"The White Sin" (1924) is available in both its 5-reel Kodascope cutdown (running 69 minutes) from Alpha and its original release length from Grapevine (running 75 minutes). It's hard to disguise the melodramatic nature of the plot but all the players except for the star, Madge Bellamy, have a good crack at it – and even Miss Bellamy manages to convince us in most of her scenes. The villain, played by Hallam Cooley, is almost in the same basket. As the heel of heels, Cooley is so convincing that it's difficult to believe he could have any change of heart at all, let alone
Comedian Billy Bevan is surprisingly at home as Cooley's evil accomplice, but the best acting in the movie comes from James Corrigan as the villain's millionaire dad. Director William A. Seiter of "The Little Church Around the Corner" (1923) is equally at home with tear-jerking melodrama here, and makes good use of his real locations, although he can do little to disguise some obvious short cuts in the fiery climax. 7/10 for the Alpha version, 8/10 for the Grapevine.
3 Reviews
Only in Hollywood!!!
kidboots4 July 2014
Warning: Spoilers
The Palmer Photoplay Corporation was just one of many correspondence schools that sprang up in the 19teens claiming to prepare men and women for jobs in the film industry but unlike some of the others, it thrived!! After setting up an advisory board in Hollywood where it was connected with Cecil B. DeMille, Lois Weber and Thomas Ince, it branched into movies. It acted more liked a Hayes office and the few titles it made (3) where of a highly moralistic tone ("His Forgotten Wife", "The White Sin" etc) and they found an ideal actress in Madge Bellamy. She was chocolate box pretty but had a highly emotional streak in her acting, so wronged servants and women trying to live down their past were just up her alley!!
Hattie Lou (Bellamy) is treated as a drudge by her Aunt Cynthia (Ethel Wales who played exactly the same sort of part (with the same wig) in "Miss Lulu Bett") - even though the kindly judge thinks that all the fault finding is driving Hattie away. The ice cream social finally does it - Hattie is dressed to the nines but Aunt takes offence at her prettiness and forbids her to go. At just the same time the City Limited makes a rare stop and Hattie steps in, to take the place of a maid who has been sacked for refusing to put up with the drunken flirting of one of the Van Gore's guest (Billy Bevan, proving once again he could handle straight roles).
Poor Hattie, full of romantic dreams, is a prey to the first bounder that tells her he loves her - Spencer Van Gore (Hallam Cooley). She is employed on a yachting trip and evil Spencer thinks it would be a hoot to go through a mock marriage with the love struck girl. The Captain has other ideas and steers the boat well beyond the three mile limit so, unknown to Spencer, the marriage performed is legal and binding.
Two years later, on another yachting trip, the group is lost at sea and Hattie, now destitute, goes to the Van Gores determined to tell the biggest lie of her life for the sake of her baby. Believing that the marriage was a sham, she spins a romantic version of events endowing Spencer with devotion and manliness, leaving out the sordidness and his parents believe her. She also meets Spencer's brother Grant back from the war and shattered in mind and spirit. Although John Bowers had the nominal lead he didn't have a lot to do other than sitting around looking grim and tired. He was married to Margueritte De La Motte and it is supposedly their story that was the inspiration for "A Star is Born" but neither were as big as the stars depicted in the movie and they were long separated before Bowers drowned off Catalina Island.
Probably the one weak spot in the movie - Spenser comes home (after being rescued from the island) and after realising that Hattie has found a home with his parents, he is quite prepared to resume where he left off - as the caddish seducer!! Hasn't he done any soul searching during his months on the island - obviously not!!!
How is it all going to sort itself out?? Well, there is a fire and Grace (Francelia Billington), long under Spenser's bullying thumb, finally shows some initiative and locks Hattie in her room so she can't be harassed by Spenser so of course when the fire starts Hattie and her baby are still trapped inside!!! Grant dashes in but is overcome by smoke - is Spenser going to show some back bone at last??? Francelia Billington had been working in films since 1912 where she was associated with Kalem and the legendary Nell Shipman.
Hattie Lou (Bellamy) is treated as a drudge by her Aunt Cynthia (Ethel Wales who played exactly the same sort of part (with the same wig) in "Miss Lulu Bett") - even though the kindly judge thinks that all the fault finding is driving Hattie away. The ice cream social finally does it - Hattie is dressed to the nines but Aunt takes offence at her prettiness and forbids her to go. At just the same time the City Limited makes a rare stop and Hattie steps in, to take the place of a maid who has been sacked for refusing to put up with the drunken flirting of one of the Van Gore's guest (Billy Bevan, proving once again he could handle straight roles).
Poor Hattie, full of romantic dreams, is a prey to the first bounder that tells her he loves her - Spencer Van Gore (Hallam Cooley). She is employed on a yachting trip and evil Spencer thinks it would be a hoot to go through a mock marriage with the love struck girl. The Captain has other ideas and steers the boat well beyond the three mile limit so, unknown to Spencer, the marriage performed is legal and binding.
Two years later, on another yachting trip, the group is lost at sea and Hattie, now destitute, goes to the Van Gores determined to tell the biggest lie of her life for the sake of her baby. Believing that the marriage was a sham, she spins a romantic version of events endowing Spencer with devotion and manliness, leaving out the sordidness and his parents believe her. She also meets Spencer's brother Grant back from the war and shattered in mind and spirit. Although John Bowers had the nominal lead he didn't have a lot to do other than sitting around looking grim and tired. He was married to Margueritte De La Motte and it is supposedly their story that was the inspiration for "A Star is Born" but neither were as big as the stars depicted in the movie and they were long separated before Bowers drowned off Catalina Island.
Probably the one weak spot in the movie - Spenser comes home (after being rescued from the island) and after realising that Hattie has found a home with his parents, he is quite prepared to resume where he left off - as the caddish seducer!! Hasn't he done any soul searching during his months on the island - obviously not!!!
How is it all going to sort itself out?? Well, there is a fire and Grace (Francelia Billington), long under Spenser's bullying thumb, finally shows some initiative and locks Hattie in her room so she can't be harassed by Spenser so of course when the fire starts Hattie and her baby are still trapped inside!!! Grant dashes in but is overcome by smoke - is Spenser going to show some back bone at last??? Francelia Billington had been working in films since 1912 where she was associated with Kalem and the legendary Nell Shipman.
An Improbable Melodrama for From Palmer Photoplay and Thomas Ince
briantaves30 October 2011
Warning: Spoilers
The White Sin was the second Palmer Photoplay production shot at the Thomas Ince studio, and was released by F.B.O. on February 24, six months after completion. The six reel movie was adapted by Del Andrews and Julian La Mothe from Harold Shumate's magazine story at a cost of $92,564, and had initially been announced as an Ince special. However, as I outline in my Ince biography, there was every reason for Ince to decide not to put his name on this melodrama relying on more than a few "far-fetched moments," in the restrained words of Variety, with improbable plot twists and coincidence at every turn.
The motto of The White Sin appeared in the first intertitle: "Romance—tempting us to escape from the gray realities of today into the rose-colored land of tomorrow." Hattie Lou (Bellamy) has only known a life of drudgery since the death of her parents. She lives in Farm Center under the heel of an aunt who has "no room for charity in her bigoted soul." When the Limited passes through town, it seems to offer Hattie Lou life, luxury, adventure, and romance, but she is too innocent to realize that the Van Horns aboard the train are nothing but wastrels. The maid of Grace Van Horn (Francelia Billington) has quit rather than endure Stubby (Billy Bevan), who "can hear the rustle of a dress a mile away," and Hattie Lou applies, unaware of the reason the position is open. On the family yacht, Nanka, Spencer Van Horn (Hollem Cooley) tells Hattie Lou that he is in love with her and the captain will marry them. He and Stubby intend it as a trick, but the captain double-crosses them, taking the vessel beyond the three-mile limit where the wedding will be valid. By morning, Spencer has new pursuits in mind, and abandons Hattie Lou ashore.
Two years later, destitute in New York, she reads that the Nanka has been lost with all hands and resolves to present herself and Spencer's child to his parents. She is warmly received, and tells them an imaginary story of Spencer's love and devotion, rather than his vile deception. A new, unselfish love springs up between her and Grant (John Bowers), the eldest son, an injured war veteran who felt he was a burden to all but who now finds a new reason to live. A brief shot of an island off the beaten track reveals that Spencer and Grace survive, foreshadowing the events to come. No sooner has Grant proposed to Hattie Lou and she accepted him than a telegram arrives that Spencer is on the way home.
Distraught, Hattie Lou is most concerned for the baby's legitimacy, still believing that the marriage was a sham. At first Spencer is surprised to see her, then after Grace reveals to Hattie Lou the truth of the marriage, decides she is once again conveniently at hand. Disgusted, Grace locks Hattie Lou's room to save her from Spencer.
As Moving Picture World noted, "The photography is at all times excellent. The climax of the picture is a fire scene, and it is here that the photographer, Max DuPont, has surpassed himself." Here was an "Ince punch" but one that was rather a deus ex machina to bring closure to the narrative. Scenarist Shumate justified the conclusion by noting its suspense. "At the time of the climax of the story, she has no way to turn, no possible means of solving the problems that have mounted until she is hemmed in. She is beset by insurmountable walls, lashed by the mad fury of conscience. She must make a decision for all time and yet any decision that she may make can only increase her peril and additionally arm her foes." Grant tries to break into her room but succumbs to the smoke. Family shame finally drives Spencer to rescue his brother and wife, but when after saving Grant, he returns to the flames for Hattie Lou, he is consumed by them. Hattie Lou lowers herself from a window with the baby, and the next spring she and Grant are happily united.
Shumate added, "To the director, William Seiter, credit must be given unreservedly for a clean cut handling of a story that could have been so easily overdone. Likely Mr. Seiter will make innumerable stories far better than this one, but he will never handle characters with greater dexterity and greater clearness of purpose." Highlights included some vivid prose and dynamic illustrations in the intertitles. As for the lead, in Shumate's words, "Bellamy is alluring, sympathetic and totally devoid of false mannerism. She might have been Hattie Lou come to life." Variety echoed that she "does splendid work in this feature in a role calling for constant emotional pyrotechnics and considerable versatility." However, Cooley's Spencer was so oily a rake as to resemble the serial caricature of a villain.
The motto of The White Sin appeared in the first intertitle: "Romance—tempting us to escape from the gray realities of today into the rose-colored land of tomorrow." Hattie Lou (Bellamy) has only known a life of drudgery since the death of her parents. She lives in Farm Center under the heel of an aunt who has "no room for charity in her bigoted soul." When the Limited passes through town, it seems to offer Hattie Lou life, luxury, adventure, and romance, but she is too innocent to realize that the Van Horns aboard the train are nothing but wastrels. The maid of Grace Van Horn (Francelia Billington) has quit rather than endure Stubby (Billy Bevan), who "can hear the rustle of a dress a mile away," and Hattie Lou applies, unaware of the reason the position is open. On the family yacht, Nanka, Spencer Van Horn (Hollem Cooley) tells Hattie Lou that he is in love with her and the captain will marry them. He and Stubby intend it as a trick, but the captain double-crosses them, taking the vessel beyond the three-mile limit where the wedding will be valid. By morning, Spencer has new pursuits in mind, and abandons Hattie Lou ashore.
Two years later, destitute in New York, she reads that the Nanka has been lost with all hands and resolves to present herself and Spencer's child to his parents. She is warmly received, and tells them an imaginary story of Spencer's love and devotion, rather than his vile deception. A new, unselfish love springs up between her and Grant (John Bowers), the eldest son, an injured war veteran who felt he was a burden to all but who now finds a new reason to live. A brief shot of an island off the beaten track reveals that Spencer and Grace survive, foreshadowing the events to come. No sooner has Grant proposed to Hattie Lou and she accepted him than a telegram arrives that Spencer is on the way home.
Distraught, Hattie Lou is most concerned for the baby's legitimacy, still believing that the marriage was a sham. At first Spencer is surprised to see her, then after Grace reveals to Hattie Lou the truth of the marriage, decides she is once again conveniently at hand. Disgusted, Grace locks Hattie Lou's room to save her from Spencer.
As Moving Picture World noted, "The photography is at all times excellent. The climax of the picture is a fire scene, and it is here that the photographer, Max DuPont, has surpassed himself." Here was an "Ince punch" but one that was rather a deus ex machina to bring closure to the narrative. Scenarist Shumate justified the conclusion by noting its suspense. "At the time of the climax of the story, she has no way to turn, no possible means of solving the problems that have mounted until she is hemmed in. She is beset by insurmountable walls, lashed by the mad fury of conscience. She must make a decision for all time and yet any decision that she may make can only increase her peril and additionally arm her foes." Grant tries to break into her room but succumbs to the smoke. Family shame finally drives Spencer to rescue his brother and wife, but when after saving Grant, he returns to the flames for Hattie Lou, he is consumed by them. Hattie Lou lowers herself from a window with the baby, and the next spring she and Grant are happily united.
Shumate added, "To the director, William Seiter, credit must be given unreservedly for a clean cut handling of a story that could have been so easily overdone. Likely Mr. Seiter will make innumerable stories far better than this one, but he will never handle characters with greater dexterity and greater clearness of purpose." Highlights included some vivid prose and dynamic illustrations in the intertitles. As for the lead, in Shumate's words, "Bellamy is alluring, sympathetic and totally devoid of false mannerism. She might have been Hattie Lou come to life." Variety echoed that she "does splendid work in this feature in a role calling for constant emotional pyrotechnics and considerable versatility." However, Cooley's Spencer was so oily a rake as to resemble the serial caricature of a villain.
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