Volume II: Filmography

THE SINNER

May 5, 1911 (Friday)

Length: 995 feet

Character: Drama

Cast: William Russell

Notes: 1. A notice in The New York Dramatic Mirror bore an erroneous release date of May 4, 1911 for this film. 2. Love and Law, released December 19, 1910, and Checkmate, released February 17, 1911, also treat the shortcomings of circumstantial evidence.

ADVERTISEMENT, The Moving Picture World, April 11, 1911:

"A motion picture parable.... The Sinner is positively the strongest and most unique dramatic plot we have evolved this year, and we invite your opinion as to whether it isn't the best you have ever seen. It is a story that we can well be proud of, one that we can well afford to pit against anything with its class on the market. It is a story that carries a distinct uplift and goes to firmly fasten the motion film on the high pedestal to which previous Thanhouser and other good issues have raised it."

SYNOPSIS, The Moving Picture World, May 6, 1911:

"A young priest happens to be passing along a street just as a man is run down by an auto. He goes to his assistance, and at the victim's request accompanies him in an ambulance to the hospital. On the way, the wounded man, who believes that he is dying, confesses that in a fit of drunken rage he had killed his uncle, a rich merchant, because he was refused money. The priest's own father, it appears, was employed by this man, and a few hours before the tragedy had led a delegation of employees who had protested against a cut in wages. The leader, derided and insulted, lost his temper, and made threats against the rich man. Thus, when the killing was discovered, the priest's father fell under suspicion, and a strong circumstantial evolved against him.

"After the arrest the priest realized that he held his father's fate in his own hands, but his vows prevented him from saving him. The sinner, who did not die, repeated of his confession, refused to take the blame that belonged to him, preferring to let an innocent man suffer. At the trial the old man was convicted. His son, his heart torn with anguish, still declined to speak. He says farewell to his father, and watches an officer approach and lead him to a cell. Then he turns to leave the court, his lips still sealed. But the sinner repents at the last moment. The priest's anguish touches even his selfish heart. He falls on his knees and admits his crime. Agony and excitement overpower him, and he falls dead, while the priest kneels besides him and prays that God will forgive the sinner who repented, even if it was at the eleventh hour."

REVIEW, The Morning Telegraph, May 7, 1911:

"Productions such as this are always open to criticism because of their uniqueness in theme, and hence the opportunity for discussion is wider. This is one of the most interesting stories of the week and the finale is one which will be sure to arouse much debate between viewers. The ethical question as to how far any physician, lawyer or priest should go in keeping the secrets of clients has always been a mooted one, and in this story the priest is called upon to send his father to the gallows by keeping secret the confession of the real culprit. Necessarily the ending is very dramatic, but it does not give one a real clue as to whether the secret is kept or not, the priest being shown in prayer for guidance. The courtroom scenes are particularly fine and deserve much praise. A subtitle should have followed the exit of the son from the office after the murder of his father. Naturally the deed could not, or should not, be shown. But one is in the dark as to the crime until late in the story. We are happy to commend this film."

REVIEW, The Moving Picture World, May 6, 1911:

"A story, starting out with some good scenes and some excellent acting and promising a good finish. It sags at the end, however, introducing the worn-out court scene with the prescribed number of breakdowns and false accusations. The dramatic turning point comes at the end after many good locations have been passed by. The wages of the employees of a lumber company and the allowance of the manager's son are reduced on a certain day causing an outburst of feeling by both. The spendthrift son kills his father, but another man, a leader among the employees, is accused. He is arrested, tried and convicted. His son is a priest and it happened that the spendthrift, after shooting his father, was hurt, and confessed to the divine. The priest does not reveal the confession, holding it sacred, but the spendthrift dies before the innocent man is executed, and before dying, confesses publicly thus saving the other's life."

REVIEW in "Film Charts," The Moving Picture News, May 6, 1911:

"Start: Accident

"Finish: Confession

"Moral: Circumstantial evidence isn't worth much

"Reception: Attentive

"Biggest moment: The sinner touched by the priest's anguish"

REVIEW, The Moving Picture World, May 20, 1911:

"Here is an extremely well directed emotional story. A priest, son of a man accused of murder, keeps his vow and hides what was revealed to him in the confessional, although his knowledge could have cleared his father. After the innocent man is convicted, the true murderer makes a full public confession. The priest's father is at once freed. The murderer dies from wounds he got while trying to escape. The story deals with deep things and handles them remarkably well. The acting is commendable and the background interesting, being a contest between employees and their employer."

REVIEW, The New York Dramatic Mirror, May 10, 1911:

"If one can accept the point of view of the priest, this is a strong story, and decidedly well worked out up to a certain point, when it neglects the development of its situations in its endeavor to be through. It is well acted throughout, especially by the actor playing the father. The young priest returns to his home town to occupy the parish. His father employed at the mill resents the action of his employer in reducing the wages of the help ten percent. He is put out, threatening the employer. That evening the mill owner's dissipated son shoots and kills his father, escaping over the roof of the lumber shed in time to evade the night watchman. Two timbers slip and fall upon him [sic; the synopsis says the injuries were caused by an automobile accident], but he releases himself, and in his bruised condition wanders out into the road. Here the appearance of the moonlight seems to stop.

"He meets the priest, and while on the way to the hospital confesses his crime to him. It is then said that all evidence points to the father of the priest, but one can only guess at this. The steps are not shown. When the priest hears it he cannot divulge the confession, and prays all night for strength. The father is convicted by the jury, but when he is being led away the son confesses his guilt in the arms of the priest and dies. The settings throughout are exceptionally good; the moving ambulance is also noteworthy."

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