Volume II: Filmography

THE PILLORY

(Pathé Exchange)

October 8, 1916 (Sunday)

Length: 5 reels

Character: Drama; Pathé Gold Rooster Play

Director: Frederick Sullivan

Scenario: Philip Lonergan

Cast: Florence LaBadie (Ruth), Marie Shotwell (Mrs. Reed), Ethyle Cooke (Meg Doherty), George Marlo (John Alstead), Nellie Parker Spaulding (Miss Ann Shirley), Marie Haynes (Deborah, the intolerant aunt), Yale Benner (Gentleman Jim), James Seeley (Judge Reed)

Note: Marie Shotwell's last name appears erroneously as "Stowell" in a review in The Moving Picture World September 30, 1916.

ARTICLE, The Moving Picture World, September 23, 1916:

"Edwin Thanhouser announces that following Saint, Devil and Woman, the next Florence LaBadie feature to be released through Pathé will be The Pillory, by Philip Lonergan, and directed by Frederick Sullivan. Miss LaBadie is supported in The Pillory by Marie Shotwell, Ethyle Cooke , George Marlo, Nellie Parker Spaulding, Marie Haynes, Yale Benner, and James Seeley. The Pillory is a strong tale of a country girl who is reared by a stern aunt whose religion is super-orthodox. Miss LaBadie's mother has been driven away and finally Florence, innocent of any wrong, suffers the same fate. She drifts to a city and is protected by a judge's wife. Just as happiness comes, the aunt, firm in her belief that the Bible must be interpreted literally, in a dramatic denunciation scene, crushes all of Florence's hopes. The ending is unusual and the story is well developed."

ARTICLE, The Moving Picture World, September 30, 1916:

"A smashing blow of bigotry is delivered in The Pillory, a Thanhouser feature starring Florence LaBadie, which will be released through the Pathé Exchanges on October 8. The story, by Philip Lonergan, tells of the injustice resulting from the fanatical acts of an intolerant woman who, with the literal words of the Bible as her authority, casts stones at an unfortunate woman who is trying to atone for a sin. The feature gets its title from a denunciation scene, splendidly staged by director Frederick Sullivan, in which a narrow-minded woman places one who has sinned upon a social pillory as cool as the pillory of the middle ages. Florence LaBadie is a country girl who battles staunchly for her unfortunate mother, played by Marie Shotwell. Others in the cast are Ethyle Cooke, Marie Haynes, George Marlo, and Yale Benner."

ARTICLE, The Moving Picture World, October 7, 1916:

"Hawthorne's The Scarlet Letter is probably the most widely known American novel. It is a powerful story of old New England. On October 8 Pathé will release as a Gold Rooster Play, Thanhouser's The Pillory. It is an equally powerful photoplay of today. The picture deeply interested the Pathé Film Committee, which passes on all productions before they are admitted to the program. Speaking of it, a prominent Pathé official said: 'It has a type we all know - a powerful and wonderful character - the severe unforgiving 'Christian' woman who elects herself the rigid deputy of God, depending upon quotations from the Bible to strengthen the dictates of her own narrow judgment. There is one like her in every community - in yours and mine. The Pillory is the most graphic story of intolerance I have ever seen and it gets the point over in five reels of swift interest-compelling action. It will cause argument. All who see it will think differently about it. They will talk and exhibitors will get the benefit of the word of mouth advertising.' The star of The Pillory is Florence LaBadie. The splendid cast includes Nellie Parker Spaulding and Marie Haynes - who as modern Puritans contribute two wonderful character portrayals - and Marie Shotwell, George Marlo, Ethyle Cooke and Yale Benner. The author is Philip Lonergan, who has written many screen successes, and the director, Frederick Sullivan."

REVIEW-SYNOPSIS, Exhibitors Herald, September 30, 1916:

"As a whole: good, gripping drama; story: strong; star: charming and able; cast: efficient; settings: good; photography: very good.

"Here we have a picture which deals in human nature, and not in earthquakes; in what our fellowmen - and ourselves, perhaps - may be expected to do any day; not what they or we might do in circumstances in the life of some other and more hectic planet. The motive forces of the plot are the motive forces of life; which are rare on the screen. This Thanhouser plot might serve as a model for story builders.

"Briefly, this is it: Ruth (delineated by Florence LaBadie) is brought up in ignorance of her origin by two godly woman; her maiden aunt and a housekeeper, Deborah. The aunt dies; and the grim Deborah assumes control of the property. Ruth is turned out into the world nearly penniless. She goes to the city; and, having been used as a catspaw by a girl thief, is arrested and brought before Judge Reed. Mrs. Reed, interested in charity work, becomes interested in Ruth; and, to her surprise, learns that Ruth is the child she had long supposed dead. She does not avow this relationship to the judge, but manages that the Reeds shall adopt the girl, who, after a time, becomes engaged to a young man of the judge's social class. Deborah learns that Mrs. Reed is the girl's mother; and - how true to life this is - decides it is her duty to tell the judge of his wife's former shame. She does so. Ruth and her mother are cast out, and go to live and work in the slums. Ruth's sweetheart still wishes to marry her, but she refuses, saying that her mother needs all her care. At last, the mother is killed, and the girl is free to marry the man.

"The story has human interest throughout, and it is acted and directed in a natural way. Florence LaBadie, Marie Haynes, Marie Shotwell as the mother, Nellie P. Spaulding as the aunt, Ethyle Cooke, Yale Benner, James Seeley and George Marlo, all contribute directly to the success of the film. The photography and settings are exceptionally good. For the exhibitor whose audiences are really capable of telling a good film from a bad one this one can be relied upon as an attraction."

REVIEW by Dickson G. Watts, The Morning Telegraph, September 17, 1916:

"A strong story of religious fanaticism, the underworld, and a girl, who through no fault of her own, is vitally affected by both, has been chosen for the latest vehicle for Florence LaBadie. It furnishes excellent opportunities to the star and her support, and in each case the player has made the most of his or her part. The result is a convincing drama which should appeal to all types of audiences because of its logical construction, its strong appeal, and its well-sustained suspense.

"Ruth is brought up in the country by her maiden aunt, Ann Shirley, and her housekeeper, Deborah, both types of the intolerant religious fanatic. The girl is constantly reminded of her mother's sin, and even her most innocent pleasures are regarded as signs of a hereditary taint. With the death of her aunt the property passes into the hands of Deborah, and Ruth is turned out into the world with but a few dollars. She goes to the city to seek employment, and is invited to share a room in a boarding house with Meg Doherty. Meg is a thief who works with Gentleman Jim, and she soon finds a use for the innocent looking Ruth, sending her to pawn stolen silver under a feeble pretext. Notified of the approach of the police, Meg hides her 'swag' in Ruth's suitcase. It is discovered there, and the real thief accuses the country girl of being the criminal. The two are brought before Judge Reed, and Mrs. Reed becomes interested in the case of Ruth. She obtains a confession from Meg, and then upon hearing Ruth's life story, realizes that she is the mother of the girl, whom she had believed dead.

"Ruth is adopted by the Reeds, and not long afterward becomes engaged to John Alstead. She cannot refrain from writing of her happiness to Deborah, and the country woman becomes aware that Mrs. Reed is the sinning mother. Filled with a righteous indignation that the ungodly should flourish, Deborah comes to the city. With a fanatic's zeal she discloses the true relations between the judge's wife and Ruth before a gathering of friends, and as a result Reed casts them both off. Ruth and Mrs. Reed continue their work among the poor and criminal, the girl refusing to marry Alstead because she must look after her mother. When Meg is released from prison, she goes to live with the outcasts, and there is found by Gentleman Jim, who wants her to return to him. When Meg refuses, he waits for the return of Ruth, and as the door opens shoots at her. The bullet fatally wounds Mrs. Reed. Judge Reed is summoned, and husband and wife are reconciled before death separates them. Ruth is then free to marry Alstead.

"The entire cast has been well selected for type but among the lesser characters that of Deborah, as played by Marie Haynes, is particularly worthy of mention. Miss LaBadie presents her usual clever characterization, while Ethyle Cooke and Marie Shotwell are equally good. Yale Benner plays well in the part of Gentleman Jim."

REVIEW by Margaret I. MacDonald, The Moving Picture World, September 30, 1916: This review is reprinted in the narrative section of the present work.

REVIEW, The Moving Picture World, October 14, 1916:

"A five-part production, the story of which was written by Philip Lonergan. The picture made at the Thanhouser studios features Florence LaBadie and is exceptionally pleasing up to the middle of the fourth reel, where to all intents and purposes the story finishes. The remainder of the picture is merely relating of incidents that follow in the lives of those principally concerned in the plot of the story."

REVIEW, The New York Dramatic Mirror, September 23, 1916:

"The sociological viewpoint is outstanding in the theme of The Pillory, which shows how social condemnation is worse than the pillories of old. Florence LaBadie plays the part of the innocent girl who suffers from the condemnation of puritanical guardians. The underlying theme is the powerful Biblical quotation, 'Let him who is without sin cast the first stone,' and, though we can see no material faults in those who cast the first stone, their general character is so unbrotherly that we cannot but help sympathizing with the condemned. An innocent girl is driven from home by the Puritanical beliefs and rule of the housekeeper and she is later adopted by her mother. Believing that no happiness should be founded on sin, the old housekeeper goes and exposes the girl as the innocent daughter of a mother who has erred. She thus ruins the lives of all concerned and only death brings forgiveness and happiness.

"The story progresses rapidly and smoothly and it is not until near the end that a romance is introduced. However, there are several incidents which could have been made more effective. The discovery that Ruth is the daughter of Mrs. Reed is brought about too suddenly to have the proper appealing effect on the audience. Also the exposé of Mrs. Reed would be a little more realistic if is were not quite so stagey in its handling. We do not expect to see the guests laugh and giggle at the downfall of their hostess. They should leave quietly and seriously and not in a jovial frame of mind. Otherwise the picture is entirely realistic and convincing. The characters were well drawn, life-like, and ably portrayed. Florence LaBadie is innocence personified, and Ethyle Cooke is quite the cynical crook."

REVIEW-ARTICLE, The Newark Star Eagle, (undated clipping in the Robinson Locke Collection):

"Underlying The Pillory, one of the strong photoplays featured at the Strand Theater yesterday and today, is the familiar injunction 'Let him who is without sin among you cast the first stone,' It is a picture which shows that the social condemnation which sometimes falls upon an entirely innocent young woman is far worse than the pillories of old. Naturally the story is not a pleasant one. Neither does it end altogether as one could desire. Nevertheless it is beautifully told, and the lesson which it teaches is more than worthwhile. One who sees it is very likely to find himself better and more charitable. Florence LaBadie, who enacts the role of the girl who suffers from the world's misunderstanding, displays her usual art in the picture. She has the support of an excellent cast. The settings and photography are all that could be desired. A pleasant feature of the performance last night was the appearance of the star in person. Midway in the picture the lights were turned on, Miss LaBadie was introduced and made a neat address."

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