Volume II: Filmography

THE FLIGHT OF THE DUCHESS

Promotional image with Wayne Arey and Gladys Hulette. (F-1020)

March 11, 1916 (Saturday)

Length: 5 reels

Character: Drama; Mutual Masterpicture, DeLuxe Edition No. 79

Director: Eugene Nowland

Assistant director: Oscar W. Forster

Scenario: Virginia Tyler Hudson, from Robert Browning's poem of the same name

Cameraman: Otto Brautigam

Cast: Gladys Hulette (Lady Alice, the earl's ward), Wayne Arey (gypsy blacksmith), Barnett Parker (the duke), Robert Gray (the earl), Nellie Parker Spaulding (the duke's mother), Caroline Lee (the blacksmith's mother), Oscar W. Forster

BACKGROUND OF THE SCENARIO: The Thanhouser film scenario was derived from a short poem of the same name by Robert Browning, first published in the 1840s as part of a series of pamphlets titled Bells and Pomegranates. Born in England in 1812, Robert Browning was in essence self-educated, deriving most of his knowledge from his father's library of over 6,000 books. His first poem was written at the age of 12. A few years later, at the age of 16, he entered London University, where he remained for just a short period. Publication of his works first occurred in 1833, but he was not noticed until Paracelsus reached print in 1835, by which time he was personally acquainted with such literati as Tennyson, Macready, and Dickens. Strafford, a play, was produced in 1837 and brought favorable notice to him. In 1840 Sordello was poorly received, which damaged his reputation for a long time thereafter. Browning read Elizabeth Barrett's 1844 collection, Poems, and began writing to her in 1845. A romance ensued, and in 1846 the couple married and eloped to Italy, against her father's wishes. They remained there until 1861, when Elizabeth died. The union produced one child. Following Elizabeth's passing, Browning returned to London, where he took up residence with his sister and became a part of the London literary circle. His death occurred in 1889, and he was buried in Westminster Abbey.

ARTICLE, The New Rochelle Pioneer, April 15, 1916:

"The parting of a rope, made of sheets, nearly cost the life of charming Gladys Hulette during the filming of a scene in The Flight of the Duchess, a five-part Masterpicture. The accident, the first serious one to befall this daring young miss, occurred while sliding down the improvised ladder from the window of a castle, in which, according to the story, she was supposed to be held prisoner. One of the finest summer mansions along the historical Hudson River was used for the castle scenes. The action called for Miss Hulette to slide down the sheet ladder. The cameras were set and the director issued orders to 'shoot' the scene. The pretty star slid halfway down when one of the sheets parted. With a cry she fell a distance of 50 feet, but fortunately landed on soft turf and escaped serious injury."

SYNOPSIS, Reel Life, February 26, 1916:

"The Thanhouser Film Corporation has found in Browning's poem, The Flight of the Duchess, the theme for one of the most interesting and picturesque comedy-dramas ever produced upon the screen. Being extremely popular in literature, it will be equally popular in motion pictures, where the mixture of medieval and modern settings, with the outdoor life of gypsying, gives the broad range to the artistic imagination of the producer. Gladys Hulette, the charming little Thanhouser star, makes an exquisite little duchess-gypsy, with her glowing dark eyes and hair, her vivacity and her good taste. She is supported in this picture by Robert Gray as the Earl, the young Duchess' guardian; Barnett Parker as the Duke, Nellie Parker Spaulding as the Duke's Mother, Wayne Arey as the Gypsy Blacksmith, and Caroline Lee as the Gypsy Queen.

"In the beginning, the trouble in the duchy started when the old Duke, satiated with hunting and other diversions, dies, leaving his 'sick, tall, yellow Duchess with the infant in her clutches.' The Duchess then takes to traveling, with her young son. Returning with the idea that it should be romantic in the northern land where he lives, just as he had been told it would be in Paris, the Duke, now a grown man, orders that all the servants and yeomen dress as in medieval days, and he commands that his learned men look up the books of laws and of customs during that time. The Duke's orders are carried out, and his duchy is turned into great discontent. Soon his 'plan admits a wife, to meet his eye with the other troubles, to sit thus, stand thus, see and be seen.' Straightway a young girl, suitable to be his wife, is found. She is young and in a convent, without much thought of the serious things of life.

"The old Duchess is displeased at the idea, but she can do nothing. So she resolves, therefore, to make it unpleasant for the little Duchess who shall supplant her. It was the Duke's oldest retainer who went for the lady. The gaily bedecked palfrey which he brought for her in lieu of the motor car which she had probably expected, pleased the young girl, who took the whole matter as a huge joke. On the way to the castle where the betrothal party was to be made a gala occasion, the prospective duchess first saw the gypsies who were later to be her life companions. While the gypsy blacksmith fixed the shoe her palfrey had thrown, the gypsy queen told her fortune. With one long look into the eyes of the handsome blacksmith whose own eyes shone with ardor, and, with a sigh, the lady rode on to the castle and the waiting Duke.

"With true medieval pomp he welcomed her, but her first shock came when he merely smirked when advancing to meet her clad in the ancient armor of his forebears. That was only the beginning. Within the first hour she was in the castle, the lady learned that she as to be subdued and sat upon and treated with all the scorn and contumely that the Duke and his mother believed should be the portion of brides of the Middle Ages. There was no escape, it seemed, but the climax came when the Duke, preparing for a hunting party with the aid of his librarian and books, demanded that his betrothed take part in the ceremony, her role being to ride forth with a bowl of water and wash the hands of her liege lord. That was where she rebelled. Instead of washing his hands, she merely threw the bowl of water at his lordly head, and got a proper trimming from his yellow mother for her sacrilege.

"Realizing that arguments were of no avail, the Duke started off on his party without having his hands washed. The delay so occasioned was quite long enough for the gypsies to arrive, the gypsy queen having it in mind that the Duke would give her the money his ancestors had always considered right. The Duke could not see the matter in exactly this light though, but he did give the gypsy queen a promise of a purse if she would go into the castle and give his promised bride a good scare. The old crone assented. It was the chance for which she had been looking since she had first seen in the eyes of her beloved grandson, the blacksmith, the look of hopeless longing for the lady he believed could never be his. So they all rode away, and the gypsy queen went in to the lady - but not to frighten her. Instead she drew for her a picture of the wild, free life of a gypsy; she told her of love that was waiting for her, and finally she persuaded her to flee from all the terrors the castle held and go with the gypsies as their child. It was easy to go away - for there was no one left about the castle to prevent, and at the foot of the hill they found, as though by premeditation, the old priest who had said prayers for the Duke. Perhaps it was a somewhat hurried wedding of the blacksmith and the lady out there on the highway. However, she never regretted it."

REVIEW, Exhibitors Herald, March 11, 1916:

"As a whole: pleasing; story: novel; star: attractive; photography: good; settings: satisfactory; support: adequate; length: five reels; box office possibilities: good.

"The Flight of the Duchess is a light, fantastical play suggested by the poem of Robert Browning. It is rather out of the ordinary and is amusing. The plot is whimsical, and it contains some humorous situations. Gladys Hulette is the featured member of the cast, and it is a happy choice. She is just suited for the part, and in the picturesque costume she is extremely beautiful. She has the caught the spirit of the thing, and her acting is very refreshing. A larger and more important role is played by Burnett [sic] Parker, who is remembered for his fine stage acting in Hobson's Choice. He has a fine sense of broad comedy, and he conveys it ably to the spectator. Other roles are well played by Robert Gray, Nellie Parker Spaulding, Wayne Arey and Caroline Lee. All the extra people are good. The director has chosen some beautiful scenery and an English atmosphere is established. The costumes are attractive.

"A young duke, who is more or less of a mental lightweight, decides that he will revert back to the dress and customs of several centuries ago. Thereupon his castle and estate assume the air of ancient times, much to the amusement of the countryside. He wishes to marry the ward of a neighbor, and she is made to dress in the same style as the others. She soon becomes tired of the sham and elopes with a gypsy. The young man realizes the foolishness of his escapade and drops the idea and returns to modern ways."

REVIEW by Louis Reeves Harrison, The Moving Picture World, March 18, 1916:

"It remained for Thanhouser to seize upon this quaint poem for visualization, the story of a youth overwhelmed by the importance of his ancestors, who seeks to revive their importance rather than achieve on his own account. Browning may have striven to show that the seat of character-death lies in this clinging to outworn customs and traditions, just as it would be death for moving pictures to depend wholly upon the past instead of participating in a world improvement which is only part of our general evolution. The stupid duke, who dressed himself and his servants in ancestral costumes, who sought to revive methods no longer interesting to the people, represents a sort of ignoble stupidity which now prevents our moving picture audiences from enjoying stories of red-blooded theme and vital action.

"Into the castle of this feeble egotist, too weakened to understand that the world is subject to never-ceasing growth, comes a veritable flower of a girl, the symbol of youth, vigor and progress. She would love to scorn the duke's revival of the antique, but she is in a cramped environment, unable to assert her beauty and charm. In attempting to find some natural outlook for the love and sweetness that is in her, she makes a daring escape from the castle and elopes with a man of no rank, of no standing, save that which nature gave. He may even represent the New Art in its escape from what is crushing its youth and beauty to what will save it in the end.

"The Thanhouser craftsmanship makes this visualization a thing of value and of charm. The usual aesthetic taste and care exercised in Thanhouser productions is a source of satisfaction, and the illusion is not broken by inappropriate scenic effects. The surroundings are so well selected that they are in close harmony with the mood of the story. But, after all, when all effects had been weighed and measured, the one that remains is impressed by the charm and intelligence of little Gladys Hulette. Barnett Parker is admirable in his role, and the others are more than satisfying, but little Hulette has a way all her own of fastening and holding attention. She did it from the first in the Edison photoplays, carrying some of them over by the force of her own personality. This is due to sane living and self-control. She cherishes her natural endowment and is ambitious enough to seek improvement whenever she is given opportunity. She is quite capable of measuring up to finer opportunity, roles requiring more exquisite revelation of mind and heart. Her future success as a star is assured if she holds on to her methods, those which brought her into prominence."

REVIEW, The Moving Picture World, March 25, 1916:

"In adapting the poem of Robert Browning to the screen the Thanhouser Company has given the public a most delightful fantastical comedy of five reels. Gladys Hulette plays charmingly the role of Lady Alice. The story tells of how a certain foolish young duke returning to the home of his ancestors decides to adopt their manner of life, mode of attire, etc. He also resolves to take as his wife a beautiful young maiden who must obey his every desire. Things do not turn out exactly as he had expected, and the maiden elopes with a handsome gypsy. The play is beautifully costumed and is, of course, quaint and pretty."

REVIEW, Variety, March 10, 1916: This review is reprinted in the narrative section of the present work.

REVIEW, Wid's Film and Film Folk, March 9, 1916:

"This production is, in a way, a comedy, although it has moments which are meant to be dramatic. The one central idea is good for a number of little chuckles, but dragged into a five-reeler, it becomes rather tiresome. The main thought here has to do with a duke of modern times who decides to live as in the olden days, and he dresses all of his servants in old-time costumes. Unfortunately, the pretty bride he claims refuses to accept many of the old-time thoughts and runs away with a Gypsy whom she meets 'conveniently.' There is about enough story and idea to this to make a fairly interesting one-reel offering. No one will ever take it very seriously, and the troubles of the various servants with their antiquated clothes, provide a number of laughs at first, although this sort of thing got a little on one's nerves after the first few reels.

"The duke was fairly well played and Miss Hulette, as his bride, is decidedly pretty. Some exceptionally appropriate locations were used, although the photography was not particularly good. Taken as a whole, this is an offering which will get by as about an average release, because of the introduction of the burlesque on the ancient costume stuff. As a worthwhile feature offering, it doesn't appeal because there is not enough meat to it and the story is made entirely too subservient to the costume burlesque, the actual incidents in the story being rather elementary, crudely worked out and decidedly unconvincing. This will provide fair entertainment to an audience that is not inclined to be too particular. At least, it is right clean and doesn't have the faults of the prevailing sex films."

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