Volume I: Narrative History

Chapter 5 (1912): The Feature Film

Among Thanhouser's one-reel releases there were some "features," as designated by the studio, but no definition of the term was ever given. Indeed, in the industry there was no agreement on the subject, except that many considered a feature picture to be one issued in multiple reels and treating a dramatic subject. An article in The Moving Picture News, February 24, 1912, discussed the situation:

Has the "four-features-a-month" stunt become a regular performance with the Thanhouser Company? Evidently, if we read the signs right, for January and February carried that number of features, and now it's ditto in March. Edwin Thanhouser is surely bestirring himself these days when he can deliver four features in three consecutive months and then leave the impression that there are more to come. And to think it was only yesterday that the Independent film world was startled by this producer's announcement that he would positively release a feature every month! From one to four has been a speedy shift, and, we are certain, a very successful one.

Mr. Thanhouser picked the March four just before he left for Florida last week. They are: The Arab's Bride, Flying to Fortune, Nicholas Nickleby by Dickens, and My Baby's Voice. The first of these is the first picture by the Thanhouser stock company now operating in Florida. The second feature is stated to be an airship story, in which a real airship is used. Nicholas Nickleby is a two-reel subject by the home (New Rochelle) company. The fourth feature, My Baby's Voice, a sort of telephone story, is announced as the best heart-interest plot Thanhouser has produced thus far in 1912 - and Thanhouser announcements never mislead. Edwin Thanhouser's definition of "feature" is a film that always plays a return date.

The Guilty Baby, released on February 27, 1912, was still another film which pointed out the flaws of circumstantial evidence in criminal proceedings. A plumber who rushes out of a house is suspected of stealing a necklace, but in truth "the guilty baby," played by Helen Badgley (here billed as the Thanhouser Kidlet for the first time), innocently hid the gems in the head of her toy rabbit. After being released from his cell, the plumber explained that he had dashed from the house because his wife was gravely ill. Reviewers found the film to their liking.

The Arab's Bride, released on March 1, 1912, was the first release from Thanhouser's Southern Company. Photographed by A.H. Moses, Jr. and directed by George O. Nichols, the production boasted an extravagance that was unusual for the time. The Moving Picture World Note told the story:

Two thousand feet of film were taken of The Arab's Bride, the Thanhouser release of Friday, March 1, and 920 feet - allowing 80 for titles - were used. This will serve as a simple example of how the producer of the present "throws" about money to get what he wants. Just consider! Less than half of this costly production was held for the subject as finally issued. The huge length of film that was thrown into the waste barrel represented toil and trouble and tremendous expense. But it was "all in a day's work" at a film manufactory. The subject is notable for its fine tropical settings and beautiful costumes. Its Arabian desert scenes particularly stand out. As a matter of fact, they were taken in Florida, by the Thanhouser "stock" now operating there.

The Arab's Bride offers a good illustration of the difficulty one encounters in deciding who played which role in some Thanhouser releases of this period. Some observers stated that William Russell was the young Arab sheik, and James Cruze was the wealthy Moor, while others reversed the attributions. Often, reviewers would simply make guesses as to such identities. Making more guesses, often incorrect, than anyone else, was the "Answer Man," who fielded inquiries sent by readers to The Motion Picture Story Magazine.

Extravagance, distributed on March 5, 1912, was the last film directed by George O. Nichols in New Rochelle before he took his company south in the second week of January. In an improbable plot a loving father spends all of his assets to buy lavish gifts for his daughter. Finally running out of money, he considers committing suicide so that his daughter can get the proceeds from his life insurance policy. An impecunious old boyfriend intervenes at this moment, saves the father from his intended deed, the foolish girl sees the folly of her life style, reconsiders her penniless admirer, and then falls in love for the sake of love alone. Reviewers liked it, and comments were for the most part favorable. Next on the list came His Great Uncle's Spirit, released on March 8, 1912, the scenario of which involved a professional magician.

Flying to Fortune, the Thanhouser release of March 12, 1912, was the second film from the Southern Company and had George O. Nichols both as director and as a scheming lawyer. Florence LaBadie is the girl who has to marry her sweetheart by a certain time in order to inherit a fortune. Evildoers endeavor to prevent this, but she secures a ride in an plane and flies to fortune. The Moving Picture World reviewed the film:

A picture in very pretty Florida backgrounds, including sea scenes of the wide, flat beach and white breakers. The heroine (Miss LaBadie) is rescued by an aviator in his flying machine from a predicament into which her scheming aunt (Miss Snow) had placed her. While the story doesn't very strongly convince, its acting and its scenes and the whole conduct of the picture are very pleasing, and the release "gets over" very well as entertainment. Mr. Cruze plays the heroine's sweetheart. It makes a good filler.

The Poacher, directed in snowy surroundings by Lucius J. Henderson, was released to good reviews on March 15th, with Marie Eline's impersonation of a little boy singled out for special acclaim.