Volume II: Filmography

A MODONNA OF THE POOR

October 27, 1914 (Tuesday)

Length: 2 reels (1,910 feet)

Character: "A thrilling human episode"

Director: Carroll Fleming

Scenario: John W. Kellette from a vaudeville sketch by Carroll Fleming

Cast: Muriel Ostriche (Margherita, also spelled as Marguerita, the sculptor's model), John Reinhard (Allerdyce, the artist), David H. Thompson (Pedro, the Italian sculptor), Carey L. Hastings (?)

Notes: 1. A Thanhouser advertisement in Reel Life, October 31, 1914, mistakenly identified the two main players as Muriel Ostriche and Carey L. Hastings. If Hastings appeared in the film, it was in a minor role, for she is not listed elsewhere among the official credits. 2. This film was produced in July and August 1914. 3. In a few notices the title appeared as The Madonna of the Poor.

ARTICLE, The New Rochelle Pioneer, August 29, 1914:

"Carroll Fleming, recently director of productions at the New York Hippodrome, a resident at Pepperday Inn, and now attached to Thanhouser, directed a single-reel drama, The Madonna of the Poor, with Muriel Ostriche, John Reinhard, and Dave Thompson in the leads. The scenario is from a vaudeville sketch that scored big hits during its three years on the road, in which Edgar Davenport played the leading part at $500 a week. The act cost $1,000 a week in salaries, and Mr. Fleming, the author of the sketch, produced it this week. John William Kellette, 67 Morris Street, wrote the scenario."

SYNOPSIS, Reel Life, October 17, 1914:

"John Allerdyce, artist, accepts a commission to paint religious subjects for a new church. His automobile wrecks a plaster cast in an Italian's shop, and, carried away with the beauty of the statue, he learns where the model lives, goes there, and persuades Margherita to pose for him. She is married to Pedro, and they have a child, but the artist knows nothing of her husband. When Allerdyce attempts to make love to her, the Italian girl repels him, and tells Pedro. He, however, being out of work, has only one reply: 'You are a little fool not to accept this man's money.' Gradually, Margherita comes to realize that she has been virtually sold to the artist. One day, however, in Pedro's presence, secure in his possession of her, Allerdyce tries to kiss her. The man in Pedro is aroused by her pleadings. He turns in a rage against the artist, and Margherita goes home with her husband."

REVIEW, The Bioscope, February 4, 1915:

"A modern dramatic comedy dealing with the mental struggles of a young married woman, when asked to sit for a painter who wishes to combine love with art. The plot is badly constructed and does not contain sufficient material to make a really satisfactory two-reel film. The situation elaborated at the opening is quite irrelevant to the main story and might, therefore, be dispensed with altogether with advantage. The film is very well acted, Mr. Dave Thompson giving a particularly strong and vivid performance as the model's fiery Italian husband. Miss Muriel Ostriche looks very beautiful as the persecuted model, and another capable player does all that is necessary for the character of the artist, except that he seems to have been slightly forgetful of details of costume, his lower garments being marked by a strange tendency to change in colour from scene to scene. The excellence of the acting and the staging make the picture worth seeing, but the Thanhouser Company has produced many better films."

REVIEW, The Morning Telegraph, October 25, 1914:

"A young Italian model is virtually sold to a rich artist by her husband. One day, however, at least some of the latent manhood in the latter is aroused when the other attempts to kiss her in his presence and he takes her away with him."

REVIEW, The Moving Picture World, November 7, 1914:

"A two-reel number in which a young artist employs a pretty little Italian woman to act as his model. Muriel Ostriche plays this latter part. The artist tries to make love to her despite the fact that she has a husband and child. She repulses him, but the husband, who is out of a job, sells her to the artist for money. Later he remembers the child and sends the artist away, throwing the money after him. There is a sordid note in the husband's deal with the artist and his repentance does not seem very convincing to the observer. The subject matter in this is not of the best, though the characterizations are good."

REVIEW, The New York Dramatic Mirror, November 4, 1914:

"Carroll Fleming, the author and producer of this two-part drama, springs something of a surprise near its close, when the story insofar as new developments are concerned, seems as good as ended. The Madonna of the Poor is the charming young wife of a brutal, shiftless and rather intemperate Italian laborer. Marguerita had posed for a head which attracted the admiration of Allerdyce, an artist commissioned to paint a madonna for a museum. After considerable urging he induced Marguerita to sit for him, and, despite the woman's warning that she never allowed such familiarity, he attempted to kiss her. The model left his studio in a huff, and then, rather oddly, permitted him to accompany her home. Here he continues his advances, and we expect Pedro, the woman's husband, to kick him downstairs. Instead of that he takes Marguerita to task for being so particular with a wealthy man and effects a bargain with the artist. A glimpse of the child in the next room, however, is sufficient to change Pedro's mind about selling his wife. The pleasing appearance and expressive acting of Muriel Ostriche give the picture an interest that it might otherwise lack."

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