| . |
|
. |
| College of Communications | ||
 |
Robert W. Chambers Filmography proprietary research for upcoming
|
|
| . |
|
. |
| College of Communications | ||
|
Robert W. Chambers Filmography proprietary research for upcoming
|
|
| . | . | . |
| Filmography
1918 |
. | . |
Title and Credits
 |
Cast
|
Descr.
|
| . | . | . |
| The Business of Life (1918) | ||
| Country: USA
Color: Black and White Sound Mix: Silent 5 reels Status: LOST Directed by
Written by Katherine S. Reed (as Katherine
Reed)
Cinematography by
The Business of Life Cast: Alice Joyce (Jacqueline Nevers)
|
Cast (in credits order)
Alice Joyce .... Jacqueline Nevers
|
The Business of Life (1918)
Vitagraph Co. of America. A Blue Ribbon Feature. Distributor: Greater Vitagraph.
Director: Tom Terriss. Scenario: Katherine Reed. Camera: Joe Shelderfer.
Cast: Alice Joyce, Betty Blythe, Walter McGrail, Percy Standing, Mrs. Nellie
Spaulding, Templer Saxe, Herbert Pattee. Woman antique dealer falls in
love with a client, who has too many former girlfriends.
Synopsis: The Business of
Life was based on a story by Robert W. Chambers which first appeared in
the pages of Cosmopolitan magazine. Much of the film deals with the rivalry
of Jacqueline Nevere (Alice Joyce and Elena Clydesdale (Betty Blythe )
over the affections of Elena's husband Carry (Percy Standing). It was all
very polite and civilized, and most of the story was staged within the
walls of a posh country estate (evidently the real thing and not a set).
Many critics were impressed by the method in which the characters were
introduced: The subtitles were superimposed on the action, rather than
presented separately. Though technically an Alice Joyce vehicle, The Business
of Life was subtly stolen by supporting actress Betty Blythe). ~ Hal Erickson,
All Movie Guide
|
| Review from Variety, April 5, 1918
THE BUSINESS OF LIFE Jacqueline Nevers Alice Joyce Elena Clydesdale Betty Blythe James Desboro Walter McGrail Carry Clydesdale Percy Standing Aunt Hannah Mrs. Nellie Spaulding Waudle Templer Saxe Cairus Herbert Pattee Interesting and entertaining covers "The Business of Life," the latest Vita graph Blue Ribbon feature which has Alice Joyce featured. It is about the best feature that the Vitagraph has turned out of the studio in about a year, but to those that read the story the finer sub-titles will be missing. "The Business of Life" was written by Robert W. Chambers and originally appeared in The Cosmopolitan Magazine. In its serial form the story held great interest, but in its picturized form there is much lacking that was in the original. There is, however, the added interest of the playing of Alice Joyce in the leading role and the support that Betty Blythe gives her. This latter is not to be underestimated. She and the star hold the picture. That Blythe girl is "some girl." Miss Joyce is just about short of wonderful. The principal fault, however, in having Miss Blythe in a picture with her is the fact that in the long shots the two resemble each other so much that it is hard to tell them apart. The production was directed by Tom Terris [sic] and he has achieved some clever results. The camera work is especially good. One of the points is the titling. There is a novelty in this one that will strike home. The principals are introduced in action with the introductory lines appearing on the space that is blanked out by the camera iris being closed This will hit many of the directors as the most effective feature. It saves footage and helps the action. The sets are generally effective and it looks as though the Vita took over a country home of someone or another and lighted the interior for their house scenes. "The Business of Life" is a feature
out of the ordinary run of Vitagraph program material and can be made a
whale of a picture if retitled so that the action would be in keeping with
the original story. As it is it is bound to have a decided value as an
entertainment to the women audiences.
Review from the New York Dramatic
Mirror, April 13, 1918
Five-Part Drama by Robert W. Chambers, Featuring Alice Joyce. Produced by Vitagraph Under the Direction of Tom Terriss. The Players--Alice Joyce, Walter McGrail, Betty Blythe, Percy Standing, and Templer Saxe. POINTS OF INTEREST
"The Business of Life," picturized from Robert W. Chambers' "best seller" of the same name, provided Vitagraph with a production that meets every requirement in the way of good entertainment. Its story, concerning a girl's faith in a man of somewhat questionable habits and reputation, is well developed and constitutes an interesting diversion from the ordinary type of film. The feminine characters are particularly well drawn. Alice Joyce as the heroine of the tale, Jacqueline of the antique shop, has a sympathetic role. As usual, Miss Joyce's characterization is one of sincerity and appeal. In addition to her great beauty, Miss Joyce possesses a charm and distinction that make any part in which she appears interesting. "The Business of Life" was so skillfully constructed that the outcome of its story was kept secret until the very end. Jacqueline, the heroine of the drama, is a business woman both through choice and necessity. She maintains her deceased father's antique shop and so intelligent and talented is she that her opinion is held in high favor by collectors of art objects. In this way she meets Jack Desborough who--to pay his debts, contracted through generosity to "girls in blue-first row" -- is compelled to part with the family heirlooms. He asks the assistance of Jacqueline in helping him to catalogue the collection. This brings the two into close relationship and Jack falls victim to the girl's charm. She is sincere in her love for him and believes in him, though at times she is well nigh disheartened because ghosts from his past are forever appearing in the flesh. One in particular--the beautiful wife of one of Jacqueline's business friends--resents Jack's indifference to her and his attention to the "shop lady" and almost breaks Jacqueline's faith. But in the end, through her belief and trust in him, Jack is thoroughly reformed and the two embark on a ship of love, happiness, and faith. In support of Alice Joyce, Walter
McGrail was seen to advantage as Jack and Betty Blythe made a particularly
pretty "ghost from the past." Percy Standing and Templer Saxe contributed
excellent performances. The picture was well directed and staged and should
prove exceedingly popular.
|
Reviews from Moving Picture World
April 13, 1918 "THE BUSINESS OF LIFE."
The Story: In order to raise funds James Desboro, a bachelor, negotiates with Jacqueline Nevers, who is conducting the antique business of her dead father, for the sale of his vast collection of antique armor. Jacqueline goes daily to his home in Silverwood to chronicle the pieces, and he falls in love with her. Desboro gives a house party, to which Jacqueline and Mrs. Clydesdale, a woman in love with him, are invited. At a game they play Jacqueline is hidden and is told that she shall marry the man who finds her. So that Desboro will not locate her Mrs. Clydesdale detains him in another room until the game is over. When Desboro learns of the trick he upbraids Mrs. Clydesdale and married Jacqueline. Mrs. Clydesdale poisons Jacqueline's mind against her husband, and the two are estranged. Illness overtakes Mrs. Clydesdale, who has been reconciled to her husband, and, remorseful, confesses to Jacqueline that what she said against Desboro is false, and Jacqueline goes back to her husband. April 20, 1918 "THE BUSINESS OF LIFE"
TAKEN from a novel by Robert W. Chamber, "The Business of Life," a five-part Vitagraph Blue Ribbon Feature, still retains its novel form. Picture novel is the correct classification for it. The motives are dramatic enough, but they are not treated as a dramatist would handle them. Most of the characters are cursed with the Chambers creations' want of red blood and their ability to suppress their emotions. Persons who are interested in the well-bred automatons to be found in the pages of this writer's greatly overrated books and are satisfied never to have their own pulses quickened will enjoy "The Business of Life." The scenes belong chiefly to what is known as "polite society." The heroine, Jacqueline Nevers, is drawn with real charm. She is a fine specimen of young womanhood, intellectual, highly cultured, and is carrying on her dead father's business, the elder Nevers having been a dealer in antiques. James Desboro, a wealthy young fellow who has gone the pace with an number of chorus girls and who is also unfortunate enough to have excited too warm a regard in the bosom of a married woman, engages Jacqueline to catalogue the family collection of armor. The two fall in love, and Desboro finds it somewhat difficult to prevent the lady-loves of his gay past from coming between them and causing him to lose Jacqueline. Desboro has acted honorably toward the married woman, the wife of a friend, and is forgiven for his other indiscretions. Alice Joyce is admirably adapted to the part of Jacqueline and looks lovely enough to fulfill the author's description of his heroine. Betty Blythe as Elena Clydesdale, Walter McGrail as James Desboro, Percy Standing as Garry Clydesdale and Nellie Spaulding as Aunt Hannah are entirely satisfactory. Templer Saxe as Waudle and Herbert Pattee as Cairus make caricatures of the two parts. Tom Terriss directed the picture and has given it an agreeable air of refinement.
|
|
| . | . | . |
| The Danger Mark (1918) | ||
USA 1918 B&W
Directed by
Written by Charles Maigne
Cinematography by
Other crew
The Danger Mark Cast: Elsie Ferguson (Geraldine Seagrave)
|
Cast (in credits order)
Elsie Ferguson .... Geraldine Seagrave
|
Synopsis: The always reliable Elsie Ferguson stars in Danger Mark . Made before the advent of nationwide Prohibition, the film is a hard-hitting indictment of the evils of alcohol. Ferguson plays a society girl whose life is ruined by her fondness for the grape. She manages to pull herself together in time to rescue her boy friend (Mahlon Hamilton) from likewise drinking himself into oblivion. It's a creaky tale, but Elsie Ferguson saves the proceedings with her subtle underplaying. ~ Hal Erickson, All Movie Guide |
| . | . | . |
| The Girl of Today (1918) | ||
| USA 1918 Black and White
Sound Mix: Silent Produced by: Vitagraph Company of America Distributed by: Greater Vitagraph (V-L-S-E, Inc.) Also Known As: New York, or Danger Within (1918) (working title) Directed by: John S. Robertson Written by Harry O. Hoyt and John S. Robertson
Cinematography by: Charles J. Davis
The Girl of Today Cast: Corinne Griffith (Leslie Selden) |
Cast (in credits order)
Corinne Griffith....Leslie Selden
|
Synopsis: Written by Robert W. Chambers, who the following year would pen the scurrilous "red scare" novel The Crimson Tide, The Girl of Today played on the widespread fear of German agents infiltrating American radical groups. Posing as a Danish scientist, the nefarious Dr. Wolff (Marc McDermott) will stop at nothing to reach his insidious goal, the destruction of the New York City transportation system on January 27, the Kaiser's birthday. But a saboteur working for Dr. Wolff is tailed by Jack Wynn (Webster Campbell), the son of a war materials manufacturer. Together with the patriotic Leslie Selden (Corinne Griffith ), Jack manages to alert the authorities right before Dr. Wolff's incendiary bomb blows everyone to kingdom come. ~ Hans J. Wollstein, All Movie Guide |
| . | . | . |
| The Women Between Friends (1918) | ||
| Country: USA
Color: Black and White Sound Mix: Silent 5 reels Status: LOST Directed by Tom Terriss
Writing credits
The Woman Between Friends Cast: Alice Joyce (Cecelie)
|
Cast (in credits order)
Alice Joyce .... Cecelie White
|
.The
Woman Between Friends (1918) Vitagraph Co. of America. A Blue Ribbon
Feature. Distributor: Greater Vitagraph. Presenter: Albert E. Smith. Director:
Tom Terriss. Scenario: Tom Terriss. Camera: Joe Shelderfer. Cast: Alice
Joyce, Marc MacDermott, Robert Walker, Edith Speare, Katherine Lewis, Mary
Maurice, A.B. Conkwright, Bernard Siegel. Sculptor plans to avenge himself
on the man who ran off with his late wife by stealing the man's new love
and forcing him to commit suicide.
Synopsis: Artists John Drene (Marc MacDermott) and Jack Graylock (Robert Walker) have been friends for 20 years. Drene gets married, but he neglects his wife (Edith Speare) for his work and she and Graylock become involved. She leaves her husband and Graylock follows her to Nice. Drene, meanwhile, goes to Paris where he meets up with Cecelia (Alice Joyce), a flower girl he had once befriended. Graylock asks her to pose for him, and she meets Mrs. Drene, but assumes she is married to Graylock. The two men then run into each other at a carnival. Mrs. Drene is there too, wearing a mask, but her gown catches on fire and she is burned to death. Cecelia later sees a picture of the woman and tells Drene she knew her as Mrs. Graylock. Drene realizes his friend has betrayed him and virtually forces him to shoot himself. Grayson recovers, but he is ostracized from his circle. Drene and Cecelia, meanwhile, get married. This picture was adapted from a Robert W. Chambers novel, Between Friends. ~ Janiss Garza, All Movie Guide |
| Review from Variety, Feb 22, 1918
THE WOMAN BETWEEN FRIENDS A Vitagraph feature, with Alice
Joyce and Marc McDermott [sic]. Taken from the Robert W. Chambers' book,
"Between Friends," constructed and directed for the screen by Tom Terriss,
the story has most of the standard elements of what has been known as "sure-fire"
for picture fans, the triangle, added heart interest, and studio (artist)
setting.
Whether the New York theatre is acting malignantly in the manner of presenting
features on Friday with studio sets among the scenes is a matter for the
Loew conscience, but it is a fact happening right along. "A Woman Between
Friends" makes a whole lot better subject as it has been developed for
the camera than the bare skeleton of its story might convey. Readers of
the Chambers book may look forward to an absorbing tale. They are going
to find it real holding in this picturization. Besides an intricate plot
smoothly worked out, there is an extremely well balanced company of competent
players, production through direction most worthy of favorable notice from
the ultra-critical, and a wealth of continuity to the action that has done
away with any dragginess. One point of this Vita feature should be dwelt
upon. That is the absence of quick flashes of poses that is gaining an
alarming list of disciples among directors, it would seem. It may be a
table or desk scene with three principals in the centre. Close-ups are
shown of one, bust usually, than the other and then another, then the group,
close-up and ordinarily, then a repetition of the tiresome thing to catch
"expression" or whatever the picture people may call it. The story starts
with two flower girls at Nice (France) indulging in a light flirtation
with two traveling artists, friends for 20 years. This leads to scenes
in the studio quarter of Paris, a marriage of one of the artists, the loss
of his wife through the other artist and friend stealing her, and the tragic
death of the wife by burning to death at a Carnival Ball in Nice. The burning
scene is cleverly handled to remove too gruesome a touch. This is accomplished
by some vagueness and was quite an experiment, successfully made. The Carnival
scene itself is full of life and color. The story goes into a sort of a
rolling ball from that point, bringing out the attempted suicide of the
false friend to prevent the bereaved husband from wrecking vengeance upon
one of the flower girls (Miss Joyce) with whom the villainous artist has
fallen deeply in love, although the girl's affections are for the other
artist. The finish leaves open a question if the villainous artist did
not expiate his sin through accepting death to prevent another ruin. Miss
Joyce looked her part, and has a rather nice look to her. She played as
well, but no better than the remainder of the cast. One scene during which
Death as a character was brought in to snatch its victim was well presented
in the characterization and the entrance. Death is probably the most difficult
character to consistently present upon the stage or screen. "The Woman
Between Friends " is a good program feature, different from the customary
story of its kind.
Review from the New York Dramatic
Mirror, February 16, 1918
Five-Part Drama by Robert W. Chambers, Featuring Alice Joyce and Marc MacDermott. Produced by Vitagraph Under the Direction of Tom Terriss. The Players--Alice Joyce, Marc MacDermott, Robert Walker, Edith Spears, and Katherine Lewis. POINTS OF INTEREST
In Robert W. Chambers' "A Woman Between Friends," the characters are so well drawn and the situations so well conceived, that Vitagraph's latest vehicle for Alice Joyce offers film entertainment of the best sort. Mr. Chambers has fashioned his story along romantic as well as realistic lines, and has through his careful plot construction built up a keen interest in the outcome of his tale. As the title indicates, it is a woman's influence that causes two men to break a friendship of years' standing. And for the excellent plot development of this triangular drama too much praise cannot be given the director and players who entered so well into the spirit of the piece. Alice Joyce, as Cecelie, the flower girl, displayed her ability as an actress of feeling and restraint, and was at all times rarely beautiful and charming. Miss Joyce always gives a sincere and sympathetic portrayal, and as Cecelie she has added another delightful characterization. Marc MacDermott suggested the French artist both in manner and action, and at all times acted with understanding of the role. Robert Walker gave an excellent performance in a rather unsympathetic role. Minor parts were well taken by Edith Spear and Katherine Lewis. When John Drena married, he declared eternal friendship for his lifelong companion, Jack Graylock. So it was without fear that he entrusted his butterfly wife in Jack's care while he completed a state of great importance. But temptation proved too strong for Jack and he and his friend's wife depart for Nice, where they live together a few months--unknown to Drena. At the carnival at Nice, Drena's wife is killed, and he returns sorrowfully to Paris, followed by Jack, who had meanwhile become deeply in love with a flower girl of great beauty, Cecelie. Cecelie comes to Paris, too, and inadvertently reveals Jack's past relations with Mrs. Drena. Drena vows revenge and informs Jack that he will force Cecelie to love him and will then treat her as Jack had treated his wife. But upon Jack's promise to kill himself to save Cecelie from such a fate, Drena relents and promises to marry Cecelie the day of Jack's death. But upon finding himself truly in love with the flower girl, Drena wishes to free Jack from his oath. But Jack, though not mortally wounded, had shot himself. However, upon hearing of Jack's chances for recovery, Drena, no longer feeling himself a murderer, asks Cecelie to marry him and happiness is restored at last. There were some beautiful and elaborate
scenes showing Nice at carnival time that will prove of interest to audiences.
As a whole, "A Woman Between Friends" should prove an attractive box-office
feature. Exhibitors should advertise the stars, Alice Joyce and Marc MacDermott.
|
Reviews from Moving Picture World
February 16, 1918 "THE WOMAN BETWEEN FRIENDS"
The Story: Drene is a sculptor who is completing his masterpiece with his wife for his model. Gaylord, his friend, has won and discarded the wife, and he now turns to Cecelie, the flower girl, who loves Drene. Cecelie has seen Gaylord and Mrs. Drene together and supposes from their actions that they are man and wife. Mrs. Drene's dress catches fire at a street fete and Drene's grief reveals their relationship to Cecelie, whose knowledge of the unworthiness of the wife is discovered by Drene. He vows to be avenged by Gaylord's death, but Cecelie averts a tragedy and brings peace to both February 23, 1918 "THE WOMAN BETWEEN FRIENDS"
ROBERT W. CHAMBERS is the author of "The Woman Between Friends," a five-part Vitagraph Blue Ribbon Feature directed by Tom Terries and starring Alice Joyce and Marc MacDermott. The picture is excellent in every respect. It is consistently dramatic in story, has variety of scene, convincing local color, intelligent direction ,and a thoroughly capable cast. Artist life in Paris furnishes the background, and the plot is highly romantic. The friends of the story are John Drene, a sculptor, and Jack Graylock, a painter. Both men swear eternal friendship on the night before Drene's marriage. Later on the artist runs away with the sculptor's wife. The couple tire of each other, and the woman becomes an outcast. Then Graylock falls honestly in love with a flower girl, one of those sweetly innocent young women found in romance of the Chambers school Her name is Cecelie, and she follows the painter back to Paris. He installs her with the housekeeper of the studios where he lives, and introduces her to Drene, who is at once inspired to employ her as the model for a half completed statue posed by his wife. Drene, who was present when the runaway woman paid for her folly be being accidentally burned to death, has never suspected his friend, but Cecelie unintentionally betrays him. Drene is filled with a determination to kill Graylock at once. He then concludes that this would not be sufficient punishment, and informs the artist that on a certain day he must shoot himself or be killed. As a further revenge, Drene makes up his mind to wind Cecelie away from Graylock. He starts to put his plan in operation, not knowing that the girl has already fallen in love with him. Her gentleness and devotion soften his heart toward his one time friend, and he tries to prevent Graylock from carrying out the compact. The artist fires the shot as agreed, but only wounds himself, and Drene finds peace and happiness with Cecelie. Alice Joyce has never done anything
better than her playing of the flower girl, whose wistful gentleness and
appealing beauty just suit her personality. Marc MacDermott as John Drene,
Robert Walker as Jack Graylock, Edith Speare as Drene's wife, and Katherine
Lewis as Cecelie's sister are the other names on the program.
Review from Motion Picture Classic, May 1918 (thanks to Randy Bigham for this review) Frederick James Smith, "The Celluloid
Critic,"
|
|
| . | . | . |
 |
 |
|
| Copyright © 1998, 2002, 2003Miskatonic University Press / yankeeclassic.com, all rights reserved | .image restoration
by
www.yankeeclassic.com/web |
. |
 |
    |
|
