Volume I: Narrative History

Chapter 10: 1917 Reminiscences

July advertisements bearing the Thanhouser imprint featured four leading stars: Frederick Warde, Florence LaBadie, Gladys Leslie, and Jeanne Eagels. By this time nearly all other leading actors and actresses had gone to Astra or to other studios. No longer was there a large stock company of players. Minor roles continued to be filled by hiring actors and actresses on a project basis. Numerous players formerly on the studio payroll drifted into other jobs not related to films.

The Exhibitor's Trade Review on July 21st carried reminiscences by Edwin Thanhouser, who told conventioneers assembled in Chicago of the good old days:

"The first moving picture convention in my experience," says Edwin Thanhouser, "would hardly bear comparison with the Chicago 1917 affair. Just to be generous I won't tell the year of it or the city it took place in. This for the reason that the city and its exhibitors did the best they could with the facilities on hand to make the convention a huge success. They worked hard and there will be no more convention spirit at the great 1917 meet than at this early one.

"But we met in no coliseum. Indeed all the meeting places in that particular city could be crowded into the coliseum. The exhibitors rented no building at all. A prominent local concern gave them the use of its own exhibition building gratis. There were few exhibits, almost none by the film manufacturers. The projection machine manufacturers and supply people exhibited but that was about all.

"I don't suppose a tenth as many exhibitors attended as will be at Chicago, and there was hardly any outside interest at all.... No, there wasn't a star on hand! As a matter of fact there was no particular stars then, barring perhaps Miss Turner and Miss Lawrence, Note and had one of them paid us a visit you would have said hello and let it go at that.

"Public reception for stars and thousands of fans were not associated with moving picture conventions then. They were pretty quiet affairs on the whole. You went to the convention city, attended such sessions of the convention as were open to you, looked at the exhibits, and took an early train home. Today a national motion picture convention is an event of the nation's life. The press of the entire country notices it and it is the most important thing in the big city where held for the entire week it is held. The National Motion Picture Convention emphasizes in its startling development the growth of the motion picture industry itself."

The Woman in White, adapted from Wilkie Collins' novel, was released in five reels by the Pathé Exchange on July 1st, although earlier the film was announced as being of seven-reel length. Florence LaBadie was seen in two leading roles: as Laura Fairlie and as Ann Catherick, the woman in white.

Reviews were favorable. Edward Weitzel wrote the following for The Moving Picture World:

The author of The Woman in White understood the value of suspense. He also understood the dramatic worth of the dual role. Moreover, he always had a story to tell. The screen version fashioned by Lloyd Lonergan and produced by Thanhouser has the gripping qualities of the original, and it is not at all necessary to be familiar with the novel in order to enjoy the picture. Some of the material seems rather conventional, and Sir Percival Glyde and Count Fosco are as fine a pair of theatrical villains as ever graced an old-time melodrama, but the human interest of the story is always vital and all the characters lead anything but peaceful lives.

The plot deals with two women who bear a remarkable resemblance to each other. One is an heiress, the other is poor and feeble-minded. Laura Fairlie, the heiress, becomes the wife of Sir Percival Glyde, who marries her for her money and is ready to stop at nothing in order to get his wife's fortune into his hands. The first step is when he learns of the escape of Ann Catherick from the insane asylum. The woman dies and he secures the body. His wife is ill at the time. Sir Percival has her taken to the asylum as Ann Catherick and gives out the information that his wife has expired, the body of the insane woman being buried in her place. The story ends with the death of Sir Percival and the reunion of Laura with the man she always loved, a young artist, separated from her by poverty.

Ernest C. Warde has directed the picture excellently, and the action of Florence LaBadie as Laura and Ann does justice to both characters. Richard R. Neill as Sir Percival, Gertrude Dallas as Marian Holcombe, Arthur Bauer as Count Fosco, and Wayne Arey as Walter Hartridge, are valuable aids to the favorable impression made by the picture.

Next on the release list was It Happened to Adele, which was distributed on July 15, 1917. Again reviews were favorable. That in The New York Dramatic Mirror is typical:

Points of Interest: A human interest story well acted, and with an odd twist at the end. It Happened to Adele, a Thanhouser production which serves Gladys Leslie as a second starring vehicle, embraces a typical Agnes Johnston story that will please the hearts of those persons who like a rather sentimental flavor to their pictures, and their name is legion. The story concerns the fortunes of Adele, a mere child who has developed talent for stage dancing. After many trials and tribulations she finally obtains backing for the production of [her musician friend's] first opera, and plays the star role. In the end it turns out that the musician was prompted by selfish motives, and the rich man wins his suit. The direction is adequate and the cast thoroughly meets all requirements. Miss Leslie evidences far more acting ability than in her first feature role. An exhibitor that knows that his patrons like sentimental human interest pictures occasionally can be assured that they will be pleased with It Happened to Adele.