“Following closely upon the heels of recent Gladys Hulette successes, The Candy Girl offers a typical vehicle for this particular star and a story that is brimming over with human interest. Its success lies in the quaint pathetic appeal intermingled with a tinge of humor that increases the holding power upon an audience. The story is simple, dealing with a country girl who goes to the city to start a candy store and the trials that follow such a venture. The dramatic value is increased by the subtle romance woven through the plot. This tenseness is increased after the fact that the youthful husband is a drug fiend is unfolded to the audience. In choosing the characters the director has never lost sight of the human side, such as the policeman who takes such an interest in the welfare of Al, and the old miserly landlord who is completely won over by the girl’s smiles. Able direction successfully accomplishes an even continuity, and at no time does the action drag. The photography is commendable.
“The power of appeal of the character of Nell is enhanced greatly by the clever portrayal by Gladys Hulette. After an exhibitor has become acquainted with past releases featuring Gladys Hulette, he will understand the convincing manner and the almost pathetic touch given the part by her. The star’s acting is realistically presented, which makes the character of Nell a living, breathing human being. William Parke, Jr. and J.H. Gilmour as the son and father, respectively, present able roles, while little Helen Badgley adds just another human side to the cast. There is no doubt but that The Candy Girl will provide an excellent attraction for community theatres or for those theatres whose patrons enjoy real stories from life with all the sexy and sensational features eliminated. It is a meritorious Thanhouser production of exceptional box office value.”
REVIEW by Joseph F. Reddy, The Morning Telegraph, May 6, 1917:
“The personality and fine acting of little Gladys Hulette and the high-class support rendered her by William Parke, Jr., makes The Candy Girl an interesting feature in spite of the lack of originality and strong story. Miss Hulette as Nell, a petite country girl with a penchant for making delicious fudge, received the greatly overfilmed task of winning her young sweetheart, then her husband, from the morphine habit, with the usual outcome. What is there than can stand between true love? Nell introduces no new methods into breaking Jack Monroe of his vicious habit, but then the vehicle needed none to assure the winsome Miss Hulette of success.
“For three reels the picture is just as sweet as the name implies. In that period the director introduced a number of human touches—they were needed to keep up the action—giving a host of kiddies one grand May party with fudge as the chief source of happiness. Tiny Helen Badgley, as Nell’s sister, gets home some of the best touches of the picture with her exceptionally clever delineation of the happy kid surrounded by a world of candy. Then enters the venomous morphine habit—in Jack Monroe. William Parke, Jr., however, does not portray the exaggerated type of a ‘dope fiend’ but holds his acting within bounds and never becomes objectionable, as many do who play similar parts.
“The story has good continuity, but was obviously written as a vehicle for the two youngsters who take the leading parts. Nell, a little country girl, finds things going against her aunt whose chicken farm is not paying; and comes to New York to open a candy shop—she has become noted for ability to make fudge. Things go bad for her until she meets Jack Monroe, who wakes up business with the aid of a host of dirty-faced but enthusiastic kiddies to whom he plays banker. Then comes the marriage—even after Jack’s father had warned Nell his son was a weakling. Nell does all in her power to win her husband away from his habit, but he continues it, until one day he knocks Nell onto the floor unconscious. Things bring him to his senses and, with the aid of a physician, he is restored to normal manhood.”
REVIEW by Edward Weitzel, The Moving Picture World, May 19, 1917:
“The most illustrious example of the girl who started making candy at the kitchen at home and ended up by becoming the owner of an extensive shop on Broadway is Mary Elizabeth. In The Candy Girl, a five-reel Thanhouser photoplay written by Philip Lonergan, the heroine of the story aspires to the same exalted position. She achieves the star and a deal of romance as well. Two men fall in love with her. One is poor and a musician; the other rich, but given to wasting money. He has a good heart, however, and Nell, the Candy Girl, marries him. She at once discovers that life is not all love and kisses. Young Monroe is a drug fiend and, although his father has tried every available means to have him cured, the boy is still addicted to the habit. Nell’s devotion triumphs in the end and gives her husband the moral courage to throw off his chains.
“The change from the simple motives of the earlier part of the story to the discovery of young Monroe’s secret vice is somewhat startling, to say the least; but, taken as a whole, the picture will be enjoyed by those who may be termed middle class spectators. Gladys Hulette is Nell, the candy girl. She enters into the spirit of the part with enthusiasm and makes Nell the wholesome, attractive little woman intended by the author. She is well supported by William Parke, Jr., J.H. Gilmour, Thomas A. Curran, and Helen Badgley.”
