Randy Bryan Bigham
Member
No, not the one you think!
But one of Dorothy Gibson’s films has been located and is now undergoing conservation by the American Film Institute. While confirmation of its condition is preliminary and its future availability status has not been determined, the survival of this one-reel motion picture is momentous for film historians and Titanic buffs alike.
Dorothy Gibson was the first American leading lady for the then powerful French-based í‰clair Film Company. Noted for her natural, restrained acting style, she was one of the first bonafide movie stars of the early silent period, when the "star" system was just being formulated. Her films were solid money-makers and she was considered the biggest asset for í‰clair when Universal Pictures initially opted to buy the company’s Fort Lee studios and merge their interests.
The discovery of this film comes at a crucial time, indeed. My book, Finding Dorothy, goes to press Nov. 23, and if I am able to include preservation information about it, the title will mean much more than I thought it could! (For more on Finding Dorothy, see under Upcoming Book News on Michael Tennaro’s website www.titanicbooksite.com).
The Dorothy Gibson movie that has been discovered is, as often happens in such cases, not at all one of her better films, as least to judge from press reviews. However, as all of Dorothy’s known films (at least 15) were believed to have been lost until now, "we’ll take what we can get," as the saying goes.
The movie is "A Lucky Holdup," a raucous little comedy released by í‰clair on April 11, 1912. It was one of three films that Dorothy rushed through in order to take the fateful European vacation that would land her on Titanic.
The story is a frenzied one, especially as it transpires in about 14-17 minutes, the average running time of one-reelers (according to a 1911 article). In the tale, Dorothy and her beau (played by dapper Lamar Johnstone, one of her regular leading men) find themselves caught up in a feud between their affluent families.
Their fathers, who are business partners, have come to blows over some deal and demand that the young lovers end their courtship. The couple refuses to do so and elopes somewhere out West. There the boy and girl are kidnapped by their stage driver who takes them to his mountain cabin and holds them for ransom. The young people send a letter with the thief’s demand for money to their respective parents, who unite in a common goal to rescue their children. How the film ends is not clear from reviews but a Billboard Magazine critic wrote that "the story is carried to a laughable conclusion."
The New York Dramatic Mirror reviewer agreed that "there is both humor and novelty in this little farce" but commented on what he considered to be some "rather bad photography" and a "want of spirit displayed by the actors."
It is perhaps ironic that this picture, the only one known to survive so far of Dorothy’s work, is one of only two of her films which was criticized for less than stellar acting. Her "reposeful," "charming," "winsome" manner is often singled out for comment in reviews. Not this one, however.
But it doesn’t matter to me. I’m just happy to know that Dorothy has truly been found and that someday soon we will finally be able to see her on screen for ourselves!
This, to me, is fantastic news. It is what I have hoped for for so long.
But one of Dorothy Gibson’s films has been located and is now undergoing conservation by the American Film Institute. While confirmation of its condition is preliminary and its future availability status has not been determined, the survival of this one-reel motion picture is momentous for film historians and Titanic buffs alike.
Dorothy Gibson was the first American leading lady for the then powerful French-based í‰clair Film Company. Noted for her natural, restrained acting style, she was one of the first bonafide movie stars of the early silent period, when the "star" system was just being formulated. Her films were solid money-makers and she was considered the biggest asset for í‰clair when Universal Pictures initially opted to buy the company’s Fort Lee studios and merge their interests.
The discovery of this film comes at a crucial time, indeed. My book, Finding Dorothy, goes to press Nov. 23, and if I am able to include preservation information about it, the title will mean much more than I thought it could! (For more on Finding Dorothy, see under Upcoming Book News on Michael Tennaro’s website www.titanicbooksite.com).
The Dorothy Gibson movie that has been discovered is, as often happens in such cases, not at all one of her better films, as least to judge from press reviews. However, as all of Dorothy’s known films (at least 15) were believed to have been lost until now, "we’ll take what we can get," as the saying goes.
The movie is "A Lucky Holdup," a raucous little comedy released by í‰clair on April 11, 1912. It was one of three films that Dorothy rushed through in order to take the fateful European vacation that would land her on Titanic.
The story is a frenzied one, especially as it transpires in about 14-17 minutes, the average running time of one-reelers (according to a 1911 article). In the tale, Dorothy and her beau (played by dapper Lamar Johnstone, one of her regular leading men) find themselves caught up in a feud between their affluent families.
Their fathers, who are business partners, have come to blows over some deal and demand that the young lovers end their courtship. The couple refuses to do so and elopes somewhere out West. There the boy and girl are kidnapped by their stage driver who takes them to his mountain cabin and holds them for ransom. The young people send a letter with the thief’s demand for money to their respective parents, who unite in a common goal to rescue their children. How the film ends is not clear from reviews but a Billboard Magazine critic wrote that "the story is carried to a laughable conclusion."
The New York Dramatic Mirror reviewer agreed that "there is both humor and novelty in this little farce" but commented on what he considered to be some "rather bad photography" and a "want of spirit displayed by the actors."
It is perhaps ironic that this picture, the only one known to survive so far of Dorothy’s work, is one of only two of her films which was criticized for less than stellar acting. Her "reposeful," "charming," "winsome" manner is often singled out for comment in reviews. Not this one, however.
But it doesn’t matter to me. I’m just happy to know that Dorothy has truly been found and that someday soon we will finally be able to see her on screen for ourselves!
This, to me, is fantastic news. It is what I have hoped for for so long.
