When Love Was Blind

“The scenario of this five-reel photoplay was written by Agnes C. Johnston, and is a radical departure from her usual style of work. The story is not at all convincing. It is given a careful production by the Thanhouser Company and the cast is led by Florence LaBadie. A longer review appears on another page of this issue.”

REVIEW by Edward Weitzel, The Moving Picture World, April 14, 1917:

“When a writer has made an unusual success in one branch of work it is generally safer to stick to that line of endeavor. Agnes C. Johnston, the author of When Love Was Blind, a five-reel photoplay produced by Thanhouser, has earned an envious reputation for her whimsical, often irresponsible, but always entertaining, stories for the screen. In the play under discussion she has attempted to give an authentic reproduction of several serious phases of life, and has quickly found herself beyond her depth. Lack of experience in the deeper moods of existence prevents much of her story from ringing true—an indictment that makes the entire picture unworthy of serious consideration. The efforts of Florence LaBadie, who heads the cast, and of Frederick Sullivan, director of the picture, lend every possible assistance to Miss Johnston’s story, but the scenario is never worthwhile.”

“Undeniably the chief requisite for an entertaining presentation of a simple heart interest story, such as the kind that readily flows from the pen of Agnes C. Johnson, is a thoroughly careful adherence to continuity. Thanhouser’s production of When Love Is Blind is a simple heart interest picture, with a well constructed plot. The story concerns a young blind girl who undergoes an operation that restores her sight, at the expense of a young man who at first feels only a platonic affection for her but afterward comes to want her for a wife, and gets her. It is told pleasingly, with unbroken sequence, and acted by a company of players who get all the worth possible out of their parts. The direction is adequate and the settings and exteriors are a help. Florence LaBadie deserves special mention for the manner in which she acted a role that does not call for much more than a pleasing personality. She really makes quite a lot out of it. The clear photography shows her to advantage. Although there have been a multitude of heart interest stories released lately, here is an opportunity for an exhibitor to book one that will not prove a bore to his patrons. When Love Is Blind will go in any class of motion picture house.—F.T.”

“It has taken the combined efforts of the Thanhouser players, Frederick Sullivan, the director, and Agnes C. Johnston, the author, to make a five-part photoplay, with the above title, which is neither drama nor comedy, nor a satisfactory mixture of both. It is full of absurdities and inconsistencies from a dramatic point of view, and strikes a number of discordant notes where harmony is essential to graceful continuity.

“Eleanor Grayson, left to the care of a housekeeper by her father, an artist who dies, grows up blind. Burton Lester, another artist, takes her father’s studio, and they fall in love. Burton finds that an operation can restore her sight. He provides for it, and on recovering her sight she learns that Lester has made a mistake in his marriage, his wife not being in accord with his ideals. Eleanor leaves, comes to New York, finishes her father’s picture (another masterpiece) and was renowned through it. Hargreaves, a society man, wins her affection. Vera, his sister, a frivolous young thing, made up to imitate Mary Pickford, visits a cabaret unknown to her rather careful brother. She loses her necklace and being afraid of her brother gets Burton to help her recover it. Eleanor, having refused Burton’s plea for love, is forced to tell of her past to Hargreaves, and is shunned by him. As she is preparing to get away from both men by an early train she meets Burton and Vera. She remonstrates with Vera, declaring that Burton shall not break another girl’s heart as he had broken hers, but is pacified when she learns they were only going after Vera’s necklace. Overturning a vase arouses the household, Vera escapes to her room, and the guests see Eleanor and Burton together and receive an invitation to the wedding. The production is one of the frivolous, inconsequential things which, while they do no good, at the same time do no particular harm except feed the desire of many ‘fans’ for froth. It will fit in with programs where the exhibitor knows his people like that sort of thing, but otherwise carries no appeal. Released by Pathé, April 15.”

“Frederick Sullivan has started work on a new society-art-atmosphere story in which Miss Flo LaBadie is to star. Others in the cast will be Boyd Marshall, Ethyle Cooke, Grace Henderson, and Henri Leone, especially engaged to take the part of a French teacher in painting.”

“FINE CAST SUPPORTS FLORENCE LA BADIE: Stars of Film World Engaged for Thanhouser’s The Lonely Heart, Now Preparing: A fine supporting cast has been accorded Miss Florence LaBadie, Thanhouser star, in the newest Thanhouser-Pathé Gold Rooster play now being taken, The Lonely Heart.... The Lonely Heart, by Agnes C. Johnston, is directed by Frederick Sullivan. In the story Miss LaBadie, as an artist, loses her sight, then regains it only to see her lover in a compromising position. There is a splendid house party scene. Supporting Miss LaBadie are Boyd Marshall, Ida Darling (late of Common Clay), Ethyle Cooke, Gladys Leslie, Harris Gordon, Walter (Fatty) Hiers, Arthur LeVien, Clay Carroll (a ‘discovery’ of Mr. Sullivan’s), Sam Niblack, Thomas A. Curran, Inda Palmer, and Helen Badgley.”

“On April 15 will be released When Love Was Blind, a Thanhouser-made picture, with Florence LaBadie in the stellar role. Miss LaBadie has a strong following, and her name is always an excellent attraction. When Love Was Blind was written by Agnes Johnston and tells the story of a girl who, through misfortune and severe handicaps, finally attained happiness.”