David Copperfield

“Confined to a space of 3,000 feet, three reels, this monster subject is yet one of the most brilliant productions released through the regular channels for some time. Unlike so many reproductions of famous stories of famous plays, this one would have been immensely interesting without the fame already attached to it, for it is so cleverly done and as clearly put on that it is at once intelligible and entertaining as plain simple production. The proper atmosphere has been obtained with stage arrangements and varieties of scenes too numerous to mention. The costuming, not an easy thing to do correctly, has been carefully handled by both the director and by each actor in the cast. The numerous seaside scenes, the boarding school of Creakle’s and Aunt Betsey’s house are all real and natural places, well gotten up and so well connected with the play that they remain indelibly stamped upon the memory long after the film has been seen.

“The production is divided into three distinct parts as well as the film itself, each part being commensurate with the divisions in the film, so that each reel is a complete story by itself, and can, if necessary, be exhibited as a complete story. The first is ‘David Copperfield’s Younger Life;’ the second story of ‘Steerforth,’ and the third, the ‘Loves of David Copperfield.’ The three films will be released on three consecutive Tuesdays, so that any exhibitor using but one Thanhouser film per week will be sure to get the entire production without interruption. David Copperfield is, of course, played by three different people, but each actor carries the part well. David is not the central figure, however, as the book is not so much concerned with what David did as what he saw. The director has noticed this and has laid much emphasis upon the characters surrounding David. Thus, Micawber, while a humorous character, is one of the most interesting in the cast. Little Em’ly attracts more attention than perhaps any other single player for her size and manner provokes sympathy throughout the play both when played by the Thanhouser Kid in the first scenes and by an older actress later.

“Next to Em’ly and Micawber, Uriah Heep is perhaps the most interesting person both for his make-up and splendid acting. Murdstone, David’s foster father, has created himself a conspicuous part, and despite the disagreeable scene in which he encounters Aunt Betsey and her broom, he gains the sympathy of the audience. While we do not see Aunt Betsey drive the donkeys off the lawn, we saw the lawn and Aunt Betsey in it. Her adoption of David, while occupying only a very few feet of film, is a graceful accomplishment. Her surprise is excellently expressed when David appears ragged and tattered before her eyes, while her indignation at Murdstone’s attempt to take David away is nicely handled. She succeeds in creating good humor in this scene without spoiling the dramatic effect which has been created shortly previous.

“Dora might have been improved, for she seems to be an almost sensible girl instead of the little doll Dickens has created her. She is pretty, however, one can find no fault with David when he becomes infatuated with her. Perhaps her part only lacks naturalness in the light of the splendid character of the other parts, and surely she has a hard part to play. In the hands of the director of the company the splendid play is made to live over again, each person alive before the eyes and yet of that seemingly unchangeable character as Dickens has created each. The film is the prize of the winter season so far as the season has progressed, and sets the pace which will be hard to follow by large productions coming later.”

“Like many former photo presentations of noted stories, this first of the Thanhouser Dickens series is in reality a run of tableaux of the first part of David Copperfield, which, with the aid of many sub-titles, pictures events in the beginning of the book. In other words, it acts as a series of moving illustrations to the text. It begins with the lad’s birth when his Aunt Betsey is furious because he is a boy, depicts the wooing of Mr. Murdstone and his marriage to David’s mother, David’s visit to Peggotty’s brother Dan and his meeting with little Em’ly, his return home and ill treatment by his step-father, the death and funeral of his mother, his being taken to school where he is abused by the boys and his being placed in the bottling works from which he runs away to his aunt, his journey thither, his arrival and reception, and the visit of Mr. Murdstone, who is sent on his way by the irate aunt. The photography is excellent, the acting of a high order, the settings well made and the exteriors creditably chosen. To students of Dickens it will prove interesting and should have usage in literary classes.”

“David, grown to manhood, leaves home for a visit to Yarmouth and at a roadside inn meets Steerforth, whom he brings with him. On their arrival they hear of the engagement between Emily and Ham. During the next few days Steerforth and Emily are seen together much of the time. Then Emily defends Martha, who is being stoned by the villagers. After seeing Steerforth and Emily together some more they elope and Ham is given her farewell note, which he shows to David, and which they take to the uncle and aunt.

“In Italy Emily is deserted by Steerforth, when she tries to cast herself into the sea, but is rescued by an Italian woman. In England she goes to Martha, who befriends her. The old folks come to her and she writes her husband that she is going to Australia and begs him to forget that she had ever wed. Ham later sees a ship in distress, and after picturing the crowds on the beach Ham attempts to swim out and saves one lone person, who proves to be Steerforth, Ham being drowned in his attempt. The water scenes are well taken save that no storm is pictured. The rest of the film is much like the first in that it is really a series of motion illustrations to the original, with interjections in type to explain the action. It would hardly carry as a strong motion picture story were one unfamiliar with the Dickens’ novel, in other words. In point of costume and settings, as well as of environs chosen, it is admirable.”

“The Loves of David Copperfield is the complete title of this film which is the third and last of this Thanhouser Dickens series. In some respects it is a trifle more pleasing than the preceding reels, perhaps because some of the characters stand out more forcibly, notably those of Micawber and Uriah Heep; and it also gives an impression of being a bit more pretentious mechanically, though the first two parts were entirely adequate in this regard, for in atmosphere the Thanhouser Company has attained remarkable effects, both as to costumes and settings.

“But like its fellow offerings this last reel is in reality little more than a continuance of the tableaux—living illustrations to the text, save that the characters move about, which was not possible in the days when we delighted in ‘wax works’ performances. A subtitle and then the action following it, another sub-title and another scene, and so on until the end of the tale. This is not a slur upon the makers by any means, for little else could be accomplished in motion pictures with this particular Dickens story, which lacks rapid and vivid action of modern day literature, such as is contained in his A Tale of Two Cities, recently successfully made into a film. [This reference is to a three-reel Vitagraph film released in March of the same year.] This last reel takes in the planning of Uriah Heep to rob Aunt Betsey, the engaging of Micawber as a clerk in the counting house, the marriage of David and Dora, Micawber getting proof of Heep’s forgery, David’s wife proving herself a poor housekeeper. Dora becomes ill and sends for Agnes, on her deathbed Dora begs Agnes to wed David, after Dora’s death David starts for abroad, two years later David returns. David learns of Agnes’ love, and the tale ends in their embrace.”

“This is the third in the David Copperfield series. A very great deal of matter is crowded into this part. It doesn’t grip quite so powerfully as the first two parts, but that isn’t saying that it is weak. It is very interesting and good. Taken as a whole, the three reels are very much worthwhile. The novel has been done before. No comparison is needed. Spectators may prefer this character as portrayed in one and that character as portrayed in the other. But most will be very pleased and delighted with these other motion pictures of our best novel.”

MUSICAL ACCOMPANIMENT (Parts I, II, and III). Musical suggestions from the Colonial Theatre, West Hoboken, New Jersey, for the David Copperfield series were published in The Moving Picture World: