The story
“There is much in Ouida’s celebrated novel which lends itself admirably to adaptation for the film, and the Thanhouser Company has condensed it in a way which follows the book closely in its main features, and gives occasion for some very effective stage pictures. The opening scenes show Vere at the home of her guardian, the Duchess of Mull, who thinks, however, that the girl ought to see more of her mother, Lady Dolly Vanderdecken, and writes suggesting that Vere should join her in Paris. This arrangement is by no means to Lady Dolly’s taste, who prefers to spend her life unhampered by the company of an exceedingly attractive daughter. She therefore decides to marry Vere to Prince Zouroff. But Vere is not attracted by his personality or his somewhat notorious reputation, particularly after meeting the eminent tenor, Correze, who sees her paddling, and rescues her at serious risk to his shoes and stockings.
“After trying threats and entreaties in vain, Lady Dolly at last persuades Vere to accept the prince by pretending that he has it in his power to ruin her if he is refused. The marriage takes place, but Vere soon discovers that her husband is an abandoned profligate, who has so little respect for his wife as to introduce women to his house to whom he is openly making love. Vere’s refusal to submit to this treatment decides the Prince to banish her to his estates in Poland, telling her that she shall only return to Paris on the condition that she consents to receive his friends. Zouroff returns to Paris, and, meeting Correze at a reception, he insults him publicly. A duel is arranged, and Correze is seriously wounded. He recovers, however, and learns that Vere has succeeded in obtaining a divorce. He hastens to her, and nothing further stands in the way of their future happiness. There is very little action in the play, and it is somewhat unduly drawn out by the very deliberate methods of the company, who all seem to play too slowly. The setting is elaborate and sumptuous, and many of the scenes are very beautiful, while the photography is of excellent quality. Some very effective snow scenes are shown, though the arrival of a band of exiles to Siberia at Prince Zouroff’s castle, whatever value it may possess in the novel, seems to have little bearing on the plot of the play. The version of Tannhäuser, which we reviewed in a previous issue, was given again on the same occasion, and gains immeasurably by the music by the very excellent band at the West End Cinema. This elaborate film well repays a second visit.”
Summary from The Bioscope · 16 October 1913
