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The Short Films of Alice Joyce, 1913 : Reviews

The Flag of Freedom
The Nurse at Mulberry Bend
The Cub Reporter's Temptation
The Senator's Dishonor
In The Power of Blacklegs
The Exposure of the Land Swindlers
The $20,000 Corot
The American Princess
In the Grip of a Charlatan
A Streak of Yellow
The Sneak
The Heart of an Actress
The Adventure of an Heiress
The Artist's Sacrifice
When Fate Decrees (with picture)
The Pawnbroker's Daughter
The Attorney for the Defense
The Cloak of Guilt
A Victim of Deceit
A Thief in the Night
A Bolt from the Sky
For Her Sister's Sake
The Christian
A Midnight Message
The Riddle of the Tin Soldier
Our New Minister
The Hunchback
An Unseen Terror

The Flag of Freedom

AJ as Betsy Ross; with Hazel Neason

Review from The New York Dramatic Mirror, January 8, 1913

The Flag of Freedom (Kalem, Jan. 4).--Founded on an incident in the Revolutionary days, the picture takes its interest primarily from the quaint costuming, the gallant ways of the people displayed in the acting, and the delightfully picturesque atmosphere that have been combined in the picture as a whole. With a bit more care in the directing and staging, some of the situations might have been made more intense and dramatic. Hazel Neason essays the principal role, that of Faith Trumbull, who is in love with a Continental officer, Captain Strong. Her father objects to the match, being a Tory. He desires her to make an alliance with Blent, a British spy. Betsy Ross, who is engaged with the making of the first American flag, enters into the action and is finally responsible for the uniting of the young lovers. Alice Joyce enacts this role in a pleasing manner. Other characters of Revolutionary fame are introduced and assume a minor part in the development of the theme.


Review from Moving Picture World, December 28, 1912

THE FLAG OF FREEDOM( Jan. 4)--Faith Trumbull is in love with a Continental officer, Captain Strong, but her father, a Tory, will not countenance the match. He wishes to make an alliance between his daughter and Blent, a British officer. Strong, coming to the house, sees through the window that Trumbull and Blent are consulting papers, which he fears contain some plot against the Continental army. When he attempts to secure the papers he is captured, but escapes, with the aid of Faith. Pursued by the British, Stong reaches the home of Betsy Ross, a friend of Faith's. Betsy, who is engaged with the making of the first American flag, conceals Strong in a chest.

Trumbull and Blent bury the papers, but Faith watches them and secures the documents. She is startled to find plans of the Continental camp and particulars for the capture of General Washington. Faith hastens to Washington's headquarters and gives the general timely warning. Shen [sic] then proceeds to Betsy's house.

Meanwhile, Betsy has gallantly driven away Strong's pursuers with a musket, and when Faith arrives Betsy secures a minister. The minister is ready to perform the ceremony when he calls attention to the fact that another witness is necessary. At the moment General Washington arrives to learn of the progress of Betsy's work, and he gladly comments to act as a witness together with Betsy.

The Nurse at Mulberry Bend

AJ as Rose, with Hazel Neason, Mrs. La Varnie.

Advertisement from The New York Dramatic Mirror

A story of the Lower East Side of New York.
The young nurse, out of sympathy, administers to the young baby of a poor Italian family. The grandmother is suspicious of the sanitary methods of the nurse and communicates her thoughts to the father of the child, who tells the nurse, "If the baby dies I will kill you."
Released Monday, Jan. 20th.
One, three and six-sheet posters.

Review from Moving Picture World, January 18, 1913

THE NURSE AT MULBERRY BEND (Jan. 23)--Rose, a nurse at the Central Hospital, becomes interested in hygenics and devotes her leisure hours to study. The ambitious girl discovers that her health is becoming impaired and she is advised to take a vacation. She therefore visits her cousin, Lilly, in New York and improvises a laboratory where she continues her studies.

Lilly, giving most of her attention to social affairs, is inclined to ridicule her serious-minded cousin, but Dr. Leslie, who has been very attentive to Lilly, finds that the visitor is an unusual young woman and soon his affections are transferred. Naturally a barrier arises between the cousins and Rose is about to leave Lilly's house when a series of unexpected incidents delay her departure from the city.

Angelina, a young Italian mother, finds that she cannot properly care for her sick baby as she earns a livelihood by selling lace from door to door. She leaves the infant in the care of its grandmother and while offering her wares to Rose, tells her pitiful story to the young nurse. Rose's sympathies are aroused and she visits the squalid home in Mulberry Bend. There she is startled by the prevailing conditions and the baby's father enters while the nurse is establishing some hygienic measures. The ignorant Italian, fearing that the baby will die, tells Rose that he will hold her responsible and locks her in the room.

Seeing that she must have skilled assistance, Rose succeeds in sending a message to Dr. Leslie, who forces his way into the tenement with an officer. The crisis passes and when the baby's recovery is assured the Italian is pacified.

When Rose returns to the hospital it is to present her resignation and inform her friends that she has entered into a permanent contract with the medical profession.

The Cub Reporter's Temptation

AJ, with Richard Purdon, Earle Foxe.

Review from The New York Dramatic Mirror, February 5, 1913

The Cub Reporter's Temptation (Kalem, January 25)-- Newspaper stories, such as this, cast the charm of romance and adventure around the life of a reporter. It is a story that one might read from the pages of a 10-cent novel, but one that would hardly be likely to happen in the routine of a newspaper man's life. The author has managed to give it something of the air of plausibility, yet it will be difficult for a mature person to take the situation seriously. The boy is truly a cub reporter--he had evidently missed his calling and acted wisely when he withdrew to accept a position as secretary. Because of his incompetency he is neglected at the office. When the wolf seems about ready to break through the door down the chimney comes a roll of money, landing at the feet of his wife. Where the money comes from remains a mystery until the next day, when the boy reports at the office. The papers are full of a big robbery. The thieves have been apprehended, but the money cannot be found. Seeing a chance to be honest and make himself strong with the editor, the boy rushes home and returns later with the money; the money which was dropped down the chimney during the burglars' flight over the roof of the apartment house.

Advertisement from the same issue:

The new reporter does not seem to make a hit with the editor and his stories are turned back to him, but a turn in the tide enables him to make a big scoop and win a fortune.
Released Saturday, Jan. 25th.
One and three-sheet posters.
[Omitted, photo of Alice Joyce and Earle Foxe looking at each other, while an older man gestures to a newspaper he is holding]

Review from Moving Picture World, January 18, 1913

THE CUB REPORTER'S TEMPTATION (Jan. 25)--The Police Department learns that certain criminals are in the city, and Spider, a stool pigeon, is sent out to make inquiry regarding their proposed operations. An "upstairs job" is planned and the crooks reach the top of a building by way of a fire-escape. Spider, who has joined the party, remains below, acting as lookout and officers arrive through prearranged plans. Several policemen ascend the fire-escape, while others wait below. All of the crooks are captured, except the one who has the custody of the loot--a package of money--and this is dropped down a chimney by the desperate man who is pursued over the house-tops and fears that he will be caught with the goods. The burglar is apprehended when he reaches the alley and a search of the gang at headquarters proves futile.

Bud Collins, who supports his sister, works as a cub reporter on "The Star." While he sits at his fireplace, brooding over his meager salary, the package of money falls to his feet and the young people regard it as a gift from heaven.

The Police Department is in a quandary. The criminals have practically been caught in the act but even the third degree fails to develop the hiding place of the loot. The City Editor of "The Star" wishes a special article on the subject and as his best reporters are out on assignments, there is no one to send out but Bud. Bud rushes home and tells his sister. He says that the money is theirs, but the sister finally induced him to return it. Bud therefore accomplishes a "scoop" for his paper and when the money is returned to the owner, the latter is impressed with Bud's honesty and offers him a promising position.

The Senator's Dishonor

AJ as Ethel Warren, with Tom Moore, Stuart Holmes, E.L. Davenport

Review from The New York Dramatic Mirror, February 12, 1913

The Senator's Dishonor (Kalem, Feb. 1.)-The Senator's Dishonor is a photodrama of one-reel length, with the leading role played by Alice Joyce. It possesses a story of a strong dramatic nature, human in its appeal, and great care has been exercised in giving it the proper kind of a production. E.L. Davenport takes the part of the senator, who, for greed after gold, sells his honor, and that which is more dear, the respect of his wife. Lord, a struggling young attorney, has loved Ethel for years, and he lives in hopes of making her his bride as soon as his practice will warrant. With her aunt the girl visits Washington, where she meets and receives the attentions of Senator Vane. Impressed by these attentions, she feels that she cannot go back to the man at home down at the foot of the ladder. Young Lord, hearing of this, goes West without learning the name of the man who has robbed him of his happiness. Years go by. The girl has married the senator, and lives with him at Washington. Lord becomes a senator. At Washington he comes into conflict with Vane, having unearthed evidence that he is engaged in graft. He is unaware, at the time, Vane is the husband of the girl he loves. This discovery is made on the night previous to his introducing his testimony against the man. The girl having learned the truth against her husband, goes to Lord's home to steal the evidence if possible. Vane, during the interim, commits suicide. Lord proves his bigness to the girl, and the time comes when she goes to the man she really loves, a repentant but happy woman.


Review from Moving Picture World, January 25, 1913

THE SENATOR'S DISHONOR (Feb. 1).--Edward Lord, a young attorney, has loved Ethel Warren as long as he can remember and his one ambition is to work up a practice which will warrant him in asking her to become his bride. Ethel returns the lawyer's affection, until she goes to Washington to visit her aunt, where she meets Senator Vane. Impressed by the attentions showered upon her, she decides that she cannot go back to the simple home and gives up the man who is struggling at the bottom of the ladder that she may wed the Senator.

Lord leaves for the West without learning the name of the man who has taken his life's happiness from him. He becomes popular in his new location and is shortly elected to Congress.

Although he is ignorant of Ethel's whereabouts, she has followed him in thought and when she learns of his arrival in Washington, she takes a trip abroad that she may not meet him. During her absence, Lord learns that a large bribe has been accepted by Senator Vane. Entirely ignorant of the man's relationship to Ethel, the Congressman secures papers which will convict Vane when the investigation takes place.

Ethel returns and finds her husband greatly disturbed, but cannot learn the cause. On the evening before Lord is to hand over his proofs to the committee, Ethel reads an account of the affair in the paper. She is horrified and when she questions her husband he does not deny his guilt.

Determined to save her child's name, Ethel steals out of the house and entering Lord's library, succeeds in locating the incriminating papers. As she is about to depart, Lord, mistaking her for a burglar, fires a revolver and slightly wounds Ethel. Ethel asks Lord to call her husband by telephone, and the Congressman learns from the servants that the senator has died of heart failure. Time heals Ethel's wounds of mind and body and we see a rift in the clouds as we discover the lover of her girlhood at her side.

In The Power of Blacklegs

AJ as Lucy, the secretary, with Tom Moore, Richard Purdon, Joseph Levering, Lillian Hines.

Review from The New York Dramatic Mirror, February 12, 1913

In the Power of Blacklegs (Kalem, Feb. 5).--By careful directing in the settings and planting of the situations, and by reason of the virile, artistically restrained acting this photodrama, dealing with a boy's moral weakness, is made to stand out as one of the best, the most powerful society dramas that the Kalem has produced for some time. Tom Moore gives us a new insight into his ability; the emotion that he expresses at the film's climax speaks much for him. Also, Richard Purdon, as the father, has fully realized the chance of drawing a character which is individual--this father is one of the pleasant features of the drama. The little secretary, flattered by the attentions of her employer's son, permits him to borrow from the safe of the department store to make good his obligation in gambling. He makes good this loan, but soon returns for another which is refused, the girl having repented of the first break. During the struggle the girl makes against the boy to prevent him from securing the key the cash girl enters. She is frightened and hastens away without telling what she has seen. The following day the secretary is accused, and, having promised to shield the boy, she refuses to give an explanation. Blair, the manager of the store and in love with her, declared himself guilty to shield her. However, the cash girl, overhearing the altercation, enters and tells what she has seen. The boy is made to confess, and the heartbroken father takes him home, hopeless of making him feel the enormity of his misdoings. But he boy does realize and repents. This scene is one of the best in the picture.


Review from Moving Picture World, February 1, 1913

IN THE POWER OF BLACKLEGS (Feb. 5).--Lucy, secretary to the owner of a department store, is flattered by the attentions of her employer's son, Tom. The latter, pressed for funds to meet a gambling debt, induced Lucy to open the safe and allow him to borrow sums of money which he promises to return next day, but he does not state that his only hope of doing so is by winning at cards. However, he wins and returns the money. Regretting her indiscretion, Lucy tells Tom she will have nothing more to do with him.

Later, Tom is again in desperate need of money and appeals to Lucy, but is refused. He remembers the combination of the safe, opens the door and forces from Lucy the key to the inner door, which enables him to secure the cash box. Rosa, a little cash girl, who is very fond of Lucy, enters during the struggle for the key and being too frightened to render assistance, she leaves, unobserved by Lucy and Tom.

The next day Lucy is accused and having promised to shield Tom she refuses to give an explanation. Blair, the manager of the store, who has been an ardent suitor for Lucy's hand, declares that he is guilty. Lucy pleads with Tom to confess and vindicate her lover, but the young coward refuses. The owner of the store enters and is about to order the arrest of Blair when Rosa, the cash girl, who has heard the altercation, enters the room and tells her story. Heartbroken, the owner of the store takes his son home. He starts to reprimand but concludes that it is hopeless. Tom comes to a sudden realization of his worthlessness and renounces his former associates who have been responsible for his downfall. We see that he keeps his word and Lucy finds happiness with the faithful Blair.

The Exposure of the Land Swindlers

Three reels. Directed by Keanen Buel. AJ as Mary Archer, with Detective William J. Burns, Guy Coombs, Henry Hallam, Hal Clements, Marion Cooper, and Kenean Buel

Review from The New York Dramatic Mirror, March 19, 1913

[Editor's note: Detective William J. Burns eventually became the director of the FBI in 1921, but was forced to resign because of the Teapot Dome scandal in 1924, and was replaced by J. Edgar Hoover. More information can be found at]


[Omitted: photo. Caption: "THE EXPOSURE OF THE LAND SWINDLERS," Studio Set of House of Representatives in Kalem Film.

"Every criminal leaves a track through which he may be traced. There are no mysteries, and a failure to obtain the results indicates that the matter has not been properly or thoroughly investigated." These are the words of Detective William J. Burns as they appear over his own signature in The Exposure of the Land Swindlers, the three-part Kalem picture to be released April 1. This memorable little statement that says mystery is a myth is the first article in the creed of the most astonishing detective America has produced; he has spent his life in proving its value by the results of action, and out of the busy days he has taken time to illustrate the fundamentals of his creed in a story that is half-truth, half-fiction, and all absorbing.

In the romantic halo surrounding him, Detective Burns is the twentieth century Sherlock Holmes. To the public that reads of his accomplishments he has the irresistible fascination of the king of all fictitious detectives, plus the fascination born of the knowledge that he is an actual being working among us. What he has done reads like a romance, yet it is a page from the solid history of facts, and the nearer we come to the facts the more we are moved.

If the Kalem Company had prepared a Detective Burns film to accurately reveal his course of procedure when confronted by a difficult crime, and entrusted a competent actor with the task of impersonating Mr. Burns, it would have been an interesting approach to reality, but a second-hand impression. The pleasant thrill that follows contact with a celebrity, seeing him walk across a room, noting his expression, even the manner of clothes he wears, must of necessity have been lacking. Without the appearance of Mr. Burns in person, The Exposure of the Land Swindlers would have been an exceptional picture; with him it takes first place among productions aiming to give dramatic pictorial representations of big events transpiring under our very noses.

As an instance of the care taken to stick to facts, it is interesting to know that the room in which Detective Burns appears in the first part of the film is an exact duplication of his New York office. The manner in which the detectaphone is installed is an accurate following of the method adopted in actual practise. The studio set used for the House of Representatives in Washington required what is said to be the largest stage ever used for a motion picture production, and it was constructed solely for a few scenes in the final reel. It is also interesting to note that in the making of this picture last Summer the players visited no less than five States for the purposes of getting proper settings. Incidentally it may be mentioned that expensive as the production was, the total did not equal the sum paid Mr. Burns for his first appearance in a motion picture.

As for the story, it, too, is based on facts. Land swindles, as everybody knows, have been a genuine evil supported by powerful figures in Washington politics. They have meant suffering to the victims and disgrace to men high in public esteem, just as in this photoplay. Events have been made more the outcome of coincidences than would be likely in actual life, but their dramatic quality is but a reflection of accounts read in newspapers.

We are first introduced to Detective Burns in Washington, where he delivers a lecture containing the "Every criminal leaves a track" phrase, and it makes a deep impression on Congressman Gordon, who, accompanied by Mary Archer, is in the audience. That Mary and Gordon, both high-minded young people, are in love with each other is soon make evident, as is the fact that Mary's father is in league with Nelson, an unscrupulous land agent. Soon after this Gordon goes South, is incensed at the suffering caused by the land swindlers, and returns to ask Archer's assistance in ending the frauds, not knowing that the lobbyist is one of the gang. When a committee of investigation has reported that there is no fraud, Gordon thinks of the remarks by Detective Burns and determines to get his assistance. While in the office of the detective he receives a telegram proving the guilt of Nelson, who has attempted to murder one of his victims, delinquent in payments.

In the second part we see Mr. Burns in Washington at work on the case, and how the imprint of a thumb on a light glove turns suspicion on Archer. Slowly and with great cleverness the net is drawn around Nelson, Archer, and their confederates until the detectaphone is brought into play to get the needed evidence against the swindlers. Gordon is horrified by the knowledge that he is working for the ruin of the father of the girl he loves. When escape from disgrace appears impossible, Archer takes passage on a steamer for Europe, and we see him for the last time seated in a stateroom raising a vial of poison to his lips.

The final reel contains a quantity of excitement. Nelson seeking to escape in an automobile is pursued by a Burns man in another machine. The fugitive's auto collides with an express train, but he comes unhurt out of the accident, scrambles onto the platform of the rear car on the train, and attempts to shoot the detective, who still follows on a road running parallel with the tracks. Nelson is killed when the conductor throws him off the car. This portion of the picture is particularly well managed.

Meanwhile Gordon has been preparing a motion for an investigation of the land swindles to place before the House. While he is appealing for justice in am impassioned speech, Mary is informed of her father's death and hurries to Gordon with the news. He falters for a moment, then continues with the girl watching from the gallery. The motion is carried and we see a happy termination of the love affair.

Very little acting is required of Mr. Burns, whose place in the picture is to appear precisely as he does in actual life. He behaves quite as naturally as though the camera was not focused on him. Alice Joyce deserves first mention in the supporting company for a finely judged performance of great sincerity and appeal. She has beauty, poise, and a charming simplicity of manner. Guy Coombs gives a forceful interpretation of Gordon, and others in an efficient cast are Henry Hallam, Hal Clements, Marion Cooper, and Kenean Buel, who merits great credit for his direction of the production.

The photography is on a par with the rest of the picture; it is excellent.


Review from Moving Picture World, February 22, 1913

A Novel and Timely Subject.
Detective William J. Burns in Exposure of "The Land Swindlers"--a Three-Reel Kalem Production
Reviewed by W. Stephen Bush.

THIS production is taken from no time-worn mould, but shines in the unwonted gloss of novelty. Its theme is timely. It could have no better moral, showing, as it does, both the prevalence and the folly of corruption in public life. To make the telling of the story effective and attractive there was but one method of treatment. The extraordinary resources of the moving picture must be used in an intelligent but withal lavish manner. The spectator must be taken into the halls of legislation; he must see the mysterious workings of official fraud in the sessions of committees, in secret meeting-places and in the homes of the conspirators. He must be made to see how the cunning of righteousness is matched against the craft of corruption.

It was necessary to show what harm political frauds work on the plain citizen, and how his wrongs are avenged and the law vindicated by one of those spirited and incorruptible public servants which have never been wanting in the history of American politics.

In these three reels all these things have been done. A crime-finder of national repute and his instrument of detection, now very will known as the dictagraph, are introduced on the screen with telling and sensational effect. The first reel of this production may well serve as a model of clever dramatic construction. The head of a typical American family in moderate circumstances is tempted by an alluring advertisement telling of the fortunes that can be made in the South by the purchase of rich but untilled land. The family give up their savings to purchase this land and are taken to their new home, which turns out to be a wretched white-washed cottage in the South, surrounded by worthless land. The spectator learns how a Senator of the United States had secured possession of the land for probably nothing at all, and how his unscrupulous agent deals with the victims after they reach the land.

A young congressman learns of the fraud, little realizing that he is engaged to be married to the daughter of the arch-conspirator, Senator Archer. His attempt to right the wrong by an appeal to Congress fails utterly because the committee to which the mater is referred consists of friends and confederates on the senator. The congressman now appeals to the detective whom he had heard in an address on the necessity of fighting public corruption. The detective at once starts upon a painstaking investigation`

The second and third reel, judged by the ordinary standard, suffer from some defects in dramatic construction, and episodes are introduced which seem irrelevant to the main theme and somewhat interfere with the orderly development of the action. The cause of this probably is a desire to bring the famous detective into the foreground as much as possible. As these minor and detached incidents are full of thrills the average moving picture audience will probably forgive the violations of dramatic unity and directness.

The installation of the dictagraph and its practical workings are shown very plainly in all their details and are full of interest. The senator and his confederates discover how they have been trapped and the senator seeks refuge in flight. He takes passage on board an ocean liner, but even here his Nemesis pursues him in the shape of the wireless telegraph. Rather than suffer disgrace the senator destroys himself by taking poison, while the young congressman is delivering an impassioned speech upon the floor of the House against the land frauds. The senator's daughter is at first stunned by the news of her father's shameful and violent death, but later reconciles herself to the situation and marries the young congressman who was the man of her choice.

Nothing in these reels is left to the imagination of the spectator. He sees the very land which has been palmed off on the unsuspecting citizen and he is taken to the capitol of the nation where the great fraud has been hatched. The pictures give wonderfully true glimpses of official Washington. The scenic selections are perfect to the last degree. We are made to see the very squirrels at play on the capitol grounds. The scenes on the steamer on which the fugitive senator has embarked are dramatic and realistic in the extreme. The need of the exhibitor to-day is the true feature. This Kalem production is a real feature. It means more than a passing profit. It will hold the best ptronage [sic] and increase our faith in the future of the motion picture.

Advertisements from Moving Picture World, March 1 and March 21, 1913

Featuring the Famous Detective
and the
Premiere Leading Lady, ALICE JOYCE
Mr. Burns personally appears in the production, which is based upon one of his adventures, and vividly demonstrates his modern scientific methods in criminal investigation.
Kalem Company
235-239 W. 23d St., New York
[Ad is surrounded by scenes from the film and has Kalem sun logos on the upper corners]

Detective William J. Burns in
To be Released Tuesday, April 1st, 1913

Detective Burns personally appears in the production which vividly portrays the scientific methods of criminal investigation that have made him the greatest sleuth of all time. The story is based on actual experiences in his career. Miss Alice Joyce, Kalem's celebrated leading lady, heads the supporting company.
[Ad also includes photos of a man with mustache at dictagraph, and two men looking at a seated Alice Joyce. Also included is a Kalem sun logo.]

The $20,000 Corot

AJ as Mary Hamilton, with Tom Moore, Richard Purdon.

Review from The New York Dramatic Mirror, April 2, 1913

The $20,000 Corot (Kalem, March 17).--In constructing a melodrama too many authors are inclined to overlook reason and uniformity in the movements of their characters in their eager effort to produce a situation which, at the moment, will grip. In this picture, a melodrama of a well seasoned order, the author seems to be guilty of just this one thing; there is a situation capable of being strong if consistently led up to. This is where the girl, played by Alice Joyce, suspected of being in league with the detective is kidnapped by the thieves and rescued by her lover. This young man has been dismissed from the employ of her father because of his love for her. Plausible enough, perhaps, but no indication of why the father objected. The girl is reasonably worked into the big situation, but the boy is not. After being dismissed by the father and his decision to find the valuable picture which has been stolen from his employer, the next we see of him is in the back of a saloon listening to the talk of the gang of crooks who made the haul. There is nothing as to what led him there, or compelled him to suspect this particular gang. He disguises as an old beggar, and takes up his position in front of the house containing the thieves. And then the thieves, believing him to be what he pretends to be, hand the picture over to him to deliver to a "fence" knowing the while they are being watched. If they were half as observing as the spectator they could have detected the make-up of the young fellow. And again, the girl should have come to the tenement house without an auto, for the thieves, knowing that no one was waiting for her outside would have been the more assured of successfully carrying out their plans. Just what was the idea of putting a chemical solution on the picture is not clear.


Review from Moving Picture World, March 17, 1912

THE $20,000 COROT (March 17).--George Hale, Calab Hamilton's private secretary, is in love with his employer's daughter, Mary.

A valuable painting--a famous Corot--which Hamilton has purchased for $20,000, is stolen from his library, the thieves cutting the canvas from the frame. Hamilton, greatly excited, summons detective.

Hamilton discovers George making love to Mary and discharges him. George determines to reestablish himself in the old gentleman's favor by apprehending the thieves. He frequents a neighborhood famous as a resort for criminals, and in the rear of a saloon he sees two Italians who act suspiciously. He follows them to a cheap tenement and later he stations himself in front of the house disguised as a beggar.

Mary, interested in charitable work, visits a poor woman who has a room next to the Italians. Hamilton's detectives find the trail and raid the room, but find no trace of the painting. As they are leaving, Mary joins them and an Italian who oversees the affair, suspects the girl of being in league with the officers.

The thieves have cleverly covered the painting with a chemical solution which may be removed and when they find that they are being watched, they engage George to deliver the canvas to a notorious "fence," believing the young man to be a genuine beggar, anxious to earn a dollar.

Meantime Mary returns with blankets for the poor woman. She is captured by the Italians and made a prisoner. George loses no time in communicating with Hamilton and the detectives, who arrive at an opportune moment and assist him in liberating Mary and securing the painting.

The American Princess

Produced in cooperation with Lucile, Ltd., (Lady Duff Gordon) of New York and Paris, and features a scene shot in the Lucile showroom and a gown from the 1912 Autumn collection. AJ as Princess Alexa, with Tom Moore, Edgar L. Davenport, R. Paton Gibbs, Naomi Childers.

Review from The New York Dramatic Mirror, April 10, 1912

The American Princess (Kalem, March 31).--That which most needs criticism in the photoplay is the failure of the author to stick to his theme, and carry it out to a desirable and logical conclusion before entering upon another. His exposition demands a different argument than the one given: the romance and spirit of love in the first portion of the picture sparkle, and the spectator's interest is held up to that point where the princess joins her sweetheart in America after escaping from her country, but when the action drops from the previous atmosphere to the material, sordid affairs of extravagance and money the interest begins to lag. There are numerous ways the story could be carried along to harmonize with the first part. What becomes of the heartbroken father of this princess and does she experience any longing to return? But such things are all forgotten, and go so far as the latter part of the play is concerned, the girl might just as well have been born and reared in New York. Presumably the author desired to make plain the young husband's motives for spending so much on the princess wife, but this could have been done in a more simple and direct style. And the introduction of this spy who seeks to furnish Tom, the husband with money rather cheapens the tone of the picture; it is painfully conventional. But even at that there was no obvious reason why Tom should stop the spy after he had turned over the papers to him. The photography, settings, and costumes are excellent, and Alice Joyce maintains a fascinating charm as the princess. Tom Moore as the young husband is quite acceptable, showing manliness and intelligence in his interpretation.


Review from Moving Picture World, April 16, 1913

THE AMERICAN PRINCESS (Mar. 31)--Tom Whitney, connected with the American embassy at Trendary, meets the Princess Alexa and promptly loses his heart. Sometime later the Princess goes shooting and accidentally wounds the young American who is passing through the woods. The injury is a slight one and the young people establish a bond of friendship which soon ripens into love.

Tom is called back to America. He writes to Alexa, asking if she is willing to come to the United States and become his wife. The Princess decides to sign away her title and when she informs her father, the infuriated king locks her in her room, under guard. Alexa, however, escapes with the assistance of her maid and flees to America.

At New York, Alexa is met by Tom, who drives her to a little church where a quiet ceremony is performed. The girl has had no time to secure suitable wardrobe and a visit is paid to the famous Lucile establishment, where many beautiful gowns are purchased.

In Washington Tom lavishes presents upon Alexa and is soon in dire financial straits. He is approached by an international spy who induces him to copy certain secret plans. Tom is about to fall from grace when Alexa discovers the situation. By selling her jewels and paying Tom's creditors she thwarts the scheme of the spy and informs her husband: "I am no longer a Princess--just your plain American wife."

In the Grip of a Charlatan

AJ as Anne Sinclair, with Tom Moore, Richard Purdon and R. Paton Gibbs.

Review from The New York Dramatic Mirror, April 23, 1913

In the Grip of a Charlatan (Kalem, April 7).--Alice Joyce plays the lead in this photoplay, Anne Sinclair, a young heiress who falls under the spell of a Hindoo fakir, a part that seems particularly adapted to her powers. The picture has well retained interest, and Miss Joyce rises to considerable heights of intensity in scenes where she is placed completely under the power of the fakir, without apparent opportunity of escape. Tom Moore enacts the part of her sweetheart in a creditable way. R. Paton Gibbs makes and effective fakir; his work is always intelligent, and that is the important feature when interpreting such a role. The girl has become deeply interested in the new occult science, and Baroudi, the fakir, sees an opportunity to gain by it. He has a hypnotic power which he exercises over her, and sends her home one evening to bring back her jewels. Conceiving a daring scheme for further extortion, he plans to keep her prisoner. His servant, however, raises a disturbance, which brings the girl to her senses, and she threatens to kill herself unless she is liberated. Her fiance and father, in the meantime, worried over her non-appearance, set out to seek her with the aid of some detectives. For a time they fail to locate the fakir, but Robert fortunately finds in his pocket the man's card which Anne had given him and full of apprehension he leads the detectives to the place.


Review from Moving Picture World, April 5, 1913

IN THE GRIP OF A CHARLATAN (April 7).-- Anne Sinclair, a young heiress, becomes interested in a new cult, sponsored by the Swami Baroudi, a clever fakir, who claims to be versed in the occult. The attendance of Baroudi's demonstrations become quite a fad and the knave, with the assistance of confederates, apparently effects some wonderful cures. Baroudi is not without a certain hypnotic power, and when Anne visits his parlors with friends, she is placed under his spell. The Swami quietly commands the girl to bring him her necklace that night. She goes home in a daze, which her companions attribute to the impressive ceremonies.

Promptly at ten Anne appears at Baroudi's with her necklace. He takes the jewels, and conceiving a daring scheme for further extortion, plans to have her remain. Louise, a servant devoted to Baroudi, raises a disturbance, which brings Anne to her senses. The terrified girl attempts to escape and Baroudi, knowing he will prosecuted, forcibly detains Anne and locks her in a room.

Anne's fiance, Robert, and her father become alarmed when she does not return. They engage detectives, who are unable to determine her whereabouts. Meanwhile, Anne, in desperation, has secured a dagger from Louise, fully determined to take her life if Baroudi does not liberate her.

Fortunately Robert find in his pocket the Swami's card, which Anne has given him, and full of apprehension he leads the officers to the address. The charlatan resorts to all manner of subterfuges, but is taken into custody, and Anne is liberated from the scoundrel's prison just as she is about to abandon hope.

A Streak of Yellow

AJ as Evelyn Gregory, with Tom Moore and Stephen Purdee

Review from The New York Dramatic Mirror, April 30, 1913

A Streak of Yellow (Kalem, April 14).--When he supposes that his fiancee has lost her beauty through an accident, the yellow streak asserts itself in Cadwell, and he writes her a note, stating that he cannot marry her and is leaving for Europe. Now Evelyn is loved by Worthy, a serious, high-minded young man, and when he hears of this act he visits Cadwell at his apartment and demands that an apology be made to the girl. After an altercation, the flashing of a pistol and a chase Cadwell is brought to the apartment of the girl to confront her. And, standing before the veiled girl, he makes a lame apology, only to discover afterward that she is not disfigured, and the constant young Worthy receives his reward. Perhaps the worst complaint to lodge against the picture is that it is founded upon a conventional idea without a big situation to draw it up from the ordinary. There is not sufficient reason given to show that Worthy had a justifiable motive in interfering in the matter at all. If Cadwell desired to break off his engagement that should have been between him and the girl. As there was nothing especially insulting in the note, and whereas the girl did not appoint Worthy as her champion, Worthy's actions seem a little inconsistent and out of place. Alice Joyce is always fascinating and refined, and she draws every ounce of pathos out of the part. Tom Moore as the hero, Worthy, is acceptable, as is Stephen Purdee in the role of Cadwell. The flashing of the pistol when the two men have their quarrel is inclined to cheapen the tone of he piece, giving it an ultra melodramatic flavor when it is not melodrama in any sense of the word.


Review from Moving Picture World, April 12, 1913

A STREAK OF YELLOW (April 14).--Evelyn Gregory, a society girl, is courted by Sidney Worthy, a serious young man with a high sense of honor, and Charles Cadwell, whose jolly disposition makes him a great favorite. Cadwell wins Evelyn's promise, and when he breaks the news to his rival, Worthy warmly congratulates him.

Evelyn gives s supper party to announce her engagement, and while preparing the chafing dish there is an explosion which severely burns the hostess. A doctor is quickly summoned, and when the examination is made he announces that Evelyn will be disfigured for life, to the horror of the guests.

Cadwell's cowardly nature asserts itself when, after two weeks of deliberation, he sends Evelyn a heartless note, stating that he cannot marry her, now that she has lost her beauty; that he is leaving for Europe, and that she must make no effort to change his determination.

Worthy calls on Evelyn shortly after she has received the note. Her features are concealed by a veil, and Worthy is full of sympathy. When he is told of the note he makes a sudden resolve and visits Cadwell's apartments. Tom roundly denounces Cadwell and demands that he apologize to Evelyn. There is an altercation, followed by a struggle, and Cadwell flees. Worthy pursues and brings Cadwell to Evelyn's home. Evelyn, still veiled, receives the two men, and Cadwell utters his forced apology. The girl will not accept it, and removes her veil. To the amazement of Worthy and Cadwell, Evelyn's face is unblemished. Evelyn realizes that her first choice was ill-advised, and Worthy claims his own.

The Sneak

AJ as Elise Dupont, with Jack Pickford, Tom Moore, Adelaide Lawrence, and Stephen Purdee

Review from The New York Dramatic Mirror, May 7, 1913

The Sneak (Kalem, April 21).--Up to that point in the story where the villain demands that the heroine marry him if she does not wish to have her brother exposed as a thief, the action is carried along in a uniform, logical way with well sustained interest, but this situation is not so reasonable. Presumably, in the first part of this story, the sneak has as his one aim, the favor of the daughter of the house, but, judging from his latter course in influencing the boy to go wrong he entertained designs upon the old man's property. The motives of this character are not clearly defined. Jack Pickford appears too young to be cast as the erring brother; an older person in the role would have made it more effective. Tom Moore plays the hero and Alice Joyce is seen as Elise Dupont, the heroine. The play lacks a good premise. The author does not set forth what his theme is going to be; the first impression is that it is going to deal with the efforts of the sneak to oust the hero in the affections of the girl, but it turns out to be a common thief story, with the girl's young brother used as the tool. After being led into giving the sneak his I.O.U. for $1,000, the young brother repents, and, at the advice of the girl's fiance, confesses to his father his gambling debt. The father forgives, and the sneak is driven from the house. Stephen Purdee is good as the sneak.


Review from Moving Picture World, April 19, 1913

THE SNEAK (April 21)-- Harry Willis, finding that Elise Dupont does not favor his suit, determines to gain her consent through her young and irresponsible brother, John. John is flattered by the older man's consideration and when Willis invites the boy to accompany him to a gambling resort, he readily accepts.

John loses his money and accepts an I.O.U. proffered by the proprietor. The incident is discovered by Arthur Ballard, a straightforward young man, who stands high in the estimation of Elise and who hopes to win her hand. Ballard secretly purchases the obligation from the proprietor, but is arrested when the place is raided. Next day he is publicly disgraced and Elise's father forbids him from entering the house.

Willis now believes that his plan is on a fair way to succeed. Again he induces John to visit the resort and this time Willis gives the boy his personal I.O.U. A few days later he insists upon payment and suggests that John take the money from his father's safe. When burglars enter the Dupont home and rob the safe, things look black for John, who has really secured the money from Ballard, but Dolly, the little sister of Elise and John, through unusual circumstances, exposes Willis' plot and brings about the capture of the burglars. Mr. Dupont is brought to a realization of Ballard's sterling qualities and withdraws his objection to the young man's suit for the hand of Elise.

The Heart of an Actress

AJ as Alice Stewart, with Tom Moore, Naomi Childers, and Richard Purdon

Review from The New York Dramatic Mirror, May 5, 1913

The Heart of an Actress (Kalem, May 5).--Alice Joyce, without doubt, is one of the most accomplished, artistic, and beautiful actresses we have on the screen at the present time. Her presence in a picture cannot but fail to win the attraction and interest no matter what the merits of the picture. in this Kalem drama of heart appeal she is seen in a role which particularly fits her, and this added to the fact that there is a well-founded plot leading up to a number of good climaxes stamps the film as one of the best turned out from the Kalem studio in some time. Tom Moore enacts the lead male role, that of a young society man who falls in love with an actress to the distress of his fiancee and disgust of his father, in a style that is altogether Tom Moore: droll and yet manly despite his youthful; appearance. Naomi Childers plays the part of the fiancee with intelligent strength. Her scene with Miss Joyce where the two girls meet and recognize each other, one as the girl who befriended a needy family, and the other as the girl of the family is one of the cogent situations, made so principally by the acting of the two young women. Richard Purdon is good as the father.


Review from Moving Picture World, May 3, 1913

THE HEART OF AN ACTRESS (May 5).--Alice Stewart and her parents are in destitute circumstances. Their plight comes to the attention of Jane Thompson, the daughter of a wealthy manufacturer and she renders timely aid, thus gaining the eternal gratitude of Alice.

Alice secures a minor role with a theatrical company and after a patient struggle she becomes a popular favorite. Thomas Morton, the sweetheart of Jane, attends a performance and is captivated by the beautiful actress. He obtains an introduction and a warm friendship is established. Soon Tom and Alice find they are deeply in love and Jane is forgotten.

Jane cannot understand Tom's indifference and seeks an explanation from the father. The elder Morton is infuriated when he reads a press agent's article that his son is to marry the actress. He takes Jane to Alice's hotel and a mutual recognition takes place between the girls. Alice declares that she will restore Tom to the girl who befriended her.

After the performance that night Alice gives a supper on the stage for the members of her company, which is attended by Mr. Morton and Jane. Tom arrives and is horrified to discover that Alice is the leading spirit of a gay wine party. He can scarcely restrain himself when Alice accepts a check from Morton and laughingly announces that she has been paid to give up the young millionaire. Alice, overcome with emotion, retires to her dressing room and Tom, rushing in to denounce her, learns that the supposed check is blank and that the wine glass of the hostess is untouched.

Jane, appreciating the sacrifice which the actress has made, leads Tom's father from the scene and love claims its own.

The Adventure of an Heiress

AJ as Florence Baker, with Tom Moore, Isabel Vernon, Stephen Purdee and Richard Purdon

Review from The New York Dramatic Mirror, May 28, 1913

The Adventure of An Heiress (Kalem, May 12).--Alice Joyce as the heiress, of course, is charming always, and, on the whole, the cast supporting her does creditable work. Isabel Vernon, in the role of the mother, plays the "grand dame" a bit too much, she makes her character inconsistent by overdrawing. Tom Moore enacts the part of the heiress's fiance, Richard Purdon, the father, and Stephen Purdee, the society crook. But the story: it is really slight, and the author has dragged the exposition out to such a length. He has taken such a long time to get at the basic situation that one's interest almost dies out. The position of Tom in the story is never quite clear. He moves through the action with no apparent purpose, except to pop up rather conveniently at the ninth hour to apprehend the crook. There ought to have been just a bit more reason to Tom's movements. In spite of papa's protests, daughter and heiress goes out upon the streets and plays tag with all the nice men. It is tag day, and the friends urge her on. But she meets a society crook, who gets the key to her casket--though how he knew who she was or what the key fitted is not made plain--and robs her of a new necklace. Because it is well staged and acted, the picture invites some little attention.


Review from Moving Picture World, May 10, 1913

THE ADVENTURE OF AN HEIRESS (May 12).--Florence, the daughter of H. Benjamin Baker, a millionaire, chafes at the restrictions which her parents exercise over her. Some girl friends call, explaining that it is "Tag Day," and ask Florence to join them in selling tags to raise funds for a benevolent organization. The parents of the heiress are horrified and will not listen to the proposition.

Baker is not inclined to favor his secretary, Dick, as a son-in-law, and when the young man attempts to intercede for Florence, he is dismissed from the millionaire's service.

Later, Florence's father relents somewhat, and brings the girl a handsome necklace as a peace offering. She places the pearls in her jewel box, and, putting the key in her purse, she quietly leaves the house to join the girls.

An enterprising reporter learns of the gift and writes an article for his paper, stating that the young heiress will no doubt wear the necklace at her forthcoming debut. The item comes to the notice of Prentiss, a society crook, who manages to steal Florence's purse while purchasing a tag from her. Having secured the key to the jewel case, Prentiss enters the residence in the guise of an employe [sic] of a vacuum cleaning concern.

While in search of another position, Dick, the former secretary, becomes suspicious of Prentiss' actions and is the means of securing the necklace and bringing the crook to justice.

The Artist's Sacrifice

AJ as Nell Winston, with Tom Moore and Edgar L. Davenport

Review from The New York Dramatic Mirror, May 28, 1913

The Artist's Sacrifice (Kalem, May 19).--Photography in this one reel photoplay is not of the best. The story is one of self-sacrifice revolving about two brothers, one an artist and the other a college student. The elder brother, the artist, has a difficult time in supplying his younger brother, a spendthrift, with means while away at school. While painting a prize picture the artist falls in love with his model. Alice Joyce, but sacrifices his love and, incidentally, his money received for the picture to the brother, who proves more successful with his suit for the girl's hand. And it was always so. Miss Joyce is, as usual, attractive and artful, and Tom Moore is pleasing, though not particularly impressive, and neither is Edgar L. Davenport, playing the artist. But for the poor acting of Mr. Davenport the last scene, the climax, might have stirred us with some sense of pathos. There is one excellently directed scene where a prize is awarded.


Review from Moving Picture World, May 17, 1913

THE ARTIST'S SACRIFICE. (May 19)--Joe Stanton, a struggling artist, has been able by careful management to keep his younger brother, Ted, in college. Ted is unappreciative and becomes so extravagant that Joe is sorely pressed for funds. One morning Joe reads the announcement of the Century Art Society that $10,000 in prizes will be given for the best studies of "The American Girl." He decides to compete, but is unable to secure a suitable model.

Nell Winston, employed in a department store, resents the advances of an overbearing floorwalker and is discharged. As she sits in the park she attracts the attention of Joe, who has been strolling aimlessly and gloomily, thinking of the futility of entering the contest. He is struck by the girl's beauty and, introducing himself, induces her to act as his model.

Nell agrees and visits the studio. As the days pass the old story repeats itself and the artist falls in love with the girl.

Holidays arrive and Tom dashes into the studio to be confronted by a beautiful stranger. He makes known his identity and learns that Nell is waiting for Joe. Ted prevails upon her to take a stroll and during the walk he discovers that he has found "the one girl."

The days pass and the painting is completed. Joe is summoned before the art committee and awarded the first prize. Hastening home with the glad news, his spirits fall when he learns that Nell has given her promise to Ted.

When Fate Decrees

Scenario by Mary Pickford (at that time, Tom Moore's sister in law). AJ as Jane Hallowell, with Tom Moore, Stephen Purdee, Jessie Cummings, George Moss, Mrs. Lawrence, Frances Agnew.

News Notice from the Kalem Kalendar, June 1, 1913, p. 4

Miss Mary Pickford, popularly known as "Little Mary," is the author of many photoplay successes in which she has appeared. Her latest work, "When Fate Decrees," was written especially for the Kalem Company to present Miss Alice Joyce in a powerful emotional role, particularly suited for her talents. Miss Joyce and Miss Pickford are close friends and the artistic work of author and actress embodied in "When Fate Decrees," which is released Wednesday, June 4th, must be seen to be appreciated. A description of the play appears on the opposite page. [Which contains a plot synopsis as in Moving Picture World, and a picture of Joyce kneeling next to Tom Moore, who is in bed. Nearby is a minister, nurse, maid and a man with a mustache--see photo at right]

Here's the photo that appeared in the Kalem Kalendar. This copy with the cast identified is taken from the book Motion Picture Acting (1913) by Frances Agnew, the actress on the far right. Click for a larger image

Advertisement from The New York Dramatic Mirror

A powerful modern society drama, written for Miss Alice Joyce by Miss Mary Pickford, "Little Mary."
Released Wednesday, June 4th            Special 1 and 3-Sheet Posters

Review from Moving Picture World, June 7, 1913

WHEN FATE DECREES (June 4).--Dick Lowell, a young millionaire, proposes to Jane Hallowell, only to learn that she has given he promise to James Douglas. Unknown to Jane, Douglas is an adventurer and lives by his wits.

Brokenhearted, Lowell goes on a hunting trip and meets with a serious accident. He is brought home and the doctor informs him he has but a few days to live. Lowell sends for Jane and asks her to make his dying hours happy by becoming his wife. He explains that it is his last request and will enable her to enjoy his fortune when he has gone.

Jane, in perplexity, seeks the advice of Douglas, who, to her amazement, heartily agrees. The girl is blinded by the love she bears the adventurer and consents to the marriage, which takes place at the injured man's bedside.

In the meantime, Lucy Randall, who has assisted Douglas in various enterprises, demands money. Douglas puts her off by assuring her that she shall want for nothing, once he gains control of Lowell's fortune.

Through Jane's tender care Lowell begins to improve and his recovery is assured. Instead of being glad, he is in despair. Jane appreciates his predicament and realizes the depth of his love. Finally she determines to renounce any allegiance to Douglas and her course is made easier when she sees further indications of his intimacy with Lucy.

The Pawnbroker's Daughter

AJ as Esther Dreyfus, with Tom Moore, Robert Broderick, Richard Purdon, Ida Darling and Stephen Purdee

Review from The New York Dramatic Mirror, June 25, 1913

The Pawnbroker's Daughter (Kalem, June 11).--Showing the injustice and error in treating Jews with contempt and the impractibility of the Jews allying themselves with outsiders, this drama is unusually interesting, and the capably handled situation at the end sends the picture home with force. Robert Broderick, for his characterization of Manuel, the dignified old pawnbroker, stands first among the players. His make-up is excellent and his acting is intelligently restrained and forceful. Alice Joyce as his daughter is acceptably charming and Tom Moore as the outsider is good. Having met the little Jewish girl at school, Edward is anxious to marry her, though he is a Gentile. The old father is disturbed over the prospect, anxious as he is to see his daughter marry Aaron Stern, one of their own people. The old man and his daughter are invited to visit the home of Edward and meet his people. Here the Jews are treated with disdain, and it is then that the old man turns upon them, declaring that it is he who has reason to complain--that his daughter shall not marry people who own him money. Edward's mother, having lost heavily at the gaming table, has pawned her jewelry. When the old man returns home he finds a note from his girl telling of her marriage; he thinks she has married Edward, in spite of his wishes. However, she has seen the hopelessness of marrying one of an alien race, and accepted the other boy. Stephen Purdee plays Aaron Stern. Photography and settings are good.


Review from Moving Picture World, June 7, 1913

THE PAWNBROKER'S DAUGHTER (July 11).--Manuel Dreyfus, a dignified old pawnbroker, sends his daughter to college, where she meets Edward Marshall, a wealthy young Gentile. They become very fond of each other and Dreyfus is ill at ease when he sees that Aaron Stern, the young man whom he hopes will become Esther's husband, is disregarded.

Edward's mother loses heavily at the whist club and her husband refuses to pay her debts. She pawns her necklace with Dreyfus. Later Dreyfus receives a note from Edward, asking him to bring Esther and meet the family. He does not inform his daughter of the visit which Mrs. Marshall has paid his place, heavily veiled, but he recalls the address on the pawn ticket.

Dreyfus and Esther make the call and find the Marshalls rude and indifferent hosts. To relieve the embarrassment, Edward takes Esther for a walk. The girl realizes that she can never marry a Gentile and so informing Edward, she goes home to meet Aaron, to whom she has promised to give an answer.

Mrs. Marshall becomes so insulting that the old pawnbroker takes the necklace from his pocket and returns it to her. He then goes home and finds a note from his daughter, stating that she has gone to be married. Thinking that Esther has eloped with the Gentile, Dreyfus flies into a passion. His rage subsides when the happy girl returns with her husband--Aaron.

The Attorney for the Defense

AJ as Ruth Demarest, with Tom Moore and Ethel Phillips

Review from The New York Dramatic Mirror, July 2, 1913

The Attorney for the Defense (Kalem, June 18).--The heart interest in this picture is strong, largely by reason of the sympathetic acting of Alice Joyce and Tom Moore. The story is sufficient in that it gains the desired effect, holds the attention, and is consistent with life as interpreted through photoplay conventions. When a young lawyer leaves for New York to start his career he breaks a wishbone with his sweetheart, and they agree that if the love of either dies, the change of heart shall be signified by the return of the piece of wishbone. Apparently the stenographer in the office where Norman is employed falls in love with him at first sight, and womanlike, she plans to win his affection. After a time jealousy gets the better of her, and, having learned of the pact between the sweethearts, she arranges a nice little scheme that for a while appears successful. Meanwhile Ruth has been studying law, that she may be of assistance to her future husband. She is admitted to the bar, and soon we find the estranged sweethearts pitted against each other as the opposing lawyers in a big court case. Of course, the girl wins, and the treachery of the stenographer is disclosed to prepare for a satisfactory conclusion. Ethel Phillips, as the stenographer, succeeds in suggesting a charming young woman without a conscience.


Review from Moving Picture World, June 14, 1913

THE ATTORNEY FOR THE DEFENSE. (July 18).--Norman Lewis, having been admitted to the bar, prepares to leave for the city, where he has been offered a position with a large law firm. He enjoys a farewell dinner with his sweetheart, Ruth Demarest, and in a spirit of fun they break a wishbone. They make a compact whereby each is to preserve a portion of the wishbone and return it should love fail.

Norman meets with great success in the city and his stenographer, Louise Borden, a bright, vivacious young woman, falls deeply in love with him. Norman tells her of his love for Ruth and shows her the portion of the wish-bone, which he has had made into a watch-charm.

Louise determines to replace Ruth in Norman's affections. One day she notices that the ribbon the his watch-fob has become worn and offers to replace it. This enables her to throw away the charm and fastens a piece of another wishbone, the remainder of which she mails to the young lawyer. When the morning mail arrives she secretly obliterates the postmark and proceeds to purloin Ruth's letters when they appear.

Norman, in a spirit of pride, offers no response and endeavors to forget Ruth.

In the little country town Ruth has been studying law, that she may be of assistance to Norman when they are married. Her heart is broken when she is led to believe that his love has grown cold. The next year she is admitted to practice and by a strange turn of fate she is called to the city to defend a case which Norman is prosecuting. An unexpected incident brings the lovers together and exposes Louise's treachery.

The Cloak of Guilt

AJ as Helen Dana, with Tom Moore, Isabel Vernon, Richard Purdon and Mary Clowes.

Review from The New York Dramatic Mirror, July 9, 1913

The Cloak of Guilt (Kalem, June 27).--Through the sudden death of her supposedly wealthy father, Helen is thrown upon the world penniless. She secures a position with Mrs. Stuyvesant, a rich widow, with a daughter whom she hopes to marry off to Jack Mason, a young millionaire, who frequents the house. Jack, however, becomes interested in the maid, with the result that Mrs. Stuyvesant becomes exasperated. She takes advantage of Jack's presence at dinner one evening to humiliate the girl. The daughter, following this up sees a chance for cruel revenge, but Jack lays bare the plot by discovering a clue through a broken perfume bottle. Alice Joyce plays the part of Helen, Tom Moore is seen as Jack, and Isabel Cernon and Mary Clowes are cast as the mother and daughter. They play is one of the clean cut, quiet kind which the Kalem Company is particularly fond of doing. One's interest is held.


Review from Moving Picture World, June 21, 1913

THE CLOAK OF GUILT (July 27).--James Dana, a supposedly wealthy broker, dies suddenly and leaves his daughter, Helen, penniless. The girl secures a position as a secretary to Mrs. Stuyvesant, a woman of wealth, with whom she makes her home.

Mrs. Stuyvesant has a daughter, Alma, whom she is in hopes will marry Jack Mason, a handsome young millionaire who frequently calls at the house. Jack, however, becomes greatly interested in the pretty secretary, much to the annoyance of Mrs. Stuyvesant. Helen observes, with deep regret, that strained relations have developed, but she cannot control the dictates of her heart.

One evening when Jack is taking dinner with the family, Mrs. Stuyvesant insults Helen by ordering her to take her place with the servants. Helen, heartbroken, makes no reply, but prepares to leave and places a note on Mrs. Stuyvesant's jewel box in the boudoir.

Anxious to make an impression upon the young millionaire, Mrs. Stuyvesant asks Helen [?] to secure her necklace. While in her mother's room Alma sees Helen departing and a cruel revenge occurs to her. He hides the jewel box on a shelf in the closet, but accidentally breaks a bottle of perfume.

Alma returns to the dining room and excitedly declares that the necklace is missing and that Helen is leaving the house. Things look dark for Helen, until Jack discovers a clue through the perfume, which enables him to establish the girl's innocence.

A Victim of Deceit

AJ as Fern Barclay, with Tom Moore, Ethel Philips, Richard Purdon

Advertisement from The New York Dramatic Mirror

The social butterfly, spurred by jealousy, attempts to wreak vengeance on the broker's wife and learns a severe lesson.
Released Friday, July 4th

Review from Moving Picture World, June 28, 1913

A VICTIM OF DECEIT (July 4).-- Wilbur Emmett, a prosperous young banker, finds that he has made a mistake in asking Beryl Ross, a social butterfly, to become his wife, and breaks the engagement to marry Fern Barclay. The hatred which the disappointed girl bears Fern prompts her to call on the happy couple in the guise of a friend, that she may discover an opportunity to be revenged.

Some time later Beryl invites Fern to a meeting of the whist club and after much urging, the wife consents to go. Fern loses her money and starts home, but Beryl induces her to accept a loan and gives her an I.O.U.

Soon afterwards Beryl calls and demands payment of the money advanced and Fern, wishing to keep the affair a secret from her husband, begs for time. She attempts to dispose of her jewels, but meets Wilbur as she is entering a pawnshop and pretends to be admiring some jewels in the window.

Beryl becomes so insistent that Fern takes the money from Wilbur's private safe and endeavors to create the impression that robbers have entered the home. When Wilbur summons a detective, the letter discovers the true situation and is the means of exposing Beryl's true character.

A Thief in the Night

AJ as the wife, with Tom Moore, Stephen Purdee, Richard Purdon and John G. Sparks

Review from The New York Dramatic Mirror, July 23, 1913

A Thief in the Night (Kalem, July 16).--In this film we have an old theme given a few unhackneyed turns, but at best it reveals nothing unexpected. A husband returns home seriously ill and his young wife sends for a doctor, who prescribes medicine to be taken every half hour, and says that excitement must prove fatal. Coincident with the wife's upsetting of the bottle of medicine a burglar enters the house. His better nature is appealed to and he goes to have the bottle refilled. He is shadowed by a constable, who attacks him after the replenished bottle has been returned. He wife interrupts the fight to say that the loot in the burglar's sack was given by her in payment for a great service, and all is well. The story is slight, but it allows Alice Joyce an opportunity for some expressive acting in the role of the wife. Tom Moore does very well as the burglar and manages to get a few laughs out of a generally serious part. In this he is assisted by John G. Sparks as the constable.


Review from Moving Picture World, July 12, 1913

A THIEF IN THE NIGHT (July 16).-- The husband comes home ill and when the doctor is summoned he leaves medicine with directions that it be given to the invalid every half hour. Night comes on and the wife prepares for a lonely vigil that she may faithfully administer the medicine.

In the still hours of the early morning a thief breaks into the library. The wife starts at the sound and breaks the bottle. She knows that if the husband learns of the presence of the intruder he will succumb to the shock. There is no telephone in the house and the nearest neighbor is almost a block away the woman is frantic when she discovers it is time to give the medicine.

She pursues the only course and appeals to the thief. The latter, fearing a trap, will not listen to the request and proceeds to fill a sack with loot, seeing that the wife is defenseless. Stepping to the curtain he realizes the seriousness of the woman's predicament and finally consents to secure a new supply of medicine from the doctor.

When the burglar is admitted to the doctor's house he hides his sack of stolen goods, which is discovered by the town constable. Recognizing an old offender, the officer trails the thief when he returns to deliver the medicine. The husband's life is saved by the thief's timely arrival and when the constable would lead his prisoner away, the wife declares that she has presented the crook with the valuables in reward for his services.

A Bolt from the Sky

AJ as Wynne Carter, with Tom Moore, Raymond Bloomer, Richard Purdon, Stephen Purdee.

Review from The New York Dramatic Mirror, August 6 1913

A Bolt From the Sky (Kalem, July 21).--A young man loves and is loved by the daughter of a scientist. He goes to gain the father's consent, while that gentleman is on the lawn viewing a meteoric shower. The old man irritably dismisses him, although he pleads his case with fervor. The butler sees them apparently quarrelling and when the scientist is later found dead on the lawn, he accuses the young man of murder, and has him arrested. But the sinned-against youth sends for his friend, a detective. This sleuth soon finds a meteoric fragment where the old man fell, and all is explained to the happiness of you young couple. The idea of this is very good. But it is carried out in a clumsy way. Scenes digress into the family life of the butler. We have no books on astronomy or astronomical phenomena at hand, but we feel confident in saying that no meteoric fragment of the size shown ever descended with so little fuss or vapor unseen by others, or that yet could be handled so soon after its arrival. The Edison make-up of the none-the-less-competent actor playing the astronomer is somewhat ill-advised. The performance generally is good. So is the photography.

Review from Moving Picture World, July 19, 1913

A BOLT FROM THE SKY(July 21). -- Jack Towers, a young and prosperous broker, receives a call from Walter Prentice, an old college chum whom he has not seen for years. Walter informs Jack that he is now the manager of the Prentice Detective Agency. That night Jack goes to visit his sweetheart, Wynne, the daughter of Carter, a noted scientist. She gives him the answer which he has long awaited, but informs him that he must ask the father, who at that time is strolling about the lawn, lost in meditation.

The butler has asked for an hour to go and visit his aged parents. As he passes out of the grounds he sees Jack and Carter engaged in a spirited altercation. The father does not wish to give his daughter in marriage and also resents Jack's interruption.

Jack returns to Wynne and bids her a curt goodbye. She goes into the lawn to seen an explanation from the old gentleman and is horrified to find him stretched on the ground--dead. Controlling herself, Wynne telephones to Jack, knowing he was the last person with the scientist. The butler returns and discovers the young couple carrying the body into the house. Believing his suspicions to be confirmed, he secures an officer and demands Jack's arrest.

The young broker begs for time and summons his old friend, Prentice, who establishes the fact that the old scientist was struck by a meteoric fragment.

For Her Sister's Sake

AJ as May Morely, with Tom Moore, Richard Purdon and Ethel Phillips

Review from The New York Dramatic Mirror, August 27, 1913

For Her Sister's Sake (Kalem, August 11).--For her sister's sake, a girl pretends to have committed suicide, returning several years later after the sister has married the man who was affianced to her, and has a child. It was a noble sacrifice, perhaps; at least the story by reason of the efficient acting and directing is interesting. But one can hardly appreciate the necessity for the course the girl pursued. She made the way clear for the two young people to marry, that is true; but she put a lot of grief into the lives of her parents that might have been avoided by simply giving up the boy. Perhaps she believed that her sister would never have married him under such conditions. However, we should have been informed as to her whereabouts during all these years. The stay-at-home girl meets the visiting young artist and they fall in love. Later, while away, the painter meets and falls in love in a real way with the sister attending school She does not disclose her name during the romance, and the boy does not discover the relationship until he meets the two girls face to face at their home The stay-at-home sister learns of the deep attachment and takes herself out of the way, forgiving the man who has played her false, so it would seem. Some very attractive backgrounds are had in the picture. Ethel Phillips is good as the sacrificing Sister. Alice plays the other sister, and Tom Moore is seen as the painter.


Review from Moving Picture World, August 9, 1913

FOR HER SISTER'S SAKE.(Aug. 9) --When May Morely leaves for college her elder sister Margaret stays at home with their father. Morely is delighted when John Coates, a rising young artist, visits him for a week and is further pleased when Margaret and Coates become engaged. They are together constantly and the days slip by almost unnoticed, but at last Coates has to leave on a sketching trip. He meets May on his journey and they become attached. She is unaware of his identity, however, and he of hers. The girl is very young and is thrilled by their unconventional little visits. The artist discovers that his feeling for Margaret was only infatuation, while he is deeply in love with May. He finds that this cannot go on forever and leaves suddenly, sending a message to May telling her why he has no right to be with her.

The girl is heartbroken and returns home for her vacation. Coates goes back to the house and finds to his dismay that the little girl he met on his journey is none other than his fiancee's sister. Margaret sees that her sister is in love with Coats and plans a noble sacrifice. The artist find an empty canoe one evening with Margaret's hat in it. A year passes. Coates returns as May finds a message from her sister requesting that she marry the artist. They are married. Many months later the little family sits about the fireplace when the door opens and Margaret, radiantly beautiful, comes in and they realize the depth of her sacrifice.

The Christian

AJ as Esther, a city unfortunate, with Tom Moore, Stephen Purdee, Richard Purdon.

Advertisement from The New York Dramatic Mirror


The lesson taught by a devoted mother enables a young man to avert a tragedy and bring happiness to a despairing life.
Released Monday, Sept 1            Special 1, 3 and 6-Sheet Posters

Review from Moving Picture World, August 30, 1913

THE CHRISTIAN (Sept. 1).--When Christian, a city toiler, receives a letter from his dying mother requesting him to be just and righteous and lift up the fallen and help the weak, he ponders long. His mother--his sainted mother--is dying. The youth leaves his humble room and despondently departs for the water front. As he approaches he sees the figure of a woman kneeling in supplication. Something tragic in her appearance holds him spellbound. Suddenly she arises. It is a young girl. As she is about to plunge into the seething waters below Christian darts forward and saves--Esther, a city unfortunate. The beautiful girl sobs out her pitiful story. She has no home; she is scorned and shunned. Christian takes her to his humble room. She slumbers locked securely in the room while he rests outside the door, his head pillowed on his coat.

In the morning they are driven from the house. Christian swears to protect this girl. They start into the country as brother and sister. A farmer gives them refreshment. They tarry. Esther helps about the house while the sturdier Christian works in the fields. He is startled when he finds his love for the girl is not that of a brother's and realizes that she is the only woman in the world. Then comes the shock. Fate throws Worldly, a city, idler, their way. He is injured and Esther recognizes him. As she tenderly nurses him back to health Worldly realizes his great love for the girl. He soon recovers and they are wed.

As they leave, Christian wearily trudges toward the house. The farmer and his wife follow and enter softly. Christian leans forward, his head resting on his arm, and his mother's letter in his hand. They gently raise him. Christian is dead.

A Midnight Message

Two Reels. AJ as Sybil Douglas, with Tom Moore, Henry Hallam, Harry Millarde, James Cooper.

Review from The New York Dramatic Mirror, October 8, 1913


Two-Part Melodrama Produced by the Kalem Company. Released Sept. 24.

Thomas Douglas Henry Hallam
Sybil Alice Joyce
Harold Tom Moore
Philip Barclay Harry Millarde
Butler James Cooper

Harold Douglas, being informed by his father of the latter's approaching marriage to a young lady, decides to leave the city till after the wedding. After the honeymoon the son returns home and meets his charming stepmother. A month later, Philip Barclay, a business associate of Thomas Douglas, Iago-like- points out to the father the apparent attachment between the two young people, arousing the old gentleman's jealousy. To test the pair he pretends to go off on a long trip. As soon as his father has departed, Harold moves to his club. During the night Mrs. Douglas discover Higgins, the old butler, in the act of stealing her jewels. When she confronts him the servant attacks and binds her to a chair. While the latter goes rummaging after the silverware, the wife succeeds in moving the chair toward the telephone, removes the receiver with her teeth, and phones Harold to come to the house immediately. The returning butler enters, breaks the wires, and proceeds to fill his bag with various articles of value about the room. Harold enters and knocks the thief down, sets Sybil free, and she, overcome by the excitement, falls into his arms. At this moment Douglas walks into the room and views the scene. The cowering butler plays the situation for all it is worth, claiming to his employer that he had come upon the couple, and that the son had knocked him down. The father leaves the room returns with a revolver, and suggests that the son use it on himself. The butler, attempting to make off with the swag, is arrested by a park policeman. Harold walks into an adjoining and throws the revolver to the floor, where it explodes. Douglas, thinking that his son has committed suicide, is stricken by the shock and dies. An unusually powerful and interest-sustaining melodrama. Though it sacrifices realism to meet its ends, it, however, gets over with a punch. The rift in its technical armor is glaringly obvious where the wife fails to clear the innocent son by not accusing the butler, with her jewels in his pocket, as a thief. The players work is highly commendable. The stage setting is adequate. As for the photography, it speaks his own praises.


Review from Moving Picture World, September 20, 1913

A MIDNIGHT MESSAGE(Special--2 parts--Sept 24).--When Thomas Douglas, an elderly widower, married Sybil he does not take into account that the difference in their ages would prevent the interests of the two from being in common.

Douglas' son, Harold, does not see his stepmother until after the marriage, and then the fact they are of the same age soon make them fast friends. Douglas, at first pleased because of the friendship of the two, gradually allows himself to suspect them of being in love with each other--a suspicion fanned by a cynical friend who magnifies harmless incidents. The father decides to verify his suspicions and announces that he must leave the city. Upon his father's departure, Harold makes his home at the club.

That night as Sybil is removing her jewels she notices the butler watching her with avaricious eyes. Leaving the room for a moment she returns to find the butler turned thief. He knocks her down and ties her, but she manages to crawl to the 'phone on her table and tells Harold of her predicament. He arrives in time to fell the thief, and catches Sybil in his arms as she faints. Douglas enters the room at this moment and believes his suspicions well founded. The butler tells him he has been assaulted by Harold when he discovered making love to Sybil. Douglas orders his son to atone for his offense by doing away with himself. Harold leaves the room pistol in hand. Afterward Douglas discovers his error. Harold, who can see no reason for his father's accusation, throws the pistol to the floor where it explodes. Douglas, hearing the report, believes that his son has done away with himself. The shock is too great for his heart. Although he learns his mistake when Harold enters the room, he passes away, smiling a request at his wife and son for forgiveness.

The Riddle of the Tin Soldier

Two Reels. Story by Hugh C. Wier. AJ as Madelyn Mack. with Henry Hallam, George Hollister Jr., Marguerite Courtot, Harry Maillarde.

Advertisement from The New York Dramatic Mirror

A Detective Feature by Hugh C. Weir, Author of the "Madelyn Mack" Stories
In Two Parts
Miss Alice Joyce plays the role of detective for the first time. The climax is a battle between gangsters and the police--a real fight, full of desperate action.
Get the Two Special One-Sheet Posters.            Also Special 3 and 6-Sheet Posters.
Released Wednesday, October 8th

Review from Moving Picture World, October 4, 1913

THE RIDDLE OF THE TIN SOLDIER (Special--2 parts--Oct.8).-- Ethel Andrews is interested in settlement work. Her father refuses to co-operate with her. Ethel kidnaps her five-year-old brother Archie and places him in a tenement as an object lesson. To make the kidnapping appear the work of criminals, Ethel sends her father a note demanding $10,000. Gangsters learn of the plan.

Andrews engages Madelyn Mack, a girl detective, to find his son. Madelyn unearths several clues, among which are fragments of a tin soldier belonging to Archie. She strongly suspects Ethel of being implicated in the matter.

Ethel, regretting her rash act, goes back to the tenement to bring Archie home. The gangsters capture them both, and send a note to Andrews telling him his son and daughter are prisoners. One of the gangsters shoots the note into the Andrews' library with a sling shot, just as Madelyn is telling the father of her suspicions concerning Ethel. The note upsets her theories.

Madelyn discovers that the paper on which the gangsters note is written has contained powered Jasco berry, and Oriental drug used in cigarette form. Later, she succeeds in tracing Ethel and Archie to the tenement, but finds them gone.

Passing a crowd collected on a corner, Madelyn scents the odor of jasco berry and finds the man who is smoking it. She follows him and discovers the cottage in the suburbs where Ethel and Archie have been taken. She slips into the house and enters the room where the two are confined.

Discovering a telephone wire outside the window, Madelyn taps this line with a pocket phone and summons assistance. She is discovered by the gangsters, who are just about to break into the home when the police arrive. A desperate battle ensues, which ends in the capture of the kidnappers.

Andres presents Madelyn with a check for $10,000 for her splendid work. The detective gives the check to Ethel for settlement use, but Andrews, returning the check, smilingly donates the money himself.

Our New Minister

Three Reels. Story by Denman Thompson and George W. Ryer. AJ as Nance Ransom, with Tom Moore and Joseph Conyers, Thomas McGrath, Henry Hallam, Mary Moore, Richard Bartlett and Helen Lindroth

Advertisement from The New York Dramatic Mirror

A Three Part Feature Adapted from the Famous Rural Drama
Featuring Joseph Conyer's in his original role of "Darius Startle," the village constable. A notable cast of Kalem stars, including Alice Joyce and Tom Moore.
Released Wednesday, November 12th
Two Special One-Sheet Posters. Also Special 3 and 6-Sheet Posters

Review from Moving Picture World, November 8, 1913

OUR NEW MINISTER(Special--3 parts--Nov. 18).-- Lem Ransom, the village drunkard, steals the Widow Huggins' bonds while under the influence of liquor, at the instigation of Hannibal Chapman, an unscrupulous lawyer. After taking the stolen bonds from his catspaw, Chapman treacherously arranges to have suspicion fall on Lem. The theft is discovered. Darius Startle, the constable, traces the robbery to Lem and arrests him. Chapman secures the man's silence by promising to look after Lem's wife and his daughter Nance, while he is in prison. The drunkard is sentenced to three years at hard labor. Later Lem learns that Chapman has broken his promise when Nance writes him her mother is dying and that they are in want. Frazier, his cell-mate, comes to his assistance and give him money to send to Nance. Thaddeus Strong, the new minister, arrives at Hardscrabble.

Strong's doctrines are disapproved of by the narrow-minded deacons of the church. A day or two later, these deacons, of whom Chapman is one, learn that Lem has been released because of good behavior and is coming home. They decide to force him out of the village. Lem finds a champion in Strong. Chapman fosters the ill feeling entertained by the deacons against the new minister by declaring that he should be ordered to cease his friendship for the ex-convict. The church officials hold a meeting. They decide to visit Strong and make known their objections to the doctrines he is preaching and to his friendship for Lem. Lem is in an adjoining room when the deacons call upon the minister. Lem hears Chapman demand that Strong cease his friendship for him. Upon the minister's refusal, Chapman declares that a meeting will be held by the church officials and that Strong's dismissal will result. Lem bursts into the room and announces his intention of being present at the meeting. Chapman is terrified.

Frazier breaks jail and comes to Hardscrabble. He appeals to Lem for aid. Ransom hides the man in his cellar for the time being. Darius comes to Lem's house in search of the escaped convict. He enters the cellar and is made a prisoner by Frazier, who forces the constable to change clothes with him. Chapman calls to see Lem. The convict escapes in the lawyer's buddy. Several villages seeing the man dressed in Darius' clothes and riding in Chapman's buddy, fear something has occurred. They hasten to Lem's house, knowing the lawyer has called upon him. Darious, in the cellar, hears the conversation between Chapman and Lem. He hears of the former's guilt. Emerging from his hiding-place, the constable places the man under arrest. The villagers enter and Chapman's rascality is made known.

The Hunchback

2 Reels. AJ as Marie Carver, with Tom Moore and Harry Millarde

Review from The New York Dramatic Mirror, December 17, 1913


Two-Reel Feature Produced by the Kalem Company. Released Dec. 15.

Humpty Jackson John [i.e. Tom] Moore
Marie Carver Alice Joyce
John Williams Harry Millard

A two-reel drama that starts back at the time the characters were kids, for the motive, and in true Gaboriau style shows how this affects the later destinies of the children. The plot is well constructed and ends with a satisfactory climax after a thrilling encounter with the officers of the law. The way the written letters are shown on the screen, folded as they should be, is highly commendable. In the beginning the plot is slightly disconnected, and it seems as though there were some unnecessary shooting and slaughter. The laurels for acting go to Tom Moore as the Hunchback. As children Marie knocked down little John Williams, and the doctors predicted lifelong spinal deformity for him. Now that her parents are dead, she becomes engaged, and happens to hell her fiancee about the childish accident. A hunchback burglar overhears it, and enters, claiming to be the one she maimed, showing her by his condition what the accident has brought him to. She feels sorry for him and on his demand promises to marry him so as to help him. About then a stranger comes to the real estate office of her fiancee, and proves to be the child John, in good health. Of course the girl is overjoyed at the unmasking of the villainous hunchback, who is killed in a duel with the officers of the law.


Review from Moving Picture World, December 13, 1913

THE HUNCHBACK(Special--2 parts--Dec. 15).-- Johnny falls and is seriously injured. Marie, his little playmate, considers herself to blame. A doctor declares that although the boy will recover, he will be a hunchback. Marie becomes melancholy. Her parents take her abroad to make the child forget the incident. Fifteen years later, "Humpty" Johnson, otherwise known as "The Fiend," is the terror of his companions in the underworld. The man is wanted by the police. "Humpty" learns that "Rat" Donovan, his pal, has betrayed him to the officers. He follows the man home and strangles him. The crime is discovered. "The Fiend" resolves to commit one more robbery and escape to other parts. He breaks into a house that promises a rich haul. Cautiously approaching the portieres, he listens.

Marie cannot forget the terrible fate of her little playmate. Her sweetheart, David, finds her in a melancholy mood when he calls and learns the story. Marie tells him she is anxious to find her former playmate and do what she can to help him forget his affliction. "Humpty" overhears this with glee. Later, the man appears before Marie. He announces himself as the crippled Johnny and demands assistance. Horrified, Marie empties her purse in his hands. The man leaves. That evening he conceives the idea of compelling her to marry him. The following day, David meets the real Johnny. Despite the doctor's prediction, the boy had regained his health. David breaks the news to Marie, who realizes she has been hoodwinked. Meanwhile, the police run "Humpty" to bay. The man sees them approaching, and shoots at them through the window, until he has but one bullet left. When the officers break into Johnson's room, they find him lying dead.

Review from Variety, December 26, 1913


Half-baked ideas crudely expressed continue to mar the average output of some of the big filmers. This two-part Kalem contains a dramatic germ that properly nurtured might have evolved a thriller. But the idea was misdirected and its drama lost. The notorious New York East Side character of other daps [sic], Humpy Jackson, was evidently the author's inspiration. The moving spirit of the playlet is Humpy Johnson, a hunchback. The first several frames of film show two children--a boy and a girl--frolicking on a lawn. The girl throws the boy, who falls on his back. A surgeon is summoned, and the conviction uttered that the boy will grow up deformed.

Twenty years later a gangster's East Side hangout includes a youth of hideously evil face, gnarled hands, a frightfully crooked back, and a fearful temper--the Hyde complement to Jekyll. A crib is to be cracked, Humpy is the leader, a stool pigeon whom Humpy has assaulted hurries to the police and betrays the plot.

The girl who innocently injured her boy playmate is next shown, grown up, young, attractive, cultured and well-to-do. She is wooed, but cannot think of marriage because she is forever haunted by the memory of the injury she accidentally inflicted upon her playmate, never seen since. The youth suing for her hand is a manly, likeable chap. He appreciates the girl's feelings, while disagreeing with her obsession. The girl's wooer departs.

Enters here Humpy Johnson. He has been listening behind the portieres. This is the crib he elected to turn off. He declares himself to be the mature wreck of the boy the girl injured. The leering gargoyle being before her terrifies the heroine. She shrinks, shudders, weeps, gives Humpy a well-filled purse. He departs and she falls into a fit of remorse. Next day comes to the girl a love note from Humpy. He insists that since she has ruined his life, she must marry him. And the girl consents and sends away her lover. But in the next scene a chum of the lover by a chance remark reveals that he is the real grown-up product of the girl's lawn prank, and that save for an occasional twinge, his back has never troubled him. Then comes a jumble of hurried, incoherent effects, ending with the death of Humpy from gunshots in the hands of detectives. No one who sees the picture can for a moment accept the proposition that a girl of the quality shown, would for an instant, save in a moment of aberration, consent off-hand to wed a being of the monstrous aspects of Humpy. Humpy is played with fine dramatic perception, and the piece generally acted with intelligence.


An Unseen Terror

2 Reels. Directed by Robert G. Vignola. AJ as Anita, with Henry Hallam, Tom Moore, Harry Maillarde, James B. Ross

Review from The New York Dramatic Mirror, January 7, 1914

"An Unseen Terror"

Two-Part Feature made by the Kalem C. Under the Direction of Robert G. Vignola. Released Dec. 31.

Warren Leonard Henry Hallam
His Son Tom Moore
Hugh Harry Maillarde
Anita, Frank's sweetheart Alice Joyce
The Clerk James B. Ross

A rather dramatic two-reel offering with poor construction throughout, but nevertheless a highly interesting film. This is due to the novelty of the lead being a criminologist and therefore well able to defend himself when all the rest of the cast, for some reason or other, seem leagued against him. There are some unnecessary scenes, and the play is attenuated in order to fill the two reels. A good deal of the mystery in the play is dispelled by subtitles which anticipate the action. At times there is too much detail and at others too little. While the fact that he is a criminologist gives the offering a certain amount of atmosphere, there is very little use made of the fact during the play. The title is not very applicable to this story, being one of those alluring captions that are designed to attract spectators through the name and which has no particular application to the subject at hand. There are times after the clerk loses his mind when his acting is overdone, and the play becomes crude. Throughout the offering the natural lighting is an artistic achievement. The acting of the above cast was dignified and in keeping with their characters, for the most part. The criminologist hides at the site of the place where his father was murdered, as he knows that the murderer will return to the scene of his crime. His rival is doing the best he can to win the girl while he is on the watch, find it is only when the murderer returns and confesses, not only to his crime, but also to the fact that the rival saw the deed committed, that he can go to claim the girl and see his rivals link away in shame.


Review from Moving Picture World, December 27, 1913

AN UNSEEN TERROR (Special--2 parts--Dec. 31).--Anita, Frank's sweetheart, objects to the boy's interest in criminology. Hugh, Frank's rival, resolves to win Anita at all hazards. Tully, a clerk, loses his savings in the stock market. He receives a tip which promises to net him a fortune if he can raise a few hundred dollars. Mr. Leonard, Frank's father, stumbles over a bludgeon, one of his son's curios. He throws it into the street in anger. Tully finds the weapon. He conceives the idea of getting money by crime. Later, the man strikes Leonard down and robs him. Hugh witnesses the assault. Leonard dies as the result of the blow. The bludgeon is recognized as Frank's property. Hugh conceals his knowledge of the murderer's identity. Frank makes his home near the scene of the murder, believing that the slayer will eventually return to the spot.

Tully learns that his victim is dead and flees from the city. Constant thought of the crime causes him to lose his mind. He feels an irresistible desire to visit the scene of the murder. Anita becomes angry because Frank has devoted so little of his time to her since the night of the murder. She writes him a note declaring that she will break their engagement unless he calls that evening. Frank, however, writes that his vigil will make it impossible for him to obey her request. Hugh learns of this and urges Anita to break her engagement to Frank. Tully returns to the city. Frank sees the conscience-stricken wretch fearfully approach the scene of his crime. The criminologist captures the man. Tully confesses. Frank learns that Hugh had witnessed his father's murder. The boy calls at Anita's home. He reveals Hugh's despicable conduct. Anita orders the man from the house. With his arms about his sweetheart, Frank watches his rival slink from the room.

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