Volume II: Filmography

UNDINE

September 24, 1912 (Tuesday)

Length: 2 reels

Character: Drama

Director: Lucius J. Henderson

Scenario: Lloyd F. Lonergan from a story by Friedrich de la Motte Fouqué, the Baron de la Motte

Cast: Florence LaBadie (Undine, the water nymph), William Russell (Spirit of the Brook), James Cruze (Huldbrand, the knight), Marguerite Snow (Lady Bertalda, Undine's rival), Riley Chamberlin (Undine's Uncle Kuhlborn)

Location: Near New Rochelle, New York

Note: An expanded story by Raymond L. Schrock, based on the plot of the film, appeared in The Photoplay Magazine, October 1912.

BACKGROUND OF THE SCENARIO: Undine, a German tale published in 1811, is the work of Friedrich Heinrich Karl de la Motte Fouqué (1777-1843), an officer in the German infantry who was a prolific writer and turned out a prodigious quantity of prose, poetry, and other fiction, although Undine (1811) remains his major work. By 1912 the tale was a century old, and while the German romance had its followers at one time, it is hard to believe that a wide audience appreciated the Thanhouser film for its literary merits. However, during this era the story was a part of the German language curriculum of many American high schools.

ADVERTISEMENT, The Moving Picture World, September 21, 1912:

"A marvel-adaptation of the famous Riverside Classic. With 'perfect publicity.' Two one-sheets and three-sheets from your exchange. Illustrated heralds from Hennegan & Company, Cincinnati, Ohio. Cuts for newspaper and circular advertising (two-column) fifty cents apiece from Standard Engraving Company, 560 7th Avenue, New York City. Slides 30 cents apiece from Novelty Slide Company, 20 East 14th Street, New York City."

SYNOPSIS, The Moving Picture World, September 21, 1912:

"In the days long ago when knights were brave and venturesome, lived Lord Huldbrand of Ringstetten. The Duke's daughter, Bertalda, Huldbrand's kinswoman, was the most famous beauty in that section, and Lord Huldbrand was one of the cavaliers who vainly sought to win favor in her eyes. Just beyond the Duke's domain was a gloomy stretch of woods known as the enchanted forest. It was said to be the resort of all kinds of spirits and goblins, and travelers dared not venture there. The haughty Lady Bertalda was struck with the idea that here was a way to prove her power over her admirers. To the one who would dare to make a midnight trip through the enchanted forest, she offered a bow of ribbon, fashioned by her own fair hands, which did not seem much of a prize, except to the infatuated young men. At that, however, Huldbrand was the only one who dared to tempt fate. Bravely he rode through the forest, pestered and annoyed by spirits, until at last, faint and exhausted, he saw the humble cottage of a fisherman, and gladly sought refuge there.

"The fisherman and his wife, both past middle age, were common peasants, but the girl with them, whom at first he though was their daughter, was of an entirely different class. She was young, beautiful and refined, and the knight lost his heart to her at once. The peasants told him that they knew nothing about the girl except that they believed she had been shipwrecked, and seemingly half-drowned she had arrived at their humble home. Lord Huldbrand's love became more and more pronounced, and in a very short time he asked her to be his bride. Then she told him her story. 'Many a fisherman,' she said, 'has had a passing glimpse of some fair water nymph, rising out of the sea with her song; he would then spread the report, and these wonderful things became to be called Undines. And you now see before you, my love, an Undine.' She then went on to explain that Undines have no souls, and only by marriage with human beings could they acquire them. Undine determined to be of this number, and made her appearance as an earth maiden. Other spirits had aided her, and Lord Huldbrand had practically been driven by them through the enchanted forest to the fisherman's cottage. The knight's love conquered, and he embraced the beautiful Undine, telling her that she should be his bride and that nothing else mattered. They were married, and returned through the forest together. To the surprise of the haughty Bertalda, Lord Huldbrand returned to announce that he had fulfilled his request, but he returned to the lady her token, saying that by his trip to the enchanted forest he had won the fairest of brides. Then the nobleman and Undine proceeded to the castle, where they hoped to live together, forever.

"PART TWO: Many years ago, Lord Huldbrand lived in his castle on the Danube River with his beautiful bride. He knew that before his marriage she had been a water nymph, because she had confessed the fact to him, but her marriage to a man of the earth gave her a soul, and she was so sweet and charming that he tried to forget the fact. From time to time, however, it was brought back to his attention by the unexpected appearance of some of her relatives, notably one Huhlborn, an uncle who in repose was a most charming brook, but ever and anon would resolve himself into a tall, old man, who seemed full of curiosity as to how his niece was doing. It palled upon Huldbrand, and he often wished that his bride had earthly kinsmen. Matters came to a crisis when Huldbrand's kinswoman, the charming Lady Bertalda, arrived with her father to pay Huldbrand a visit. There had been a time when Bertalda regarded Huldbrand as her chosen knight, but when she sent him into the enchanted forest he met Undine and forgot everyone else. So Bertalda hated Undine, although she hid her feelings under a mask of friendship.

"Huldbrand again fell under the spell of Bertalda. He neglected his beautiful wife, and this was noted by the water nymphs, who determined to avenge her. Their chance came when Huldbrand and the two women were taking a trip on the water. The nobleman had been more than usually attentive to Bertalda and neither of them noticed that in the water surrounding their boat were scores of hands stretched out to drag them to destruction. Undine saw them, however, and after vainly trying to induce the nymphs to depart, she sacrificed herself to save her husband, leaping overboard and sinking, supposedly to death, under the sea. Huldbrand's mourning was brief, and soon his betrothal to the beautiful Bertalda was announced. The latter was of a vengeful disposition, and remembered that the only time Huldbrand had upheld his wife was once when she wanted a fountain in the courtyard blocked up, and the nobleman permitted it to be done, despite the protests of Bertalda. Now the young woman, in her husband's absence, had the obstructions removed, and laughed as though that she had removed the last vestige of her former rival.

"The unhappy Bertalda did not know that the fountain was the only road by which the sea nymphs could get to the castle. Undine had closed the door to save her husband. Bertalda opened the way again, and through the fountain came a woman in white, weeping bitterly. Spectators drew aside in awe as she entered the banqueting room, and approached the bridegroom. They recognized Undine as she stepped to the side of Huldbrand and enfolded him in an embrace - the embrace of his death, for he fell dead at her feet. At the funeral of the unhappy knight, there was one mourner who followed the others alone, and remained after they left. It was the faithful Undine. She fell on her knees beside the tomb, her arms encircling the body. Then she faded from human sight, and a bright silvery brook appeared, and is there to this day. From that time forth the villagers are said to have shown travelers this spring, and they believe it is to be the poor forsaken Undine, who continued this to twine her arms around her beloved lord."

REVIEW by Gordon Trent, The Morning Telegraph, September 22, 1912: This review is reprinted in the narrative section of the present work.

REVIEW, The Morning Telegraph, September 22, 1912:

"This special production of Friedrich Fouqué, the Baron de la Motte's Undine, made by the Thanhouser company, is not only one of the finest and most artistic offerings made by this concern, but compares with the best of the present-day feature films now being presented to the photoplay world. The story of Undine, now a hundred years old, is far too well known to need repetition. The studio settings used to show the interiors of the palace and the cavern beneath these are remarkably fine. Flo LaBadie is pleasing in the title role, showing an appreciation and much evident study of the original poem. William Russell's portrayal of the Spirit of the Brook is deeply impressive, and it makes the spectator feel that the unreal is real, the character acting as a bridge between the spirit world and the life of the mortals. James Cruze is the Knight and Marguerite Snow the Lady Bertalda. An exceptionally large number of players give support to the principals, and not one fails to make his or her even most minor part individual in itself without encroaching upon the principals."

REVIEW, The Moving Picture News, September 14, 1912:

"The story of Undine, the sea nymph, who, enamored of the ways of mortals, begged permission to leave her cavernous home beneath the ocean and become as one of them, lends itself to the picture play in a manner most alluring. Somehow tales of the sea have a unexplainable charm. The pink of its shells, the gleaming whiteness of its pebbles, and even the slimy green seaweed that forms the ceiling of its caverns, or floats ashore in tatters, the music of the billows, has a fascination that holds one spellbound in a land of dreams - dreams of nothing that never were, and never will be, and may be are more alluring to meditate upon on that account. The production of Undine by the Thanhouser Company is of more than usual merit. The play has been well cast, an essential which means so much to the success of a play. Miss Flo LaBadie, as Undine, is quite in her proper place, her delicate personality fits the part of the lithe sea nymph most satisfactorily. Miss Marguerite Snow, as the Lady Bertalda, again shows her power as an actress in strong, emotional characters, Mr. James Cruze, as Lord Huldbrand, the faithless knight, is all that could be desired in the part. In fact, the entire company have acquitted themselves exceptionally well. [Here follows a synopsis.] The final scene of the picture is very effective, showing Undine alone, resting her cheek against the tomb of Lord Huldbrand. This film is thoroughly artistic and beautifully done. This is the first of the tremendously popular Riverside Classics to be presented in motion pictures by the Thanhouser Company."

REVIEW by G.F. Blaisdell, The Moving Picture World, September 21, 1912:

"For a year and a century the romance of Undine has been the possession of the reading world. When Friedrich Fouqué, the Baron de la Motte, penned the lines of this singularly dramatic story, this weaving together of the imaginary and the real, this tale of the spirits and the mortals, the noted German poet could not have hoped to reach for an audience of more than a few, comparatively speaking. His best was to paint a picture of words, in cold type, leaving to the varying imaginative powers of his readers the conception of the settings, the scenes, the participants. Could the Baron, like the Spirit of the Brook, be summoned back to earth for a view of the delightful, the artistic, interpretation of this masterpiece that has been produced by the Thanhouser company he would probably take pleasure in confessing that he had built it better than he knew; he would see his audience increased by tens, by hundreds, of thousands.

"It is in such plays as Undine that the advantage of the screen over the stage is greatest. The mechanics of motion pictures are as easily adapted to the portrayal of spirit as of mortal life and habitation. The Thanhouser company has won an enviable reputation with careful portrayal. Undine will measurably fortify that reputation. It is a production that will particularly appeal to followers of the motion picture - to those who see many pictures, the project of all groups, domestic and foreign. The action throughout the two reels is uniformly smooth; there is never a question as to who is who or what is what. If this most desirable result in any measure may be ascribed as a plenitude of subtitles they will thereby serve as their own justification. The photography is at a level with the general production - it is finished.

"It is of course plainly apparent to thoughtful persons that in a picture of this description, wherein pictorial effects figure so largely, the great credit for results must inevitably go to the director. Flo LaBadie takes the title role, and she is charming. William Russell plays the Spirit of the Brook, and he is dignified and impressive. His works stands out. James Cruze has the part of the Knight and Marguerite Snow that of Bertalda. The entire company is at its best. There is a wealth of incidents to grip the attention of the beholder. The initial scene is of bold conception. It serves to awaken the interest. A half dozen or more maidens are sporting about a mass of rocks. Suddenly they plunge into the sea and swim to a lone boulder only the top of which is visible. Undine swims back to shore and with a curious gaze closely watches a pair of lovers who are strolling about. She decides that she wants to live on the earth. Back forthwith she goes to the caverns of the deep and seeks permission to return. Old Neptune grants it. Undine, in her unacquaintance with the world, appeals to the Spirit of the Brook, and that servant, who so faithfully waits on her throughout the drama, guides her to the home of the fisherman. As the two are crossing a brook at the foot of a series of waterfalls the Spirit vanishes. Undine is received by open arms by the fisherman and his wife. She becomes one of the family. We see her at sunset as she goes down by the sea and affectionately greets her foster father as he comes ashore in his dory, a charming picture.

"In the imperial city, standing by a great open-air staircase, surrounded by finely costumed men and women, the Knight wagers with Lady Bertalda that he dares not ride into the enchanted forest at night. The Lady Bertalda is in love with the Knight. Huldbrand sets out. As night descends the horseman is beset by fear of the strange creatures that inhabit the trees. He seeks shelter at the cottage of the fisherman. It is Undine who responds to the knock. She converses with the Knight, who explains the situation. Undine calls her foster mother, who bids the Knight enter. It is interesting to watch the bearing of the water spirit when she talks with the stranger. For many days the Knight lingers at the cottage by the sea. It is the old, old story. Undine goes to the Brook to seek the consent of the Spirit to become the bride of the Knight. At the appearance of the apparition the suitor of Undine assumes a very unknightly demeanor. He is badly frightened. The consent is granted. The Knight takes Undine in his arms across the brook in front of the falls and kisses her. The following day the Knight and his bride ride forth to the city. On the great steps in front of the palatial mansion are many persons and groups. Bertalda is there. The Knight explains to her why he has been absent so long and points out his wife. The Lady Bertalda shows her anger and jealousy. The men congratulate the Knight. The happy pair proceed to their home. From the fountain that continually plays in the garden the Spirit of the Brook arises to bless them. The news extends through the fountain to the caverns beneath the sea, and there is great rejoicing over the happiness of Undine.

"Lady Bertalda has not given up hope of winning the Knight in spite of his marriage with the former water spirit. She lavishes her attentions on Huldbrand. He begins to neglect Undine. In the beautiful garden of her home, standing by the fountain, banked in ferns, the Spirit of the Brook, mysteriously informed of the turn domestic affairs were taking in that household, appears to Undine. Undine flees to his arms. The Spirit is in a rage. To protect her husband from the wrath of the Spirit of the Brook, Undine directs that the fountain be sealed. She entreats the Knight not to venture on the water. Urged by Bertalda, the Knight disregards the warning. In a great boat he and Bertalda set out. They are no sooner away from shore than from alongside the boat many pairs of hands extend out of the water. It is an uncanny sight. The Knight and Bertalda shrink in horror into the stern of the boat. Undine in her anguish returns to Old Neptune and the Spirit of the Brook. In the absence from her earthly home of the former water spirit, Bertalda receives a clear field. She makes full use of her opportunities. It is not many months before the betrothal of Bertalda and her old lover is announced. Undine, disconsolate in her cavern beneath the waves, sees in a vision the change in the affairs of the Knight. Bertalda, secure in her position as the future mistress of the Knight's mansion, orders the fountain unsealed. Then, through the waters of the restored ornament, word is carried to Undine of the approaching marriage. She prepares for a journey. Surrounded by great masses of roses, Bertalda is joined in marriage to her old lover. There is a large party present at the ceremony. While the assembled guests are following the responses of the bride and bridegroom, Undine comes out of the fountain and walks about the grounds of her old home. Just as the marriage ceremony is concluded she appears in front of the Knight. Huldbrand slowly goes to her as if drawn by an irresistible attraction. A moment later he falls, dead. Undine goes out by the fountain. Slowly she fades from view. She reappears in the caverns of the deep. We see her kneeling in prayer.

"A solemn procession escorts the body of the Knight to the tomb. Undine, unseen, is there. She falls behind as the cortege enters the granite structure. She leans on the window sill and gazes into the building. As night falls Lady Bertalda is led away. For a moment Undine goes to the door of the tomb. Then she returns to the little fountain which has played so important a part in her tragedy of life. She stands in front of it and then gradually fades. Mist gathers. Slowly developing from it appear massive fountains, the water rising from them in great undulating waves."

REVIEW, The New York Dramatic Mirror, September 18, 1912:

"This two-reel feature is founded on de la Motte Fouqué's legend, and a captivating, dainty bit of symbolism that appears in the picture of form. It is filled with characteristic and original effects of airy imagination which constitute its particular charm. The settings and backgrounds are also especially well chosen in bringing out the spirit of the fantasy of this altogether delightful tale. Neptune and his nymphs beneath the sea, in all seeming truth and actuality, and the hands projecting up out of the water are two especially novel effects, while from the castle to the fisherman's cot a fine sense of proportion is maintained with a pleasing sense of art and reality. Flo LaBadie enacts the leading role with a deal of grace and spirit, while the rest of the cast play with the usual Thanhouser conviction. Marguerite Snow is Lady Bertalda, James Cruze, the Knight, and William Russell the Spirit of the Brook. Undine, the nymph, is granted permission by the father of the sea to come to earth and live as a mortal. She is adopted by a fisherman and meets a knight traveling on a wager. She becomes his betrothed, but is cast off for the crafty Lady Bertalda. She goes back to live with her own in the sea. But through the Spirit of the Brook coming down through the castle fountain to the sea she learns of the knight's marriage. She appears before him coming up through the fountain, and he dies of the shock, while she goes back to live forever among her own."

MUSICAL ACCOMPANIMENT: Suggestions for musical accompaniment for this film appeared as part of Clarence E. Sinn's "Music for the Picture" column in the November 9, 1912 issue of The Moving Picture World. At the time in the field of motion picture exhibition in smaller theatres, most films were either shown without musical accompaniment, or a pianist played background music (often of an unrelated character, as noted in numerous trade magazine articles on the subject). Around this time it was realized that specific musical selections keyed to specific scenes in films did much to enhance the audience's appreciation, so trade publications printed suggestions in this regard. Often, these suggestions were sent in by readers who had devised the musical program and who wanted to share their success with others.

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