Stella Maris

Stella Maris

Stella Maris

Stella Maris

029: Stella Maris (1918); released 1/21/1918; viewed 1/15/06 1918. The United States declares war on Germany, joining the Great War at last. The Russian Revolution has left the royal family dead. The very first Pulitzer Prizes are awarded. T.E. Lawrence leads Arabian troops to capture Aqaba from the Turks. John Tolkien, age 25, begins writing his Book of Lost Tales, while in the trenches, the first work that would become the world of Middle-Earth. Births: Ernest Borgnine, Zsa Zsa Gabor, Desi Arnaz, Ella Fitzgerald, Raymond Burr, Dean Martin, John F. Kennedy, Jack Kirby, June Allyson, Joan Fontaine. Deaths: William 'Buffalo Bill' Cody, Mata Hari. DOUG: So before we move on to the 30s and attack the sound era full-on, we will first go back and cover certain personalities more thoroughly. First off, PickFair. Our first bonus feature starring Mary Pickford is Stella Maris. We watched this early in the morning, and only half awake, so we had to re-watch the highlights later. Overall, not all that interesting. I was impressed at Ms. Pickford's dual role; if I didn't know that she played both Stella and Unity, I never would have guessed. The title character is a young invalid who is cared for and sheltered by an upper-class couple, blissfully unaware of the horrors of the real world. Eventually an operation restores her legs, and when she gets her first look at the world outside her bedroom, she is (rather predictably) horrified. Pickford also plays Unity Blake, an orphan who lives on the street, obviously Stella's opposite by being all too familiar with the horrifying real world. Another good performance comes from Marcia Manon, who plays the horrible, alcoholic Louise, married to the long-suffering John. The movie reaches its highest moment of drama when Unity confronts Louise, who had beaten her severely in an earlier scene, and shoots her dead. KEVIN: Had this film been on the list to begin with, it would have been the second film we watched. I liked this one better than My Best Girl, but not as much as Sparrows. I thought Mary Pickford's dual performance was impressive. If the title cards didn't give away that she played both Stella and Unity Blake, I would not have been able to tell the difference. When the aunt and uncle comment on their resemblance, I thought, "They don't look much alike to me." I was not a fan of Unity's thick cockney accent, every syllable of which is phonetically displayed in the intertitles. The movie did get very sappy, but I guess that's just a sign of the times. The scene where Unity kills Louise was effective, but everyone's reactions to that event afterward lacked dramatic punch. Next film: Daddy-Long Legs (1919) The Movie Odyssey is an exhaustive, chronological project where we watch as many milestone films as possible, starting with D.W. Griffith's Intolerance in 1916 and working our way through, year by year, one film at a time. We also write a short review for each and every film. In this project, we hope to gain a deeper understanding of the time period, the films of the era, and each film in context, while at the same time just watching a lot of great movies, most of which we never would have watched otherwise.

I know that my 6 star rating won't be popular with many Pickford aficionados but it's my personal rating. I love silent film, often using staying up late as an excuse to watch one. It might have been the result of this film following Metropolis (hard to beat) or that I am obsessed with Louise Brooks films, but the story was a little flat. Also, even allowing for temporal gender/economic attitudes I felt annoyed by the blatant message in the end that basically said - "If you are ugly and poor, then it is only right for you to give up your life and dreams for the beautiful and rich." I am sorry but I had a hard time staying awake for this one. Perhaps other viewers will find enjoyment I did not. Pickford was simply AMAZING and the best part of the film, it was truly hard to believe I was seeing the same actress playing both characters.

By 1918, Mary Pickford was the Queen of Hollywood. Her fans craved her "Little Mary" character and adored her pictures. Within a few years she would be, by far, the most popular performer in the movie world. That's why "Stella Maris" was an important departure for her. Playing two roles who were so different was, for her, a brave move, and allowing what impishness that there was in the film to come out through the character of Unity was a good decision. Mary Pickford was a beautiful woman, and probably the best businessperson in Hollywood. She knew what her fans wanted and this film allowed them to have it and still let her be more grown up. Pickford was also a better actor than we may realize and shows it through the poignancy of her portrayal of Unity. Pickford's popularity made it difficult to move on to more mature roles. She may have chosen to have a much longer career if she could have played them. It's sad to note that she eventually became reclusive and had to be convinced to allow her films to be shown. Maybe if she had, we'd think of her as more than America's Sweetheart today.

Stella Maris is undoubtedly a real classic and a courageous achievement for the worlds most adored and beautiful star to play an ugly character, an act unprecedented for it's time in cinema, and many close to the actress were amazed when Mary said she was determined to do it. This films success is also due to Frances Marion's intelligently written scenario, which enables the story to break through the constrictions of melodrama. This picture was not filmed on any spectacular sets, and the charming Dickensian atmosphere was accomplished with small details that are so typical of old London. All the players perform their roles naturalistically, but it is the performance given by Pickford that fascinates. She brilliantly devised the make-up for her startling appearance of the pathetic Unity Blake, and brings endearing qualities to her character. Of course Stella Maris is the epitome of pureness and sweetness, but Mary portrays Stella with an believable sympathetic character, rather than spoiling her. Pickford's bravery playing the dual roles won her universal praise from critics and watching this film cements the fact that Mary Pickford could really act and the scenes where both Stella and Unity interact are extremely mesmerizing and poignant. With the outstanding restoration of this film, one can again appreciate the beauty and ravishing close-ups achieved with the finest cinematography Pickford demanded for her pictures. I never tire of watching this superb film, that is my favourite of all Mary Pickford's silents. I highly suggest the viewing of Stella Maris for anyone just discovering silent cinemas most amazing actress.

The early silent film "Stella Maris" provides a double dose of Mary Pickford for her fans as she plays both the title role of Stella Maris and that of another young girl, Unity. Ms. Pickford skillfully differentiates the two characters and is convincing as both young women. Stella Maris is a rich, bedridden young woman who has been shielded from the reality of life by her parents, and Mary Pickford plays her as the quintessential Pickford heroine in lacy frills, long curls, and winsome glances. However, Mary loses herself in the part of Unity, who is an orphan that has been buffeted by events and hardened by life. In this second role, Pickford appears without makeup, with her hair straight and tightly pulled back, and dressed in plain cotton dresses, and she excels in creating a character that is entirely different from her usual screen image. In fact, if the viewer were not told in the inter-titles who was playing the role, she would be nearly unrecognizable. The film cuts between the lives of the two girls until they intersect, and the few shots that show Mary playing a scene with herself are quite effective when the age of the film is considered. Production values throughout are at a high standard for the time as befitting a Mary Pickford vehicle, and the acting for the most part is more naturalistic than many silents of that era, although at least one actress does emote in the grand style. Conway Tearle, however, appears too old and stodgy for modern tastes to be a convincing object of young women's affections, although 90 years ago he may have been a matinée idol since tastes do change over time. "Stella Maris" is a sentimental tale and seems targeted at a young female audience in a simpler, more naive period. However, film history buffs will enjoy what is an excellent Mary Pickford showcase and a fine example of first-class film-making from the post World War I era.

If you are not familiar with silent films, and not likely to see many of them, see this. It is one of the best. I have the following reasons for putting this film on my top ten silent films: 1. Mary Pickford plays two completely different characters, both excellent performances. 2. Coming out in 1918, at the time of WWI, this film has the poignant subject matter of a girl sheltered from awareness of the cruelty of the world, who later discovers the truth about war and poverty and violence. In less than an hour and a half, we see the joy of love and the pain of human existence. An existential nutshell... Enjoy....

Mary Pickford (as Stella Maris) is a beautiful, but bedridden, paraplegic; she "has been tenderly shielded from all the sordidness and misery of life." Ms. Pickford (as Unity Blake) is, also, "another little prisoner of fate, 'The Ugly Duckling' of a London orphanage." Pickford's "Stella" lives luxuriously, with Aunt Ida Waterman (as Lady Blount) and Uncle Herbert Standing (as Sir Oliver Blount). Dashing cousin Conway Tearle (as John Risca) is a gentleman caller, and future love interest. Mr. Tearle is rather unfortunately married, however, to alcoholic Marcia Manon (as Louisa Risca). Ms. Manon visits the London orphanage, and espies Pickford's "Unity". Apparently, she has arranged to adopt "Unity" as a servant (should the waif be able to find her way to Manon's home). Upon arrival, "Unity" is treated as a slave; and, after nearly beating "Unity" to death, Manon lands herself in the pokey. Soon, Tearle is left responsible for "Stella" and "Unity"; and, both of Pickford's crippled women fall in love with him. Who will he choose? The predictable "Stella Maris" story is somewhat poorly told. The events, and time frames given, make for an incredibly disjointed storyline. If only events were more fully explained; for instance, how is it that "Unity" is adopted (or, re-adopted?), hidden from her lovely lookalike's open portals for so long, and gets romantic with her adopted father? And, he, remember, is still married, and courting his cousin? Perhaps, the confusion could be ended with a re-fashioning of the film's title cards. Small details, like the spelling of characters' names, are likewise inconsistent. It's odd that an otherwise obviously fine production should suffer from more than a few distractions. "Stella Maris" is, however, redeemed by its incredible performances; particularly those essayed by Pickford and Manon. Pickford's "Unity Blake" is utterly riveting; and her "Stella Maris" is no slouch, either. The contrasting roles, directed by Marshall Neilan, really allow Pickford to show her incredible prowess as an actress, rather than as a personified "star". It may be true that Pickford was able to play "Unity" without repercussion, because audiences could also have her lovely, curled "Stella". She is so good that an unenlightened viewer (who misses an occasional title card) may not believe Pickford was playing both roles. Pickford delivered many fine performances, but "Stella Maris" may be THE one to show a Pickford detractor. Certainly, Mary Pickford was a 1918 "Best Actress", for her dual role; and Marcia Manon's addicted, sadistic wife was the year's "Best Supporting Actress". ********* Stella Maris (1/21/18) Marshall Neilan ~ Mary Pickford, Conway Tearle, Marcia Manon, Ida Waterman