Volume II: Filmography

THE MILL ON THE FLOSS

December 16, 1915 (Thursday)

Length: 5 reels

Character: Drama; Mutual Masterpicture No. 51

Director: W. Eugene Moore

Scenario: Philip Lonergan from George Eliot's novel of the same name

Cast: Mignon Anderson (Maggie Tulliver), Harris Gordon (Tom Tulliver), George Marlo (Philip Wakem), Arthur Bauer (Lawyer Wakem), W. Eugene Moore (Tulliver, the elder), Boyd Marshall (Stephen Guest), Leo Wirth, Fannie Hoyt (Mrs. Tulliver), Arthur Hauser, Isolde C. Illian, Grace Stevens

Location: Some outdoor scenes were filmed in Upstate New York; the flood scenes were filmed in Hackensack, New Jersey.

Note: Suggestions for musical accompaniment to this film appeared in Clarence E. Sinn's column, "Music for the Picture," in the December 18, 1915 issue of The Moving Picture World.

BACKGROUND OF THE SCENARIO: The Mill on the Floss, published in 1860, followed Adam Bede (1859) as one of the widely acclaimed novels of George Eliot, the pseudonym of Mary Ann Evans Cross (1819-1880). In 1861 a short novel, Silas Marner (dramatized for the screen by Thanhouser on two different occasions; background information will be found under the listing for the March 31, 1911 release), achieved a lasting vogue. The Mill on the Floss is the story of the dutiful love the young girl Maggie Tulliver has for her narrow-minded brother, Tom. Following his wish, she breaks with a close friend only because their fathers are enemies in the courtroom. When she declines a proposal of marriage from the handsome Stephen Guest, because he was being groomed for her best friend, Lucy, Tom boots her out of the house. The story ends with Maggie saving her brother's life in a great flood, only for both of them to drown shortly after becoming reconciled to each other.

SYNOPSIS-ARTICLE, Reel Life, December 4, 1915:

"The announcement that George Eliot's great novel, The Mill on the Floss, has been screened by the Thanhouser studios, and will be released as a Masterpicture, December 16th, is bound to create a thrill of anticipation in every city and town throughout the world. The vivid, appealing story of Maggie Tulliver's stormy young life is a household classic.... Mignon Anderson has been chosen to impersonate Maggie. Miss Anderson's name in synonymous with the success of numerous big productions of the Thanhouser studios. She is the petite star who so often has appeared in child roles, and two years ago she was the most famous ingenue in Mutual releases. As leading woman, Miss Anderson has been featured in The Price of Her Silence and in Milestones of Life, both Masterpictures. Fearless stunt acting and marvelous facility for facial expression distinguish the work of this versatile favorite, and both these gifts are brought notably into play in the role of Maggie Tulliver. Miss Anderson long had desired a part in which she would be called upon to handle a boat under difficulties. In the thrilling scene which concludes The Mill on the Floss, her ambition has been realized.

"Miss Anderson's five feet, one inch, and her ninety-four pounds, contain more talent and adaptability to the ounce avoirdupois, than is found in most leading women of twice her stature. Four years ago she came to Thanhouser from the very best theatrical companies on the American stage. She had been educated professionally in the support of Joseph Jefferson, Mansfield, and Marlowe. But she prefers the studio to the footlights, and she is herself a player of considerable merit. A keen sense of humor, and love of truthfulness, make 'Mig' a favorite with everybody at the New Rochelle plant. George Eliot's impulsive, warm-hearted, moody young heroine, whose devotion to her brother was the ruling passion of her life, actually lives and breathes for us in Miss Anderson's sincere portrayal. The entire play is admirably cast. George Marlo is Philip Wakem, who wins our compassion from the first. Arthur Bauer as the unscrupulous Lawyer Wakem, and W. Eugene Moore as Tulliver, the elder, have some strong scenes together. Stephen is convincingly played by Boyd Marshall. Every character has effectively caught the atmosphere of the novel.

"The Tullivers, the story reveals, have owned the mill on the Floss for generations. There is a tradition in the family that if ever the mill should be sold out of their hands, the Floss will overflow its banks and the property be destroyed. Mr. Tulliver is struggling to protect the mill against the covetous advances of Lawyer Wakem. Maggie, his moody little daughter, while visiting her brother Tom at a boarding school, meets Philip Wakem, the crippled son of her father's enemy. The two children are sympathetically drawn to one another. Gradually, Philip comes to love Maggie. A few years later, when the lawyer embroils Tulliver in a lawsuit and cheats him out of his property, Philip persuades his father to make Tulliver manager of the mill. For the sake of his family, the former owner consents to take charge. Day by day, he grows to hate Wakem more bitterly, and Tom, at his father's command, swears undying enmity to the lawyer. Chancing to find Maggie and Philip together on the river bank one day, Tom angrily threatens the cripple with violence. Fearful for Philip's safety, the girl tells him that he never must meet her again until she has won her brother's permission. The lawyer's son confesses his love and asks Maggie to marry him. But she frankly refuses.

"At last, an investment of Tom's enables the Tullivers to buy back the mill. The father's long repressed resentment against the arrogant lawyer flares up, and, in a quarrel, Tulliver strikes Wakem. The lawyer is not seriously hurt, but Tulliver, overwrought by his sufferings and tardy triumph, is taken mortally ill. He dies that night. Maggie wins the consent of Tom to see Philip. The two are very happy, until the coming of Stephen Guest. Stephen has been courting Lucy Tulliver, a cousin, but when he meets Maggie he discovers that it is she, not the insipid Lucy, whom he really loves. A scandal grows out of a harmless situation, and Tom Tulliver drives from home the sister who worships him. A terrible flood devastates the Floss valley. The mill is wrecked. Maggie rescues her brother in a small boat, but, as the current grows stronger, they are unable to cope with the flood-tide. After the waters have subsided, their bodies are found, in close embrace. Maggie's fervent prayer in that last tragic hour had been fulfilled."

REVIEW, The Morning Telegraph, December 12, 1915:

"The film version of George Eliot's Mill on the Floss has been changed somewhat to meet the requirements of the screen, but it still retains all of the charm and quaintness of the original. The story is not thrilling and full of action as are most of the modern plays, but has a quiet dignity and depth of plot that marks it as the work of a great author. Throughout there is no mistaking the hand of George Eliot. The Tullivers had owned the Mill on the Floss for generations, and there was a tradition that if the mill, instead of passing from father to son, were sold, the Floss would overflow its banks and destroy the mill. The old mill owner was an impetuous man, devoted to his wife and two children. Tom, the son, was a strong-willed boy, and the daughter, Maggie, wild and mischievous. The two children were devoted to each other. During a visit to Tom at school, Maggie meets Philip Wakem, a hunchback, and the son of Tulliver's bitterest enemy, who falls in love with her. The elder Wakem, a lawyer, contrives to draw Tulliver into a law suit, to prosecute which the miller is forced to mortgage his property. Wakem buys the mortgage, and takes possession of the mill when Tulliver loses his case, leaving the former owner in charge as manager.

"Tom manages to scrape together enough money to buy back the mill, but the joy over the good fortune proves too much for the old miller. He meets his enemy, horsewhips him and dies that night from the shock. Tom, as head of the family, refuses to allow Maggie to have anything to do with Philip Wakem, who is urging her to marry him. Maggie favors Philip's suit until she meets Stephen Guest, a suitor of her cousin's. Guest deserts the cousin and prevails upon Maggie to elope with him. Before they can get to a minister, however, Maggie repents and returns home. Tom feels that she has disgraced the family and casts her out. She goes to live with a poor family of the neighborhood. While there she comes to the conclusion that she has never really loved either Philip or Stephen, and only desires the affection of her brother. A flood occurs, during which Maggie rescues Tom. The boat in which they are adrift upsets, and both are drowned after a reconciliation has taken place.

"The feature of the film play is the realistic production of the flood. The scenes show the water swirling about the upper windows of the house, while men and women drift by, clinging to bits of wreckage. Rowboats fly about rescuing the drowning, and the old mill, torn from its foundations, floats desolately down stream with the torrent. Mignon Anderson is well suited to the part of the willful Maggie, and plays her role spiritedly. She is equally good as the mischievous child in the first part of the story, and as the mature and charming young woman into which the child develops. Harris Gordon as Tom has a rather unsympathetic part that he succeeds in making realistic. George Marlo portrays Philip Wakem in a skillful manner and is especially good in his love scenes with Miss Anderson."

REVIEW, The Moving Picture World, December 18, 1915:

"This five-reel adaptation of George Eliot's novel was made at the Thanhouser studio by W. Eugene Moore, from the scenario of Philip Lonergan. It is a pleasing presentation of a standard work of literature, and with the exception of the fact that some license has been taken in the matter of costuming, which does not always seem appropriate to the period, there is little fault to be found."

REVIEW by Margaret I. MacDonald, The Moving Picture World, December 18, 1915:

"Especially well-suited to screen interpretation is George Eliot's novel, The Mill on the Floss, and which has been adapted to film requirements by Philip Lonergan, master of scripts at the Thanhouser studio. The meat of this fascinating story has been carefully extracted, and has been handled effectively on the producing side by W. Eugene Moore. Mignon Anderson as Maggie Tulliver is especially pleasing. She gives an apparently effortless portrayal of the impulsive character of the miller's daughter, and is never more attractive than when in open rebellion against the application of curl papers to her naturally straight hair. Or when in an angry fret she pushes her curly-headed cousin Lucy, dressed in all her finery, into the water. Harris Gordon does well as Maggie's brother Tom, while George Marlowe is all that is required in the role of Philip Wakem. W. Eugene Moore plays the role of the miller. He is not alone in excellent type, but has a fine conception of the character of Miller Tulliver. Others in the cast are Fanny Hoyt, Arthur Bauer, Leo Wirth, and Boyd Marshall.

"This production of a standard work of literature cannot fail to please. Once in a while a costume that seems inappropriate to the period jars on our sensibilities. But in this matter we must not forget that the manner of dress of today, especially that of the feminine, does not differ very widely from what appeared in fashion plates of several years ago. We believe that none of the humanity or realism of the story has been lost by its transmission to the screen. That portion of the story dealing with the overflow of the river is vividly realistic, and would suggest its having been staged on the scene of some flood disaster."

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