms and not only delivers the note but pleads with h8im in Helen's behalf. In spite of all these influences, Brummel refuses to tender his excuse, and disaster follows in the insistent demands of his creditors. The faithful valet of Brummel is at his wits' end to shield his master from contact with the money lenders, and we are soon treated to a spectacle of royal revenge. Bas as it is to have the collectors call for unpaid bills, a worse scene occurs before the exterior of a haberdasher's. There is a sign over the door and window of the shop which announces that the keepers of it are "Purveyors to His Royal Highness, the Prince of Wales, and to Beau Brummel." When Wales appears in person and when the owner learns how peeved he is with Brummel, a ladder is put up to the sign and a painter daubs out Brummel's name. This terrible revenge causes Wales a burst of immoderate delight, but when Brummel is seen he does not turn a hair. He merely asks the companion of Wales, "Who is your fat friend?"
Brummel now begins to slide down the social scale, but keeps his nerve till the last, staking all that he has on one turn of the cards. When he loses he is cast into the debtor's prison, but his courage is unbroken and he is as much of a beau as ever. He is seemingly insensible to the terrors of his situation.
Helen is horrified to learn of his imprisonment and manages to send money through his valet to effect his release.
[Omitted, two half-page photos of James Young and others, the second with the cut line:Scene from "Beau Brummel," a Vitagraph Subject.]
"BEAU BRUMMEL" (Vitagraph), Feb. 19.-The delightfully engaging portrait of Beau Brummel given to us by James Young in this picture will warm the hearts of every discerning spectator. This is much, but there is little else in the picture and we dare not commend it as an offering to the gallery; because there is little suspense and it tells no clear story. Even the acting of the supporting cast serves solely as a frame to the central figure. Julia Swayne Gordon as the duchess and Clara K. Young as Helen will stand out more than the others.
February 22, 1913. Vitagraph. Director and Scenario: James Young. Cast: Clara Kimball Young with James Young, Charles Kent, Tefft Johnson. 1,000 ft. Young is the daughter of Napeoleonic veteran Charles Kent. Released Held by the Library of Congress (16 mm.) and The National Film and Television Archive, London (unconfirmed). Available online at Cinema in Quebec in Silent Era
"THE OLD GUARD"(Vitagraph), Feb. 28.-A dignified picture of an old veteran's last days; it is embellished by the love story of his daughter. James Young is both author and producer and deserves credit for the style of his production rather than for the originality of it. It is very well acted, with Charles Kent in the leading role, as the "old guard" Clara K. Young plays his daughter; James Young, the captain who falls in love with her; Tefft Johnson, the major, and Mr. Benly, Napoleon in the old man's dreams. The backgrounds are thoroughly French, and were probably taken in Quebec. They have been photographed beautifully.
Released Mar. 8, 1913. Vitagraph. Cast: Clara Kimball Young with Maurice Costello, Kate Price. 1000 ft.
"THE WAY OUT" (Vitagraph). March 11.-Kate Price, as the woman who takes a man and woman to board, gives a couple of bits of fine comedy. Mr. Costello and Miss Young are the boarders.
Released Mar. 13, 1913.Vitagraph. Director and Scenario: James Young. Cast: Clara Kimball Young with Tefft Johnson, Charles Kent, James Young.. Held by the National Film and Television Archive, London (unconfirmed). Available onine at Cinema in Quebec in Silent Era
"PUT YOURSELF IN THEIR PLACE" (Vitagraph), March 10.-A love story with an elopement, produced in comedy vein and a pleasing offering. The backgrounds seem to be near Quebec, and the story is well acted by Tefft Johnson, Charles Kent, Clara Young and James Young, who is both author and producer.
Released April 12, 1913. Vitagraph. Director: W.V. Ranous. Scenario: W.A. Tremayne. Cast: Clara Kimball Young with Maurice Costello, James Young, W.V. Ranous. 1,000 ft.Held by UCLA film and Television Archives (ca. 1000 ft., re-created main and end titles, nitrate and 35 mm. safety prsv dupe pic neg)
"MR. MINTERN'S MISADVENTURES" (Vitagraph), April 14.-A pleasing picture, taken on shipboard by Maurice Costello and W. Ranous. It is a slight love story and borders on the melodramatic only to keep it interesting. Its chief charm comes from the players who are restrained and natural. The man is M. Costello; the girl, Clara K. Young. James Young plays a detective who nearly makes trouble, thinking that Costello is the man he "wants," but who turns out to be a good angel in disguise. The photography is clear enough to give the story.
Released April 19, 1913. Vitagraph. Cast: Clara Kimball Young with Maurice Costello, James Young, W.V. Ranous, Kate Price, George Maurice. 1,000 ft.
"THE MYSTERY OF THE STOLEN JEWELS" (Vitagraph). April 22.-A picture taken mostly in mid ocean. Plainly a studio was rigged; interiors are shown as clearly as if the scenes were taken in Flatbush. Two of the officers of the ship are in the cast. It is another of the Lambert Chase series, in which Maurice Costello plays the detective. The picture will interest.
Released June 14, 1913. Vitagraph. Director: James Young. Scenario: L Rogers Lytton Cast: CKY with Maurice Costello, James Young, L. Rogers Lytton. 650 ft. Held by the Nederlands Filmmuseum (preserved) and available online from Thought Equity
"THE DELAYED PROPOSAL" (Vitagraph), June 20.-An entertaining and amusing study in seasickness. Maurice Costello and Clara Kimball Young appear as the young couple in love on board the big boat. James Young appears as Count Brainless, who is for a time Jack's rival. On same reel with above [i.e. Yokahama Fire Department]
Cute film in which Clara Kimball Young and Maurice Costello try to have time together on a ship but keep getting interrupted by her annoying mother and an annoying suitor (J. Rogers Lytton) and an old seasick man. When they finally get together Costello gets seasick too. Both are very animated and funny. Simple but effective.
Released June 21, 1913. Vitagraph. Director & Scenario: James Young. Camera: Harry Keepers. Cast: Clara Kimball Young with W.V. Ranous. 1,000 ft.
"JACK'S CHRYSANTHEMUM" (Vitagraph), June 25. A slight drama that will interest by reason of its Japanese backgrounds. Miss Young as the Japanese maiden is good; so also is W.V. Ranous as the American on a visit to his son in Japan. Spirit of the Orient
Released July 5, 1913. Vitagraph. Director: Maurice Costello. Camera: Harry Keepers. Cast: Clara Kimball Young with Maurice Costello, Mae Costello. 1,000 ft.
"THE SPIRIT OF THE ORIENT" (Vitagraph), July 11. Love story of a white man and an Oriental woman with a touch of Robert Hitchens' "Belladona" [sic] in the way it is developed. Egypt furnishes the backgrounds and the players are Maurice Costello and Clara Kimball Young in the leading romantic roles, supported by others of the Vitagraph travelers. It is an interesting picture, clearly photographed and makes a very fair offering; yet it cannot be called impressive.
Released July 12, 1913. Vitagraph. Director: Maurice Costello. Author: Eugene Mullin. Cast: Clara Kimball Young with Maurice Costello, James Young, William V. Ranous. 1,000 ft.
"THE TAMING OF BETTY" (Vitagraph), July 19.-It is asking a good deal of a producer to require him to visit a new country, so different from ours as China, and put out in the new backgrounds a melodrama that will be convincing and human. This offering has plenty of novelty; but, as a story, it isn't effective. Betty (Clara Kimball Young), asked to marry the son of her mother's old friend (William V. Ranous) goes out into the Chinese city, where her mother is living, to help her missionary friend. Her brother (James Young) to cure her, makes up, very well indeed, as a Chink and scares her. She does not recognize him; is frightened; is rescued by the young man (Maurice Costello) whom her mother wants her to marry and we have a happy ending. The photography is clear. The author is Eugene Mullin and the producer Maurice Costello.
Released Aug. 2, 1913. Vitagraph. Director: Maurice Costello. Author: W.A. Tremayne. Cast: Clara Kimball Young with Maurice Costello, James Young, William V. Ranous. 1,000 ft.
"A FAITHFUL SERVANT" (Vitagraph). August 5. This picture is one of those done by the Vitagraph Globe Trotters. The scenes were taken in Venice. Pietro, a police spy (James Young) desires to marry Nina (Clara Kimball Young) daughter of Beppo, a cobbler (Wm. V. Ranous). Nina loves Count Guilio (Maurice Costello), her father's landlord, and her love is returned. Pietro, under false colors of friendship, get the Count to take him to a secret meeting of socialists. The count makes an incendiary speech and Pietro reports him to the police, and Guilio is ordered banished, but hides away. Pietro then demands Nina's hand from Beppo and when the old man refuses he has him put in prison for refusing to reveal Guilio's whereabouts. Nina makes a living selling flowers for three years, after which time there is a change of administration and the fugitive and prisoner are pardoned. The story is well told, considering the difficulties of making such a picture in a foreign country. There are several mob scenes, acted by Italians, that are well handled, as well as some bits between native characters sand principals. The results of the scenes are remarkably smooth when one realizes that two languages were used in most of them. As a picture it is well able to hold its own in a program of others taken under more favorable circumstances.
Released Aug. 16, 1913. Vitagraph. Director: Maurice Costello. Scenario: James Young. Cast: Clara Kimball Young with Maurice Costello, William V. Ranous. 1,000 ft.
"A MAID OF MANDALAY" (Vitagraph). August 21. Illustrating Kipling's Mandalay song, this pictures needs the music to give it life. We saw it accompanied by the usual drumming on the piano and it fell very flat; but it has this quality that it does illustrate the words and sentiment of the song, and the two together should go very well. It was taken by the Vitagraph travelers in Mandalay; was written by James Young, and produced by Maurice Costello, who also plays the role of the British soldier. Clara Kimball Young is not very effective as the Burma girl who prays to the idol, but is more so than W.V. Ranous as her father. The backgrounds are often full of interest. It is clearly photographed.
Released September 6, 1913. Vitagraph. Director: Maurice Costello. Author: William A. Tremayne. Camera: Harry Keepers. Cast: Clara Kimball Young with Maurice Costello, William V. Ranous. Held by the Nederlands Filmmuseum with Dutch intertitles.
"THE LONELY PRINCESS" (Vitagraph), September 4. A picture full of artistic views taken in Venice. The simply story goes very well in this setting and may be said to belong with "Marjory Daw" in the artistic school of American magazine stories. There is no punch to it; it is rather wise, humorous and calmly pleasing. In such a film, photography is of primary importance and has been well managed-many of the scenes are lovely and all romantic and in good atmosphere. W.A. Tremayne is the author and Maurice Costello the producer. With Clara Kimball Young he plays the leading role. W.V. Ranous, as the Italian prince, father of the girl, does some perfect character work.
Viewing comments: Apparently one of the films from the Vitagraph players around-the-world tour. Some lovely shots of the actors in Venice, indeed, it's more impressive than the slight story. Both Costello and Young give sympathetic and engaging performances, though Costello smokes an awful lot. The dream sequence begins and ends with direct cuts rather than dissolves in the classical manner. Tinted print, Dutch intertitles. Print viewed: (online video at Thought Equity)
Released September 13, 1913. Vitagraph. Director: Maurice Costello. Author: Eugene Mullin. Cast: Clara Kimball Young with Maurice Costello, Helene Costello, Dolores Costello, James Young.
"THE HINDOO CHARM" (Vitagraph), September 17.-A picture taken in the Orient by the travelers. It is likely to be popular, for ther is much good in it-the situation is fresh and has a punch. Maurice Costello plays an English official in India who, to get a mother for his two little girls, marries again (Clara Kimball Young plays the new wife). The Stepmother neglects the children. She had awakened the resentment of a fakir, played perfectly by James Young, and this "devil priest" makes gruesome use of the children's longing for the love of their new mother-he tells the youngest of them to put some liquid he gives her into tea to make her love them and it is done. The children keep the picture from being wholly convincing, and Mr. Costello, in running, after the catastrophe skips as though he were glad, but this is not logical. It is well staged. Eugene Mullen is the author and Maurice Costello produced it.
Released September 13, 1913. Vitagraph. Director: George D. Baker. Author: Allen Johnston. Cast: Hughie Mack, Flora Finch, John Bunny, Clara Kimball Young.
"JOHN TOBIN'S SWEETHEART" (Vitagraph), September 19. -A very pleasing character comedy, with Hughey Mack, Flora Finch and John Bunny in the leading roles. Hughey is a sailor, in love with Flora. He is cast up on an island, captured by the natives and forced to marry the princess. The scenes on this tropical island were especially good, though rather wanting in action. Flora waits ten years for her lover, and then marries Bunny, mistaking him for Hughey. The photography is excellent and as a comedy this is successful.
Released September 20, 1913. Vitagraph. Director: Maurice Costello. Author: Beta Breuil. Cast: Clara Kimball Young with Norma Talmadge, Maurice Costello, William V. Ranous.
"EXTREMITIES" (Vitagraph), September 23.-This picture of which only the hands or the feet of the players appear in the scenes, suggests a better one by the Edison Company, which used the same idea and was called "A Comedy of Understanding." The idea has not been overplayed and many will think it a clever offering.
Released October 4, 1913. Vitagraph. Director: Harry Lambart. Author: John Kemble. Cast: CKY with Harry Northrup, Herbert L. Barry. 1,000 ft.
"THE TEST" (Vitagraph), October 11.-A very strong two-reel offering, written by John Kemble and directed gy Captain Harry Lambart. Clara Kimball Young gives a compelling representation of the neglected wife, who remains true to her husband in spite of the insidious advances of Gordon, a fellow officer. The South African scenes were splendidly produced, particularly the military ball, the barracks and the plague camp. Harry Northrup plays the husband and Herbert L Barry the false friend. A memorable production, well acted and finely photographed.
Released Oct. 11, 1913. Vitagraph. Director: George D. Baker. Adapted from a story by James Oliver Curwood. Cast: Clara Kimball Young with John Bunny, Robert Gaillord. 2,000 ft.
"THE PIRATES" (Vitagraph), Oct. 18.-A highly diverting two-reel subject by James Oliver Curwood. This starts out as a mystery, and the mystery is maintained till the last, but it is relieved by much pleasing comedy. The scenes in the second reel, where the prisoners take a dip in the ocean, were very funny. John Bunny, Clara Kimball Young and Robert Gaillord play the leading roles. The mysterious prisoners turn out to be the board of directors of the "Eat-um" Biscuit Company in search of free advertising, which they get. Very enjoyable.
Released Oct. 18, 1913. Vitagraph. Director: Maurice Costello. Scenario: Hazel Neason. Cast: Clara Kimball Young with Maurice Costello. 1,000 ft.
"ON THEIR WEDDING EVE" (Vitagraph), Ocober 24.-Rather slight basis to carry nearly a full reel. There is little in this picture to establish interest. The story of a man and woman who quarrel on their wedding eve. The man goes east and the woman west They are shown in different corners of the world. They collide in Bombay, and their differences are forgotten. "Feeding the Animals" is also on the same reel.
Released Nov. 8, 1913. Vitagraph. Director: James Young. Scenario: L. Rogers Lytton from the play by V.D. Brown & H. Lidell. Cast: Clara Kimball Young with Sidney Drew, Kate Price, L. Rogers Lytton. 2,000 ft. Held by the Nederlands Filmmuseum with Dutch intertitles
"JERRY'S MOTHER IN LAW" (Vitagraph), November 14.-a two-reel comedy dealing with the family of a young married man, which is invaded by the wife's aggressive mother. Kate Price proves very effective in this part and proceeds to stir up trouble for the newlyweds, portrayed by Sydney Drew and Clara Kimball Young. The situations are farcical and keep the audience in constant good humor. All of the scenes were good; The French ball, in the museum, at the club, the shower bath, shopping, etc. Married folks will particularly enjoy this.
Viewing comments: This comedy really belongs to Sidney Drew, ably supported by Young and Kate Price. Happily married couple Drew and Young are dismayed when her annoying mother comes to visit. Drew goes to great lengths to avoid her, and eventually hits on a plan to scare her away. Young mostly reacts, though she does have a gag with Drew when they get stuck in a chair. A slight but amusing film, with rather more slapstick than one ordinarily associates with Drew. Print viewed: (online video at Thought Equity)
Released Nov. 22, 1913. Vitagraph. Director: Eugene Mullin and Maurice Costello. Scenario: Eliza G. Harral. Cast: Clara Kimball Young with Maurice Costello, Dolores Costello, Helene Costello.
"FELLOW VOYAGERS" (Vitagraph), November 26. A clever bit of polite comedy taken on a Pacific Ocean steamer and giving us a little sketch of characters and a pretty deck flirtation. There is laughter in it and it is a picture that will be liked. The script was written by Eliza G. Harral, the director was Maurice Costello, and it was "picturized" by Eugene Mullin.
Released November 22, 1913. Vitagraph. Director: Frederick A. Thompson. Author: James Oliver Curwood. Cast: CKY with Darwin Karr, Josie Sadler, Etienne Girardot. 1,000 ft..
"BETTY IN THE LIONS' DEN" (Vitagraph), November 28.-A lively comedy, written by James Oliver Curwood, somewhat farcical in type toward the last. Clara Kimball Young, a pretty country girl, goes to the city and has a lot of fun with her aunt's celebrated guests. The scene in which she rubs Brazilian nettles on everyone is very funny. Darwin Karr and Josie Sadler also appear. A pleasing number.
Released Nov. 29, 1913. Vitagraph. Director: Harry Lambert. Scenario: Louise Boudet. Cast: Clara Kimball Young, Sidney Drew, Harry T. Morey. 1,000 ft. Held by the Nederlands Filmmuseum and available online.
This one is a bit difficult to follow with the Dutch titles. Young and Sidney Drew play a married couple, i think she asks him why he isn't jealous. So he apparently persuades a friend to hang around his wife so he can pretend to fly into a murderous rage and frighten her. In this day and age this isn't really very funny, though Young and Drew perform well. Harry T. Morey, as the friend, doesn't really have a comedy face. Print viewed: (online video at Thought Equity)
Released Nov. 29, 1913. Vitagraph. Director: L. Rogers Lytton and James Young. Scenario: Sydney Drew. Cast: Clara Kimball Young with Sydney Drew, James Young, Ethel Lloyd, Templar Saxe, L. Rogers Lytton. Excellent (though incomplete) Sidney Drew comedy in which Clara and James Young are lured away from each other by adventurers seeking to marry money. . 2,000 ft. Reel one (of two) held by the Library of Congress (35 mm.)
"BEAUTY UNADORNED" (Vitagraph), December 6.-This is a genuinely entertaining two-reel comedy, written by Sidney Drew, who also plays the leading part. Clara Kimball Young, Ethel Lloyd and James Young also have good parts. The successful manner in which the older couple show up the bogus prima donna and her scheming partner pleases the audience immensely. The comedy is broad In place, but entirely acceptable. The fake shipwreck in the second reel was extremely amusing.
Released Dec. 6, 1913. Vitagraph. Director: Frederick Thompson. Author: Mrs. Owen Bronson. Cast: Clara Kimball Young, Earle Williams, Darwin Karr, Bobby Connelley. 2000 ft.
"LOVE'S SUNSET" (Vitagraph), December 13.-A tragic story, finely presented, the scenario being the product of Mrs. Owen Bronson. It tells the story of a cabaret girl who is cast off by one man and marries another without revealing the secret of her past life. Later the first man reappears and some strongly emotional scenes result. Earle Williams, Darwin Karr and Clara Kimball Young have the leads a and their work is very convincing. Miss Young in particular adds to her laurels in this two-reel number. Little Bobby Connelly proved a very pleasing child actor. A strong production.
Two-Reel Vitagraph Feature.
Reviewed by Louis Reeves Harrison.
ONE of the finest Vitagraph "Life Portrayals" shown in a long time. The sum of its merits and the fact that it is beautifully rounded out without a foot of padding gives this photodrama very high ranks. The motive, that of a vexed social problem-by motive I mean the prevailing idea-is given powerful expression. That women are really the great and heroic lovers is just beginning to dawn on the average man's comprehension. That the depth and strength of woman's love nature is her greatest weakness, has long been known by those who have abused and ill-treated her, but with the broader generosity of enlightenment, men are becoming more tender, they are actually beginning to realize that the errors of inexperience may operate for good just as well in one sex as in the other. "Love's Sunset" puts the situation so strongly that the play is bound to become a civilizing factor.
[Omitted, photo of Young, apparently struggling with a painter, with the cut line: Scene from "Love's Sunset" (Vitagraph).]
The play itself and the able way in which its course is directed are largely the results of Clara Kimball Young's refined interpretation of the leading part. That refinement might seem to be almost a fault at times, especially in the earlier scenes, when she impersonates a cabaret dancer-her mind is so obviously free from what is coarse or debasing-but it is the young girl's essence of purity that completely wins sympathy for her. She is as much a creature of circumstances as most of us are-we only acclaim full responsibility for our acts when accidents of birth and surroundings have placed us upon one or another pinnacle of success. We then become self-appointed examples for others.
All the sweetness in human nature is stirred when this girl, having been deserted by the man who should have protected the flower he plucked, marries and passes over the line that makes womanhood sacred for all time, motherhood. She is in the midst of her struggle when she attracts and weds a man of high ideals, an artist who loves her well but with the exactions of primitive husbands. She and her child bring perfect joy into his somber existence-they round out and complete it-she is a devoted mother and fond wife, but your old-fashioned gentleman never knew when he was well off. He was merely happy in his supreme egotism.
Now your old-fashioned gentleman regarded his wife as his possession. Praise her, you flatter his good taste. The artist is so enchanted with the selection he has made that he paints a masterpiece of mother and child at play in the garden. Enter "The Other Man." He means well, but his conduct is that of a rank outsider, for he stumbles into a betrayal that wrecks the lives of father, mother and child. The infuriated artist, mad with self-righteous rage, turns his wife into the street, and she loses her mental balance when deprived of her child. No nobler mother, no sweeter wife than she, yet the keenest agony a woman's mind can suffer is inflicted upon her because she has tried to be all God intended her to be. The lesson involved is one of today and one that will not be soon forgotten, so strongly is it put in this exquisite photodrama. Given a story of such intense sympathetic motive, well framed, admirably directed, with such a cast as Clara Kimball Young, Earle Williams, Darwin Karr and a delightful baby boy, the only possible result is unqualified success.
Released Dec. 13, 1913. Vitagraph. Director & Scenario, James Young. Cast: CKY with James Young, Etienne Girardot.
"UP IN A BALLOON" (Vitagraph), December 16.-Two of the Vitagraph people really go up in a balloon. In the picture's story, it makes a novel way to get away from Ma and Pa, who don't want the young man for son-in-law. James Young, who wrote the script and produced it, has bettered the incident with some fresh fun and it makes a very fair offering. The photographs are rather poor in several of the scenes.
Last revised, January 23, 2012