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Written and directed by Sidney Morgan
Produced by Frank E. Spring for Progress
Langhorn Burton Peter Beresford/Julian Grey
Violet Graham Vivian Beresford
Gladys Mason Yolande Hampton
Arthur Lennard Robert Hampden
J. Denton-Thompson Williams
Sidney Paxton Billings
Babs Ronald Helen Beresford
Warris Linden Simon Oppenheim
Format: 35mm, 1,676m/5,447 ft, six reels. Filmed at Shoreham, near Brighton.


The Stage (26 August, 1920 - p.15)

A Shoreham Man’s Shadow.

     I met Langhorne Burton, who tells me he has been to Sussex for the taking of three new films at the Morgan Studios, Shoreham-on-Sea, and is about to return to start a fourth. The one just finished is a picturisation of the once celebrated Haymarket success “A Man’s Shadow,” in which he performs the dual rôle made famous in the past by the late Sir Herbert Tree. His next will be lead in Besant’s “Children of Gibeon,” in which Alice de Winton will also take an important character. Dickens’s “Little Dorrit,” with Lady Tree, George Foley, and little Joan Morgan in the cast, taken by the same firm, will shortly be shown at the London Pavilion. As an old Dickensian, I hope to report favourably upon its merits.



The Bioscope (9 December, 1920 - p.35)


Daily Mail (11 December, 1920 - p.1


The Bioscope (16 December, 1920 - p.73)

“A Man’s Shadow”

Innocent man suffers through the misdeeds of his unknown
double—Robert Buchanan’s well-known story adapted by
Sidney Morgan—Good staging and excellent photography.

Butcher (Progress)                               5 reels

Featuring: Langhorne Burton, Violet Graham, Gladys Mason,
Arthur Lennard, J. Warris Linden, T. Denton Thompson,
Sydney Paxton, Babs Ronald

     Unknown to himself, Peter Beresford, a young married man in financial difficulties, has a double, Julian Grey, who, aware of their resemblance, impersonates him and murders a moneylender. Beresford is arrested after receiving a forged note containing some of the stolen money, purporting to come from Yolande, wife of his barrister friend, Hampden, but really sent by Grey, who knows of Yolande’s secret acquaintance in the past with Beresford. At the trial Beresford refuses to say whence he obtained the stolen money, but Hampden, who is defending him, receives from Grey a copy of the forged letter, and, believing Yolande unfaithful, dies of shock. Beresford is sentenced to death, but, while he is awaiting execution, Yolande, who alone knows of Grey’s existence, takes up the threads of the case, and tracks the murderer down. Eventually Grey is arrested, and Beresford set free to return to his wife and child.


     Robert Buchanan’s powerful story of an innocent man’s sufferings through the crimes of his unknown double has been adapted to the screen and produced, with very fair success, by Sidney Morgan. The stage play, it will be remembered, provided the late Sir Herbert Tree with one of his most effective rôles.
     In the film version the story seems somewhat unnecessarily complicated, and Mr. Morgan has evidently found it difficult to interweave the various dramatic threads into an orderly design. He would, perhaps, have been wiser to simplify the plot instead of endeavouring to cram in a mass of incident of which, as producer, he has not been able to make full dramatic use. For instance, the evidence against Beresford at the trial is so overwhelming that his little daughter’s effort to save him by perjury could obviously have had no importance. It would have been better to make Beresford’s conviction depend largely upon her testimony or else to have cut out the incident altogether.
     Although the play suffers to some extent from a plethora of ill-digested detail the plot is unquestionably strong, and it holds the attention despite some weaknesses in the production. In the dual role Langhorne Burton gives an effective performance with an occasional tendency to staginess, but, on the whole, natural and human. Other parts are played competently, if without special distinction, by a sufficiently well chosen cast.
     The staging does credit to the resources of the Progress studios, the trial scene being a particularly good setting. There is some artistic lighting and the photography is excellent throughout.
     Although both scenario and production show some room for improvement “A Man’s Shadow” makes a sound entertainment. The title has real drawing power, and the film itself is by no means disappointing. Appropriately advertised, the picture should prove a good attraction with middle-class audiences.



The Bioscope (30 December, 1920 - p.70)


The Bioscope (29 December, 1921 - p.15)


Hastings & St. Leonards Observer (31 December, 1921 - p.5)


Western Morning News (7 January, 1922 - p.7)

     SAVOY PICTURE HOUSE.—Two interesting items in the programme commencing on Monday are “A Man’s Shadow,” featuring Langhorne Burton, and “Love’s Pay Day,” in which Rosemary Thebe takes the leading part. The former is from Sir Herbert Tree’s Haymarket success by Robert Buchanan, while the other is an absorbing story of a young fishing girl who, in consequence of love of gaiety, was the means of the downfall of her lover. On Thursday the chief exhibit will be the All-British film entitled “Nothing Else Matters,” featuring Hugh E. Wright, Moyna Maggill, and Betty Balfour. This is a great human story, interwoven with which is a touching love plot. Next comes “The Sea Wolf,” one of Jack London’s enthralling stories, and an excellent comedy will complete the programme.



Grantham Journal (14 January, 1922 - p.7)


The Burnley News (18 February, 1922 - p.15)


     The work of Langhorne Burton is so well known to patrons of the Alhambra that the announcement of his appearance in “A Man’s Shadow” on Thursday, Friday and Saturday next will meet with general approval. Fresh from Butcher’s Service, this film gives Langhorne Burton a great opportunity of displaying his ability in as much as he figures in a dual role. From the beginning to end events move rapidly, and as they are interpreted by a strong cast the picture leaves nothing to be desired. Supporting Langhorne Burton are Violet Graham, Arthur Lennard, Gladys Mason, J. Warris Linden, Babs Ronald, T. Denton Thompson, and Sydney Paxton.



Exeter and Plymouth Gazette (17 July, 1922 - p.2)


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Directed by Fred Paul
Script by Charles Barnett and J. Bertram Brown
Produced by Screen Plays (The BFI lists the production company as the Master Film Company.)
George Foley Dave Purvis
Nora Hayden Tress Purvis
Jack Raymond Mark
Moya Nugent Sybil Garfield
John Stuart Philip Compton
Cecil Morton York Squire Garfield
Frank Tennant Arthur Tredgold


The Bioscope (30 September, 1920 - p.54)

     I hear from John Stuart, who is playing juvenile lead in Screen Plays’ “Lights of Home,” in Cornwall, that the company have met with extremely bad weather during their stay in the West country. The party journeyed from London by road, travelling a distance of 270 miles to Fowey, where many of the exteriors will be taken.



The Bioscope (7 October, 1920 - p.63)

     Cecil Morton York writes me from Fowey, where he is playing in “The Lights of Home,” now being produced by Stirling Films. Mr. York says that this is the first experience of playing in sunlight by artificial light, the producer taking no risks, and carrying a lighting plant which can be used in any interior, or as supplementary to the ordinary daylight. The cottage interiors of this Cornish village will therefore provide authentic settings which will entirely eliminate studio work in this adaptation of a favourite drama.



The Bioscope (16 December, 1920 - pp.70-71)

“The Lights of Home”

Sound and pleasing story of Cornish fisher life—
Beautiful settings anf capable acting.

British Exhibitors Films                               5 Reels

Featuring: George Foley

     Tress Purvis, the daughter of Dave Purvis, a Cornish fisherman, falls victim to the seduction of Arthur Tredgold, an artist, who deserts her after a promise of marriage. Mark, a young sailor who has grown up with Tress, proposes marriage, and on his refusal goes away to sea. Philip, a friend of Mark, is in love with Sybil, the niece of Garfield, a neighbouring squire, who wishes her to marry Tredgold, a friend of the family. Tredgold inspires Sybil with jealousy against Philip and induces her to break her engagement. Tress hears of the marriage arranged between Tredgold and Sybil and denounces him in her hearing. Dave discovers the truth, and vows to kill Tredgold. There is a struggle between the two on the top of a cliff, over which Tredgold falls and is believed to be killed. He is, however, rescued by the ship on which Mark is returning home, and brought to book, when Sybil and Philip, Tress and Mark are happily united.

     Adapted from the popular drama by George R. Sims and Robert Buchanan, this simple story of the lives and loves of Cornish village folk is one which will meet with general approval from the public. There is no involved or complicated plot, all is plain sailing, and it is not difficult at any moment to foretell the general trend of events, and there is no great subtlety of character drawing, but it is a clean and wholesome story of sound interest, charmingly set amongst some of the most beautiful spots on the Cornish coast, of which Mr. Fred. Paul, the producer, has made excellent use.
     The acting is of great merit, the outstanding performance being that of Mr. George Foley, who gives a realistic and thoroughly pleasing picture of a fine type of Cornish fisherman. In appearance he is the part to the life, and in every phase of the character, both in the genial simplicity of his every-day life, and when his primitive passions are roused by the injury to his daughter Mr. Foley grasps the situation without ever overstepping the framework of the picture. Miss Nora Hayden as Tress, Mr. Jack Raymond as Mark, and Mr. Cecil Morton Yorke as Squire Garfield are prominent members of an excellent cast.



The Times (20 December, 1920 - p.8)


     The Lights of Home, the new film based on the play by Mr. George R. Sims and Mr. Robert Buchanan, is full of excitements, with one notably fine piece of acting by Mr. George Foley as an old Cornish fisherman, whose daughter has been betrayed by an artist “from London.” The artist then tries to marry the niece of the squire, but is duly frustrated in his schemes and is finally kicked out of the village. But to us the method of production of the film is more interesting than the film itself. To a large extent “studio work” has been done away with. There are very few interior scenes at all, and most of those that there are are laid in humble cottages. The film was taken in the neighbourhood of Fowey, the players being taken to their destination by charabanc. An electrical installation was carried and driven from the charabanc so that when it was not in use for touring purposes it became a generator of power. When a cottage scene was required wires were run into the actual cottage and the scene enacted therein, thus saving the heavy expense of erecting scenes in the studio and ensuring an absolute fidelity to Cornish conditions that could not be obtained by any other means. The results were eminently successful, but all through the film the lighting is one of the strongest points. There are some beautiful sea and sky effects which add considerably to the value of the picture. The weakest point is the acting, apart from that of Mr. George Foley. Some of the efforts in this direction are decidedly amateurish.



The Hull Daily Mail (16 February, 1922 - p.4)


Hastings and St Leonards Observer (25 March, 1922 - p.5)


     The fare at the Public Hall Cinema, near the Memorial, is always attractive and the programme to-day (Saturday) includes “The Double Event,” a very pleasing light comedy drama adapted by Kenelm Foss and featuring Lionelle Howard, Mary Odette, Louie Freear and Tom Coventry; “Miracles of the Jungle,” and Gaumont Graphic.
     On Monday, Tuesday and Wednesday the programme will include George Foley in “The Lights of Home,” a fine film adapted from the popular drama by George R. Sims and Robert Buchanan. The story concerns Tress, the motherless daughter of old Dave Purvis, a Cornish fisherman, who falls a victim to the romantic glamour of Arthur Tredgold, an artist who is on holiday in Cornwall. Later Tredgold returns to London, promising to come back soon and marry Tress, but he does not and Tress becomes the subject of scandal amongst the villagers. The story continues with great interest. The cast includes George Foley, Jack Raymond, Frank Tennant and Nora Hayden. In support will be “The Tempest” (Robertson-Cole interest); Gaumont Graphic; and “Home, Sweet Home” (Interest).


[The front page of The Worthing Herald of 22nd April, 1922, featuring  a review of The Lights of Home at the Dome Cinema (still in business) as well as an article about Bromley Challenor’s visit to the town with When Knights Were Bold.]

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Directed by Fred Paul
Script by Paul Rooff
Produced by John Robyns for British Standard
Fred Paul Father Michael
Humberston Wright Captain MacDonnell
Sydney Folker Harry O'Malley
Mary Morton
Jock Raymond
Amy Brandon Thomas
George Turner
Clifford Desborough


The Bioscope (19 February, 1920 - p.29)

     Fred Paul is hard at work on the first of a series of productions which will be known as the Fred Paul British Standard Film productions. The subject selected is that fine drama by George R. Sims and Robert Buchanan, “The English Rose,” which ran for nearly a year at the Adelphi Theatre, and has since been played all over the world. Miss Amy Brandon Thomas will play the leading part, and Mr. Paul himself will play Father Michael. The cast also includes Sydney Folker, Humberstone Wright, Jack Raymond, George Turner, and May Morton.



The Bioscope (11 March, 1920 - p.126)

     As I foretold in my notes a fortnight ago, Fred Paul is now hard at work down at Ealing in the screen version of George R. Sims’s “The English Rose.” And more than that. He has been associated in the formation of a new British producing concern—British Standard Film Productions—whose managing director is Mr. John Robyns. Work on this production is now proceeding at Barker’s, and plans for extending that part of the premises already acquired are on the tapis.
     In the cast are Amy Brandon-Thomas, Sidney Folker, Humerton Wright, Jack Raymond, May Morton, and Clifford Desborough.
     Fred Paul is, of course, directing, and he has also been prevailed upon to enact the rôle of “Father Michael.” He stated that this, the first production of the new company, would be the fore-runner of many well-known works, the rights of which he has secured.



The Bioscope (18 March, 1920 - p.90)

     Fred Paul has just finished screening “The English Rose,” the old Adelphi drama by George R. Sims and Robert Buchanan. In the cast are Amy Brandon-Thomas (daughter of the author of Charley’s Aunt), May Morton, Sidney Folker, Humbertson Wright, Jack Raymond, Clifford Desborough, and George Turner. Fred Paul himself enacts the rôle of “Father Michael.” His next production will be “Uncle Dick’s Darling” by H. J. Bryon.


The Bioscope (1 July, 1920 - p.160)


. . .

British Standard Film Productions, Ltd.

Directors: JOHN ROBYNS (Managing Director).
Producer: FRED PAUL
Camera Expert: FRANK CADMAN.
Publicity: EDWARD EVE.

     Formed about six months ago, with John Robyns as managing director, and Fred Paul, director of productions. Their first production was “The English Rose” adapted from the famous Adelphi drama by George R. Sims and Robert Buchanan. The cast included Amy Brandon-Thomas (daughter of the author of “Charley’s Aunt”), Sidney Folker, Humberston Wright, Jack Raymond, George Turner, May Morton, Clifford Desborough, and Fred Paul, who reappeared in an acting capacity for the first time since “The Dop Doctor.” He also directed the picture, and is now engaged on “Uncle Dick’s Darling,” by H. J. Byron. This features Athalie Davis, a screen actress of seventeen, who, at five and a half years of age, was painted by Alan Williams, the miniaturist, as the prettiest child in England. Supporting her are Frank Dane, Humberston Wright, Violet Bebbington, George Bellamy, Ronald Power, and Sidney Folker. The interior scenes are being taken at Barker’s Studios, Ealing Green.



The Bioscope (13 December, 1923 - p.40)


Presented by: Astoria.
Directed by: Fred Paul.
Type of Production: Melodrama.
Place and Period: England; present day.


     Harry O’Malley is obliged to sell his ancestral home, which is bought by Sir Philip Kingston, a self-made man, with a beautiful daughter, Rose, with whom Harry falls in love. Captain MacDonnell, Sir Philip’s secretary, hopes to marry Rose in order to cover up his own defalcations. Sir Philip discovers his true character and dismisses him. MacDonnell shoots Sir Philip, and contrives to implicate Harry, who is arrested and found guilty by the Coroner’s Jury. MacDonnell’s accomplice makes a confession, which clears Harry. MacDonnell is arrested, and the young lovers are united.

Harry O’Malley:          SIDNEY FOLKER.
Capt. MacDonnell:      HUMBERSTON WRIGHT.
Rose Kingston:             AMY BRANDON THOMAS.
Father Michael:            FRED PAUL.

     Originally produced at the Adelphi Theatre over thirty years ago, this melodrama by George R. Sims and Robert Buchanan is a good sample of the fare popular at that theatre in the days when melodrama was at its best. It must be admitted that the piece shows signs of age, or perhaps requires something of the spirit of the late William Terriss to give it life and animation. The camera has a trick of showing up crudities of plot and construction, and the story seems a little thin and threadbare. But though the hero’s adventures are somewhat of the conventional order, and he is arrested for murder at the order of the villain, and apparently condemned to death and pardoned by a couple of village policemen, as played by Sidney Folker, he is certain to enlist the sympathies of a not too exacting audience, who will also be keenly interested in the heroine, charmingly played by Amy Brandon Thomas, and in the Father Michael of Fred Paul, the producer.
     “The English Rose” marks no new era in British film production, but will be a useful feature in many popular houses.



Dover Express (15 August, 1924 - p.6)


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LOVE IN AN ATTIC (1923) (Short)
(based on the poem, The Little Milliner)
Directed by Edwin Greenwood
Script by Eliot Stannard
Produced by Edward Godal for British & Colonial Kinematograph Company
Nina Vanna The Milliner
Russell Thorndike The Producer
Walter Tennyson The Dramatist
Format: 35mm, 547.45 m, two reels.


The Bioscope (10 May, 1923 - pp.59-60)
[Although Love In An Attic is not reviewed, the article below describes the ‘Gems of Literature’ series of which it formed a part.]


The Bioscope (20 September, 1923 - p.81)


. . .

“Gems of Literature”

Walturdaw.             Released Oct. 1, 1923
Reviewed May 10, 1923.

     Invest these interesting two-reelers with special interest by having an elocutionist declaim parts of the poem when the film is made from poetry, or give a clearly-worded synopsis of the book or play from your stage prior to the screening of the film. Try to arrange also for your orchestra to play music of the period of the films. There is something of a boom in Old English songs and characteristic melodies just now in the musical world, probably started by “The Beggar’s Opera,” and cinemas have a fine chance of taking their share of popular interest.
     Particularly if you have a week of this kind of music in between two weeks of jazz and fox-trot, you will achieve the vitally necessary variety effect.
     The main interest of these little films is the fact that they are picturisations of the well-known literary works, so that the memory of your public should be refreshed by printed extracts circulated the week prior to the coming of the film. Don’t feel that, because they are only two-reelers, they are not worth much attention. They are calculated to appeal to people who do not like the usual type of films. You can go after the better classes, even the non-cinemagoers, and endeavour to win them over to the cinema by seeing that they hear about these short films.
     Reproductions on leaflets of the pages in the firm’s synopsis containing photo block and brief story is ideal publicity material for this class of subject. Be sure and announce that they are British.



The Hull Daily Mail (12 February, 1924 - p.2)


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(based on the novel, Woman and the Man)
Written and directed by Amleto Palermi
Cinematographer: Giovanni Grimaldi
Produced by Rinascimento Film (Italy)
Pina Menichelli Gillian
Milton Rosmer Philip O’Mara
Livio Pavanelli
Sir George
Marcella Sabbatini Little Dora
Alfredo Bertone
Format: 35 mm Film. Runtime: 65 min.


BFI synopsis: “Gillian is married to Philip O'Mara, who leaves her and their baby, and goes to Australia. When she meets a rich baron who wishes to marry her, Philip starts persecuting her with letters and requests for money. Gillian almost goes mad and at the last minute Philip is killed, freeing her.”

A restored version of La Donna e l’uomo was shown at the La Rochelle International Film Festival in 1996.


The Times (8 May, 1922 - p.5)

“The newest move in film production has taken the form of a combination of French, Italian, and English producers, who are working on pictures, parts of which are being produced in the three countries. The Film La Grande of Paris has recently completed a film of Oscar Wilde’s story of “Lord Arthur Savile’s Crime,” the principal features of which are scenes taken in various parts of London. The Renaissance Film Company of Rome are now in London making preparations for filming Mr. Robert Buchanan’s “Woman and the Man,” which is to be followed by Sir H. Rider Haggard’s “Jane Haste.” Signor Amato, who is directing the production, is returning to Italy in a few days to take the interior scenes. The object of both French and Italian producers is to make pictures that will unify the tastes and interests of the three nations, and to combine in their productions the best that is in all three in a European atmosphere, as opposed to that of America.”



The Bioscope (18 May, 1922 - p.7)

     As a staunch believer in the production of films possessing an international appeal, not only by reason of their story and scenic environment, but also from the fact that the actors include histrionic exponents known to spheres other than the land of production, I was a delighted auditor at the luncheon given by Signor Carlo Amato, director of the Renascimento studios in Rome and a prominent member of the U.C.I. group, at the Savoy Hotel, after the Trade Screening of “The Second Mrs. Tanqueray,” last week. In outlining the present and future policy of the U.C.I. that gentleman said it was the aim of that concern to produce films that would appeal to the whole of the world. This was a policy, he said, that was being forced upon them by the stern logic of events. Socially and economically nations were learning that they could not live unto themselves alone, and he welcomed the opportunity offered by the international character of the film to link races and countries together in bonds of common interest and understanding. The policy of filming the works of British authors in Great Britain inaugurated in “The Second Mrs. Tanqueray,” would be repeated in Robert Buchanan’s “Man and Woman,” in which Milton Rosmer, the British film star, would also appear. Such methods should, and in this I am merely re-echoing Signor Amato’s sentiments, mean not only better films, but a warmer and close relationship between the film industries of Britain and Italy. It should be the forerunner of a film entente between the two countries.



     International productions are becoming more and more the vogue and a number of interesting visitors may be expected here during the next few months. An enthusiastic exponent of this policy of artistic exchange is Carlo Amato, the well-known Italian producer, with whom I enjoyed a chat—through the medium of an interpreter—during the week. Signor Amato is so satisfied with his experiment of including English exteriors in his first-rate production of “The Second Mrs. Tanqueray” that he intends to develop this international policy in his forthcoming pictures. I am glad to hear, moreover, that he will extend his interest to British artists as well as British scenery. In his next film—Robert Buchanan’s “Woman and the Man”—Milton Rosmer will appear with Pina Menichelli, and most of the exteriors will be made in London’s slumland. This picture will be followed by a version of Sir Rider Haggard’s “Joan Haste.” Incidentally, let me point out that the unqualified success of “The Second Mrs. Tanqueray” was due very largely to the remarkable scenario written by that rapidly-rising British scenario-writer, Harry Hughes.



The Bioscope (25 May, 1922 - p.21)

     Milton Rosmer, whose engagement by the U.C.I. to play in their next Anglo-Italian picture has created considerable interest in filmland, leaves England this week with members of the Everyman Theatre company in order to represent British drama at the great Festival of Zurich. Subsequently, Mr. Rosmer will proceed to the Renascimento studios at Rome to commence work upon the film version of Robert Buchanan’s novel “Woman and the Man,” in which, as already stated in THE BIOSCOPE, he is to star with Pina Menichelli. Both artists will probably come to England in July for the filming of exteriors.


The Bioscope (22 June, 1922 - p.57)

MILTON ROSMER, who has already commenced work at the U.C.I. studios in Rome, is much impressed by the energy and efficiency of the Italian producers. “I came direct from Zurich,” he writes, “and at once found myself in a veritable hive of industry. I felt very strange and stiff at first, but the directors and artists were courtesy itself, and any awkwardness soon wore off. But what workers these Italians are! I’ve been so busy all day that I am obliged to do all my sight-seeing at night. Fancy visiting the Coliseum, the Forum, and the Vatican for the first time in the dark!” In a week’s time, the company will probably be over in England to make exteriors for the picture—a version of Robert Buchanan’s “Woman and the Man.”



The Bioscope (11 October, 1923 - p.20)



An Anglo-Italian Achievement

     British and Oversea buyers will be interested in a new production which Renaissance Films, Rome, are about to offer them. Signor Amato, the managing director, has just brought over from Rome what is said to be a masterly adaptation of “Woman and the Man,” by Robert Buchanan, a story of striking interest which has as its principal locale the sinister depths of London’s Chinatown. The film is a happy blend of British and Italian effort. A British novelist’s work is interpreted by Pina Menichelli, the favourite Italian star, and Milton Rosmer, the equally popular British artist; and the scenery of both countries has been drawn upon to full effect. The two principals are supported by a capable Anglo-Italian cast.


[Poster for the Cine-Teatro Montagnetta - April, 1924.]


The Bioscope (24 April, 1924 - p.5)


The Bioscope (30 April, 1925 - p.4)



“Woman and the Man”

     To the ranks of independent renters has to be added the name of C. Cattermoul, who has opened offices at 93, Wardour Street, and whose first picture, “Woman and the Man,” is due to be shown at the Shaftesbury Pavilion, on Friday, May 1st. “Woman and the Man” is an adaptation from the novel by Robert Buchanan, and portrays life with its light and shade as only Robert Buchanan can show it. Milton Rosmer makes a welcome return to the screen in this picture, and has as co-star Pina Menichelli, whose work has always delighted. The picture was made partly in England and partly in Italy. “Woman and the Man” should prove a very attractive proposition, and the first show of the new renter should certainly not be missed.



The Bioscope (7 May, 1925 - p.60)


Offered by: C. Cattermoul. Length: Five reels. Type: Drama.
Cast: Pina Menichelli, Milton Rosmer.

     IN BRIEF: Ill-treated and deserted by her husband, a woman’s chance of happiness is imperilled by her husband’s return. Strong melodrama, well presented.
A useful booking for popular houses.
     The Story: Adapted from a story by Robert Buchanan, this film deals with the disillusionment of a young wife who soon realises that the man she has married is thoroughly worthless. Philip O’Mara is a hopeless and incurably selfish creature who deserts his wife and child after having reduced her to s state of destitution. Gillian, his wife, struggles on bravely to support her child and attracts the sympathetic interest of a wealthy baronet, who offers her marriage. Her happiness is nearly wrecked by the return of her husband, intent on blackmail, but he, in his turn, is hounded by a man whom he has wronged while abroad and comes to a dramatic end before his evil work is effected.
     The film, we understand, was produced partly in England and partly in Italy, somewhat of a handicap for a story in which the scenes are laid in England and what is vaguely described as “the other side of the world,” by which we presume is meant Australia. In spite of the difficulties the atmosphere has been well conveyed and the settings are well in keeping with the story, which is one of considerable interest.
     Acting: Milton Rosmer always proves effective on the screen and though the part of Philip O’Mara is of no very great interest in itself, and one with no redeeming feature, Mr. Rosmer invests it with much of his strong personality.
     Pina Menichelli is a beautiful woman who is inclined to rely too much on the effect produced by her eyes and who therefore misses the straightforward heart appeal which is essential for this class of melodrama.
     The other parts are in capable hands and the general production is adequate.



Lincolnshire Echo (22 October, 1925 - p.1)


The Derby Daily Telegraph (24 October, 1925 - p.3)


     Attractive programmes have been arranged for the Picture House for the forthcoming week. On Monday, Tuesday, and Wednesday the super-production, “The Stardust Trail,” will be exhibited for the first time, the film featuring Shirley Mason. This is the story of a theatrical star who weds a member of the profession, for whom a rival lays in wait. Fascinating and intimate views of life behind the scenes and the footlights form a feature in this production. Bryant Washburn plays opposite Shirley Mason, the remainder of a talented cast including Richard Tucker, Thomas Mills, and Shannon Day. For the second portion of the week Milton Rosmer and Pina Menichelli will appear in the powerful Robert Buchanan story, “Woman and the Man.” This is a tale of a hasty marriage, full of dramatic passages and pathetic human touches. It provides capital screen fare, and has the advantage of being played by such polished artists as Milton Rosmer and Pina Menichelli. Each programme will contain the usual series of up-to-date comedies and items of interest, including in the first portion of the week the first episode of the new serial, “The Mysterious Pearl,” featuring Ben Wilson and Neva Gerber.

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Four film versions were also made of When Knights Were Bold. This play, first produced in 1906, and credited solely to ‘Charles Marlowe’ (Harriett Jay’s pseudonym), was originally a Buchanan and Jay collaboration from 1896 entitled, Good Old Times. Since Buchanan’s name was never attached to the play or the films I have not included the latter in this filmography but full details are included in the section below:

When Knights Were Bold - The Films



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The Fleshly School Controversy
Buchanan and the Press
Buchanan and the Law


The Critical Response
Harriett Jay


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