Volume II: Filmography

WAS SHE RIGHT IN FORGIVING HIM?

a.k.a. SHOULD SHE FORGIVE HIM?

a.k.a. WAS SHE RIGHT TO FORGIVE?

May 26, 1914 (Tuesday)

Length: 2 reels

Character: Drama

Cast: Maude Fealy (Louise Vaughn, the heiress), Harry Benham (Nelson Morgan, the artist), Lucy Payton (Mary), Carey L. Hastings (Aunt Grace), Helen Badgley (Robin, the child), N.S. Woods, Arthur Bauer (the doctor), May Dunne (trained nurse), Frank Farrington (minister)

Notes: 1. This film was originally planned to be two reels in length, and then it was expanded to three reels, according to trade notices; thus the number of reels stated in publicity varied. In general, it was listed as two reels in contemporary schedules and as three reels in Thanhouser advertising featuring Maude Fealy. In Great Britain it was released in two reels totaling 1,992 feet. It seems reasonable that the film was released as a two-reeler, and that is the length given here. 2. Lucy Payton's surname appeared as "Peyton" in some notices.

SYNOPSIS, Reel Life, May 23, 1914:

"When Nelson Morgan met Louise Vaughn and fell in love with her, he believed that his past was buried. After that unhappy misstep of his in Paris, he had left quite suddenly for America, summoned home by his father. As the girl, who had been his model and came of poor, uneducated folk, could never possibly have shared his life, he had believed that the best thing he could do was give her an explanation and go away. Time would heal a heart so easily won. After all, there were thousands of other girls like Mary. But Louise was different from any woman he ever had met before. She lived alone in a small house in the environs of Paris, and she had adopted a child. After he had proposed to her and had been accepted, the presence of the little boy and her tender absorption in him made Morgan vaguely uneasy.

"'When we are married,' he asked her one day, 'could we not send Robin to the country? I know a good woman who would take the best of care of him. And you know it is much better for kids not to be housed so much - they need to grow up out of doors - ' She stopped his subterfuge with a look. 'I always will take care of him myself. He was entrusted to me by a friend. Ah, I know people gossip - but if you know the truth, how can the rest matter? But even if he were my child, would that make any difference between you and me?'

"Morgan had replied with the worn-out adage that a man wishes his wife 'to be virtuous' - and Louise felt that he, even he, deep in his heart, doubted her. The strain was broken by the arrival of a telegram. Silently, Louise lay it before Morgan. He read: 'Your friend has taken an unexpected turn for the worse. Cannot live many days - calls for you and the child. Come.'

"'Will you go with me?' she asked Morgan. They reached the sanitarium early the following day. After a tender greeting between the two women, Louise said: 'Dear, I have promised to marry. He is here with me now. For my sake and Robin's, will you tell him who Robin's father and mother are?' A moment of waiting - then she nodded weakly. Louise kissed her, and opened the door. Morgan entered. The sick woman buried her face with a smothered cry. In that moment Louise knew.

"There was one thing to be done - before it was too late. Pleading for the child's sake, Louise won Mary's consent, and roused in Morgan that slumbering chord of responsibility to fatherhood. They were married in the hospital room, in Louise's presence. A year later, Morgan sought the woman he loved. Louise was torn by many conflicting emotions. Should she follow her own heart? His pleading voice was in her ears. And a soft child voice was saying, 'Don't let him go away. I like him. Can't he stay?' Then the woman's heart in her gave way - the flood gates opened - the divinity of forgiveness swept through her soul with the boundlessness of the eternal seas. She held out her arms to the man and to his child."

REVIEW, The Morning Telegraph, May 24, 1914:

"Nelson Morgan met and fell in love with Louise Vaughn, a beautiful woman who had adopted the illegitimate child of a dear friend. Before the woman died she told who the child's father was, and Louise forced him to marry the woman he had wronged. A year later he came to her and asked her to forgive him for his youthful mistake. She did so. Was she right?"

REVIEW, The Moving Picture World, June 6, 1914:

"This is an interesting two-reel picture featuring Maude Fealy. It embraces many satisfying scenes. It is rather conventional in theme, and the plot is far from being original, but the picture is well made in every respect, and Miss Fealy is of course charming in the leading role and she is adequately supported by a splendid cast. The photography and accessories are above criticism. Recommend this to exhibitors."

REVIEW, The New York Dramatic Mirror, May 27, 1914:

"There is no attempt to answer the question offered in the title of this picture. Whether or not the man deserved forgiveness will be decided by individual notions of right and wrong after the audience has seen the rather clear presentation of the facts of the case. Whatever the decision, the story is certain to hold the attention during its unfolding, for the acting of Maude Fealy, Harry Benham, and the young woman in the part of the unfortunate artist's model is always interesting. Then there is the attraction invariably found in the picture of artistic life when settings and photography are satisfactory, as in the present instance. The prevailing note is one of tragedy born of human weakness, rather than intentional evildoing. From a score of models who apply for work, an artist selects a modest little girl, who supports a widowed mother. The consequences prove fatal to the unsophisticated girl, for she accepts his love only to receive a note of farewell. Her mother dies and a child is born to share a poverty that would have been unbearable save for the kindness of a sympathetic heiress. A few years later, the former model is dying of consumption and the child is adopted by the heiress, who meets the artist and becomes engaged to marry him without discovering the skeleton in his closet. The climax is reached at the deathbed of the young woman. She points to the artist as the father of her child, and a much delayed marriage takes place. When another year has elapsed we are led to suppose that the heiress has forgiven the artist's moral error and is prepared to become his wife. Admirably produced in every respect, the story has a sympathetic quality likely to appeal to many people."

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