Volume II: Filmography

JEAN OF THE WILDERNESS

September 8, 1914 (Tuesday)

Length: 2 reels (1,970 feet)

Character: Drama

Director: James Durkin

Scenario: Philip Lonergan

Cameraman: Lawrence Williams

Cast: John Somner (Jim Halton), Morris Foster (Jean Ribot), Mignon Anderson (Grace Halton), Claude Payton (Haskins), Eugene Redding (sheriff), Edward N. Hoyt, John Lehnberg

Note: A scene from this film was reproduced on the cover of the September 19, 1914 issue of The Moving Picture World.

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

"In Jean of the Wilderness, a two-reel picture directed by James Durkin, Phil Lonergan, the Thanhouser scenario editor, wrote one of the strongest dramas seen on the screen in many months. Morris Foster and Mignon Anderson have the leads, and much of the photography was taken between the hours of 10:30 at night and 3:30 in the morning to get the necessary 'light effect,' the light from Foster's campfire being bright enough for the work. Lawrence Williams, photographer, had the honor of taking the unusual scenes."

SYNOPSIS, Reel Life, September 12, 1914:

"Jean Ribot, Canadian trapper, is in love with Grace Halton. Her father is accused falsely of murdering a gambler, and through Jean's resourcefulness manages to make his escape. They find a home in Canada, and the young people prepare for their marriage. While Jean is away hunting, Haskins, a former employee of the dead gambler, appears, and by threatening to denounce her father to the police, extracts from Grace a promise to marry him. Halton, however, rather than drive his daughter to such a sacrifice, surrenders himself to the authorities, and Grace again becomes Jean's affianced bride. Haskins attempts another ruse to entrap the girl into marriage with him. But Ribot arrives in time to rescue her and to force Haskins into a confession of his own part in the murder, thus freeing Halton from all shadow of guilt."

REVIEW, The Moving Picture World, September 19, 1914: This review is reprinted in the narrative section of the present work.

REVIEW, The New York Dramatic Mirror, September 16, 1914:

"The fact that a story opens pleasingly often prejudices the spectator in favor of the whole production. An unusual or likable scene and the magic is accomplished; thereafter one sits in pleased astonishment as the picture unreels. A start may not make a good picture, but it goes a long way toward inclining one favorably toward the ready reception of one. This picture opens pleasantly, and presently it becomes excitingly melodramatic, out-westing even some of the best of the Westerns. The criticism may rightfully be leveled at it that it is unrealistically melodramatic in spots, this being due to the at times too great ingenuity of adventure and escape. However, its characters are plain, its photography is of the most brilliant, and its acting for the most part likable. Jean is the Canadian who wins the admiration of the girl. He protects her from the insult of the gambler and her father from his wiles. One day, while the owner of the gambling place is conversing with the girl's father, the gambler, from without, shoots his boss. The father stands accused, but manages to escape, again by the aid of Jean, and the trio make their way to Canada. It is in this escape that the bounds of adventure some credulity is slightly overstepped. The gambler turns up there, and to buy his silence the girl allows him to caress her. Jean, who thinks himself supplanted, prepares to leave. To remedy these conditions the father gives himself up and confesses. The police start him back for the scene of the crime. The gambler meanwhile sends a decoy letter, ostensibly from her father, which causes the girl to come to where he is waiting. The Canadian follows and overcomes the gambler. The latter, choked and dying, confesses."

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