Volume II: Filmography

THE FIVE ROSE SISTERS

Marie Eline on the right as the youngest of THE FIVE ROSE SISTERS. Courtesy Ralph Graham, M.D. (X-210)

October 3, 1911 (Tuesday)

Length: 950 feet

Character: Drama

Cast: Marguerite Snow, Marie Eline (the littlest Rose sister)

ADVERTISEMENT, The Moving Picture World, September 30, 1911:

"Five sisters, while successful on the stage, tire of the life peculiar to their profession, and decide, when they receive a legacy of a house and a farm in the country to retire from the footlights and buckle down to milking cows and feeding chickens. Their life in the country is made almost impossible by the machinations of a jealous woman, but aided by the failings of a dishonest deacon, the girls win their place among the village folk, and one of the sister's wins the heart of a young clergyman. A strong exposition of religious hypocrisy."

SYNOPSIS, The Moving Picture World, September 30, 1911:

"Grease paint, a spotlight and applause lose their fascination for the Five Rose Sisters, a dancing team full of vivacity, ability and pluck. They decide to leave the stage for a home of their own as soon as they are blessed with this good fortune. This blessing opportunity comes to them in the shape of a legacy from a dead uncle. The legacy consists of a small house and farm on the outskirts of a small village. But the girls are both anxious and happy to exchange for the more salubrious and cheerful existence in the country, that worrisome, wearying purposeless life in the city. So they move to the country and soon forget about one-night stands, quick lunches and quick changes. The people in the village in which this winsome quintet make their home are hospitable and genial, and make welcome and comfortable the sisters, from the tall and graceful Rose to the lithe and buoyant 'Rosebud.' They become prominent members of the local church and are harmonious additions to the church choir.

"The young pastor of the church takes a kindly interest in one of the sisters, who is an accomplished organist. His attention to one of the Roses arouses the jealousy of the deacon's daughter. The green-eyed monster so took possession of her that she made capital out of the first opportunity. By one of these peculiar coincidences, it is she who learns the past occupation of the sisters. She exposes the dancers at a choir meeting, and naturally the simple village people are horrified. They ostracize the sisters from their society because of their former stage connections. The girls, however, are self-satisfied creatures, and ignore the prudishness and snobbery of the village. They remain content and happy in their lonely farmhouse. However, the little Rose who played the organ at the church misses the pleasure of this diversion. So, one day, unable to withstand the call of the pealing anthem, she goes to the church, slips in while no one is about, and steals to the organ loft, where she satisfies her unusual craving until she is overcome by the appeal and thrill of her hymns. For a long time she sat alone in the organ loft and wept bitterly. Suddenly she is startled into quiet by the cautious movements of a stealthy person on tiptoe, proceeding to the vestry room. She quietly hides near the organ loft and observes the deacon in the act of taking possession of the church funds.

"The girl rushes back to her home at top speed and arranges with her sisters for the capture of the thief. When the dishonest deacon, with the money concealed under his coat, drives by the girl's farm on his way out of town, he is stopped by these plucky and determined young women. They force him to return to the village and not only confess to the crime, but 'pony up.' The minister and all the villagers welcome back into the fold all of the Five Roses, and decide that former dancers are respectable members of society, in spite of having earned an honest livelihood with their toes. And by way of emphasis to their welcome, the young minister marries the organist member of the Rose family."

REVIEW, The Morning Telegraph, October 8, 1911:

"Fact ofttimes leadeth to fiction, and as the old saw has it, it is quite as often stranger, which leads us to the thought that perhaps the author of this photoplay may have founded his narrative on an occurrence of real life. If such be the case, it would have been more dramatic to have eliminated part of the actuality in favor of fiction. Why the five sisters? What is gained by introducing so many characters? The more characters in a picture play the more intricate the working out of the tale. Would not one, or perhaps two, been sufficient? Five sisters, who are on the vaudeville stage doing a 'sister act,' receive word that they have inherited an estate in a country town from a deceased uncle. They journey thither and settle down, leaving the stage forever. They become members of the local church and join the choir. A sociable is given to raise funds for the organization. The leading deacon of the congregation plots to steal those funds for his own usage. A little boy finds a half-sheet play bill advertising the five sisters and presenting their portraits. Immediately the deacon takes a stand against the girls and they are requested to withdraw from further association or attendance at church gatherings. One of them goes to the choir organ to play a farewell selection. The deacon enters and takes the money. She observes him, runs home, gathers her four sisters, and they head the old man off and force him to drive back to town, when he is apprehended. They are loudly acclaimed, and later the elder of the girls becomes the affianced of the young pastor. The night toning of the film is very pleasing, the acting is commendable and the village characters are typical of the environ chosen."

REVIEW, The Moving Picture World, October 14, 1911:

"The Five Rose Sisters were a theatrical troupe, but their uncle left his farm to them. In the little village they were received well at first until the deacon's daughter found out that they had been on the stage; and then they were in hard luck, especially the pretty one whom the minister loved. But if all the people who self-righteously make trouble for others were roasted before death as badly as this deacon and his daughter, it would be well. The picture has the elements of popularity. It is interesting and well-made."

REVIEW, The New York Dramatic Mirror, October 11, 1911:

"There is appeal and interest in this story, that is well put on and constructed. It is agreeably acted, though overdoing could never be called a fault of these players. The film is refreshing in leading one away from beaten tracks. The Five Rose Sisters are a troupe of vaudeville players who suddenly are left their uncle's farm in the country. They give up their profession and retire. The narrow-minded deacon and his daughter object to theatre people, and at length have them turned out of the church. The one who has been in the habit of playing the organ returns one evening to play, and while there the deacon enters to steal the funds recently made at a sociable. She goes to get the rest of her sisters and they all hold up the deacon and take him before the minister. Of course there is a pleasing love story woven in between the minister and the girl. The minister might have expressed more concern when the girls were turned from the church, and his hurrahs hardly become him when the guilty deacon was led before him in the last scene."

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