Volume II: Filmography

THE PATRIOT AND THE SPY

The David Kessler Theatre, New York City, showing THE PATRIOT AND THE SPY.

Courtesy of the American Museum of the Moving Image/Lawrence Williams Collection (M-8-X)

Working title: THE SPY AND THE PATRIOT

June 7, 1915 (Monday)

Length: 4 reels

Character: Drama; Mutual Masterpicture

Director: John Harvey

Assistant Director: Gordon Hollingshead

Scenario: Lloyd F. Lonergan, Gertrude (Mrs. Edwin) Thanhouser

Cameramen: Carl Louis Gregory (in charge), William Zollinger, Henry Cronjager, Lawrence Williams, Lawrence Fowler, Frank A. Grimmer (still pictures)

Assistants: Dr. William I. Wallach and Dr. J.H. Fuchsius (on hand for medical emergencies), Mr. Lutz (pyrotechnicist in charge of fireworks)

Cast: James Cruze (Pietro, the patriot), Marguerite Snow (Blanchette, his wife), Alphonse Ethier (Johannes, the spy), Kenneth Clarendon, Samuel Niblack, Al Reitz, Frank L. Gereghty; and the following from the 2nd Battalion of the Bronx: Sgt. William Love (supervised the battalion in the film), Sgt. Frank Shafer, Mason "Mace" N. Litson, Private Schafer, about 150 National Guardsmen and their horses, as part of a total cast of about 200 persons.

Location: Glen Island in New Rochelle, New York.

Notes: 1. This was the third Mutual Masterpicture to be produced by Thanhouser. 2. Sgt. Frank Shafer's last name also appeared as Shaefer in certain accounts. 3. For information concerning Glen Island, refer to an entry under the description of the June 17, 1910 release, The Little Hero of Holland. 4. The American Film Institute Catalogue, Feature Films, 1911-1920, states that Edwin Thanhouser directed (presented) this film, and the assistant directors were Frank L. Gereghty and M.N. Litson.

ADVERTISEMENT, The Moving Picture World, June 12, 1915:

"An invading foe in his country! A conniving traitor in his home! And there you have the fabric of as compelling a narrative as ever human mind devolved. The splendid work in this picture embraces every ingredient of production - sympathetic acting, settings of unusually rare charm and photographic effects over the most daring, dashing variety; they mean more than a GOOD production. They mean more than an EXCELLENT production. The great punch of the picture is that it will be a POPULAR production. Note carefully the distinction we make here. Ask yourself how many of the good pictures you have seen, have ever become popular pictures; then make it your business to see this Mutual Masterpicture. Through The Patriot and the Spy you look a step ahead of motion pictures as you know them. The efforts of the Thanhouser producing organization have brought the future nearer."

ARTICLE, The New Rochelle Pioneer, May 1, 1915:

"John Harvey is about to do a four-reeler with Jim Cruze and Peggy Snow in the leads, and will do some of the finest night photography ever seen, using thousands of rounds of ammunition, hundreds of pounds of high explosive, machine guns, gatlings, motor war trucks, and mounted artillery. It will be one of the greatest war dramas ever put on the Mutual Program and will cost a small fortune to produce. Carl Gregory will do the camera work and an entire company of New York artillerymen will work in the picture."

ARTICLE, The New Rochelle Pioneer, May 15, 1915. Short items under the "Thanhouser Thespic Trifles" column pertained to the production of this film:

"The favorite song of the week was I Didn't Raise My Boy to Be a Soldier.

"Walter Cameron, formerly of the studio, was a visitor at the island on Saturday evening.

"Gordon Hollingshead caught several fine 'gungamarungatungs' while at work on Glen Island. He is 'itching' to dispose of them.

"Frank A. Grimmer was a nightly visitor to the island and worked from carrying props to snapping 'still' pictures. That boy loves to work.

"Dr. William I. Wallach was engaged by Edwin Thanhouser to be in attendance on the island in event of accident and had considerable to attend to.

"Bill Harvey caught five starfish that were apparently making their way inland for a raid on the camp, and took them to his New York home to preserve.

"Dave Keleher, who secured Glen Island for the Harvey production, remained 'on the job' most of the time, to repel civilian invaders attracted by the wonderful light effect and gun-fire....

"'Mac' was a busy prop man. He caught six hours' sleep out of the 96 on the island, two hours of which were spent 'neath blankets. Harry Stillwell got about as much and never took off his overcoat.

"The peace of the island was disturbed only once. Sam Morgan Niblack and Kenneth Clarendon insisted upon discussing [William Jennings] Bryan during that time. 'Ken' was agin him.

"During a midnight lunch on the island, 'Knocko' Abrams was requested to sing, and sing he did, despite the fact that nearly everybody in the outfit threw something undesirable in his way. He has a fine voice - NOT!...

"Gordon Hollingshead pulled two pretty good wheezes on the island, last week, when requested to climb to the top of a tower and give the signal of an army approaching, shot back the information to John Harvey, the director (un-stan' Holly was un-afraid) that 'every time I move it it pushes,' and the other, while posing for a 'still' picture and the color bearer got in his way, he yelled: 'Look out, there! You're shutting out $5 worth!'....

"'Kell' [John William Kellette] wishes to thank all his pals for their work as his 'right hand' men. They had to butter his bread, mash potatoes, and carve his meat after his 'fin' got blown up, and all the various services were volunteered. 'Mac' got a pound of butter from somewhere and gave first aid to the injured, thus saving the tall guy considerable agony. After having the hand treated at the hospital, 'Kell' was back on the job until Mr. Thanhouser chased him back to the city to have it redressed.

"John (Hank) Lehnberg proved to be a glutton for work. Not content with the mere duty of working 24 hours a day in the pictures, he swept out the big room used as resting quarters; cut the grass on an acre lawn; cleaned Director Harvey's auto; tried to feed the iron dog that guards the entrance to the island; caught flounders enough to serve a community banquet; stood guard for a battery boy who needed sleep; and kicked every stone he saw in the road so that none of the horses would stumble. 'Limburger' was a busy infant, take it from me."

ARTICLE, Reel Life, June 26, 1915:

"Alphonse Ethier, the new Thanhouser star, who plays the heavy lead in The Patriot and the Spy, a Mutual Masterpicture in four parts, is one of the several talented actors recently recruited by Edwin Thanhouser from the legitimate, and a strong asset to the New Rochelle studios. His personality is vigorous, and his performance especially well adapted to the screen. In this stirring war drama, in which he portrays Johannes, the rejected suitor, Ethier perfectly embodies the passions of hatred and revenge. Though the type is by no means admirable, we nevertheless are excited to admiration of Ethier's remarkable acting. Intense, dramatic crises he handles as though in real life. Psychologically, also, his impersonation of the spy is powerful and convincing. Throwing light upon the situation in Continental Europe, showing the horrible effect of war upon communities and upon the character of the individual, Ethier, in this strong drama, has given photoplaygoers one of the most vital, gripping plays of the hour."

Note: Contrary to what the preceding article would lead one to believe, Ethier was hardly "new" to the Thanhouser studio, as he had been with the organization since 1910!

SYNOPSIS, Reel Life, May 29, 1915:

"In a certain Continental village, far removed from busy centres, on a beautiful summer day, the wedding festival of Blanchette and Pietro was being celebrated. The peasant folk, flocking about the radiant bride and groom, wished them happiness - all except one, Johannes, a rejected suitor. None knew that he had vowed in his secret soul to have revenge for the slight he had suffered. The happy marriage was blessed with years of contentment, with children, and with an ever-deepening love between husband and wife. But sorrow was not always to pass them by. One day the elder child, Lizette, was playing in the road, when a great touring car - an intruder rare in those parts - came sweeping round the curve. Lizette's father reached the spot in time to snatch his daughter from the monster's path. But he was struck down, the machine passing over his foot. Two months later, Pietro was up and about, although he was no longer the magnificent specimen of health and physique that he had been. He moved slowly now, dragging the useless foot behind him.

"About this time, virtually without warning, war was declared. The nations of Europe divided into two hostile camps. In the little village of Blanchette and Pietro, the war sentiment was strong. The men rushed to the colors. One of the first to go, a hero in the eyes of his fellow townsmen, was Johannes. On the eve of his departure, he called at the crippled man's cottage. 'Well, and what do you intend to do?' he asked Pietro, with veiled malice. It was painfully humiliating to Pietro to have to confess that he now was useless to his country. His old rival talked grandiloquently of his own intentions, not unmindful that the eyes of the pretty wife were filled with an involuntary admiration. War seemed the vocation, indeed, for the rejected suitor. News of his exceptional fearlessness in action from time to time found its way back to the village. For bravery on the field, he was made a sergeant. After that, tidings ceased. The villagers began to mourn him as dead. Could they have known where he actually was and what he was doing, they would have grieved more that Johannes had not died before ever he was tempted to buy his freedom from the enemy with dishonor.

"Some weeks later, the spy returned to the village. But his townspeople knew him only for the brave defender of his country he previously had been. He told everybody a thrilling story of his escape. Meanwhile, he had sent word to the enemy that the defenseless village was theirs, unless certain of the peasantry who suspected trouble should destroy the bridge. Then, slashing his arm with his sword, Johannes staggered into the cripple's cottage. 'Our own countrymen are on the way,' he gasped. 'But the invaders are approaching from the other side. Only by destroying the bridge can the town be saved. I was going to do this myself, when I was seen and shot down by a sentry.'

"Pietro, with explosives in his possession, was taken captive by the invaders, just as he was in the act of firing the bridge. By that time, the spy had stolen off to keep his rendezvous with the enemy's commander. As Pietro was marshalled before the chief, Johannes muttered, 'I will tell Blanchette.' Then the patriot realized that he had been the victim of treachery. However, he did not flinch when told of his doom. The spy did not linger for the execution but hurried back to Blanchette's cottage, where he told her how he had caused her husband's death. 'And now you belong to me!' he cried, seizing her and pressing her close. The next instant his arms fell from about her. He staggered back. In the doorway stood Pietro, his clothing dripping water, his face covered with blood. He flung himself upon Johannes. They struggled desperately. Outside, a squad of the invaders, pursuing Pietro, whose weight had broken the rotten rope on which he had been suspended, saw a man's head in the cottage window. The officer gave the order to fire. The spy fell, a bullet through his heart. Pietro and Blanchette, clinging to one another, took refuge in the inner room. They heard the soldiers at the door. Cries of 'The enemy!' suddenly cut the air, and the detachment fled to rejoin the invaders. Pietro's own countrymen, thousands strong, were coming, an army of deliverance."

REVIEW, The Moving Picture World, June 12, 1915:

"In this four-reel Thanhouser will be found a highly spectacular offering, pleasing to almost any audience. James Cruze and Marguerite Snow have the principal roles and play in their usual pleasing style, portraying with intelligence the characters of a maimed patriot and his wife. Alphonse Ethier has the thankless role of the spy, which has also been well interpreted. The story is laid in no particular place or period, and is, as would be supposed from the title, founded on war. There seems no particular point to be made, and the spectacular part is really its drawing card."

REVIEW, Variety, June 18, 1915: This review is reprinted in the narrative section of the present work.

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