Volume I: Narrative History

Chapter 9: 1916 October Releases

The Pillory, a five-reel Gold Rooster Play, was released on October 8th. Reviews were on balance favorable, with that by Margaret I. MacDonald in The Moving Picture World being typical:

The story of The Pillory, written by Philip Lonergan, is an attractive one with a large human appeal. Its characterization is interesting and well developed, but its natural length under its present plan of construction runs nearer to four reels than five, and finishes apparently about the middle of the third reel. The added portion, which starts after the childhood of the girl who has been brought up to ignorance of the fact that her mother is alive has been told, and also the story of how she has been cast out into the world alone and finally meets her own mother, narrates a series of incidents which happen as a result of situations which develop later.

Florence LaBadie, playing the role of the young girl who is persecuted by a conventional aunt and a mean-spirited housekeeper, is supported by Marie Stowell [sic; Shotwell was intended], James Seeley, Ethyle Cooke, and other Thanhouser players. Marie Stowell, as the wife of a certain prominent judge, an angel of the prison, and who is later discovered to be the mother of the misled Florence, is sweet and dignified in the part. The production has been provided with artistic settings and will be found to be of intense interest up to the point where its natural climax occurs. Had the story used as its basis the life of the mother, with the incidents relating to the life of the child more in the nature of explanatory embellishments, the production would have earned its title with nothing to spare on a five-reel development. The basic idea is a good one and boasts considerable originality, and the production is on the whole one that will be enjoyed.

Prudence the Pirate, issued as a five-reel Gold Rooster Play on October 22nd, was a triumph for Gladys Hulette, who took the title role, and Agnes Christine Johnston, writer of the scenario. The New York Dramatic Mirror commented:

If you want a good evening's entertainment viewing a picture that will make you laugh and chuckle and make you believe in the happy side of life, see Prudence the Pirate. It is one of the most delightfully pleasing stories that has been screened for some time.

Simple yet realistic, it is a fanciful tale of girlish whims, or as it is expressed, the picture is dedicated to those sober, staid individuals who long for excitement. In this case it is a girl just out of school who is unable to stand the dreary monotonous life which her wealthy aunt has compelled her to lead. She craves excitement, and the tales of piratical adventure which the old butler tells her give her an idea, so when her aunt has gone away on a houseboat Prudence charters an old ship and turns pirate. She kidnaps a young man who starts a mutiny and captures his capturer, but for another purpose. There is no tense drama, no blood curdling events, but a continuous, fantastic story developed by magnifying natural traits of human character. For this reason the story depends in great part on the cleverly drawn characters. In fact, it is a clever character study of a whimsical girl. Gladys Hulette is ideally cast in the role, and her work is sparkling and vivacious. She extracts all possible humor from the part. The other roles are also exceptionally well portrayed. Flora Finch Note is typically the puritanical aunt and Riley Chamberlin is excellent as Meeks, the butler, a teetotaler and narrator of fantastic tales. The situations are full of humor and yet perfectly logical. There is nothing forced or strained about the various incidents. The author has shown a marked insight into human character, and the director and players have adequately carried out her ideas. Even the little dog does his part in creating realism and comedy. The titles are unusually clever and well written, and the staging and photography quite effective. E.S.