Le roman de Mary

Mary Pickford, that gamine of silent movie cinema is showcased in what might have been her best performance. Being nary a fan of her performance, I think this high praise indeed. I believe if there were the Academy Awards in those early days of cinema, she clearly would have worn it. She did win one in 1929 for Coquette which is just terrible, at least from a modern perspective- static camera movements and broadway like staging undermine any goodwill. Like much of today's actresses who win Oscars eg Charlize Theron and Nicole Kidman, the make up artist deserves high praise. The dsiparity between Unity and Stella is so convincing that when using technology of the time, they are placed in the same shot together, it is startling to wonder how it was acheived. The story is a classic melodrama about a man with a slightly crazy,evil and alcoholic wife who is bewedded to. There is Stella, a cripple whom the horrors of the world is shielded from and there is Unity, an orphan who has experienced the worst of the world and is almost bitten to death by the crazy wife, sending her to jail and making her husband in a case of pity and symphathy, Unity's guardian. Stella learns to walk after an operation and lives her sheltered enclosure to experience the hubris of life, learning about poverty, murders and other human evils. This shatters her. She and Unity are both in love with the kindly and gentle man. Lest to say for love to survive and conquer all, certain sacrifices are made. This is obviously a first rate production with grand art direction and gorgeous cinematography setting the mood but there are aspects that derail the movie including the inefficient rationalization of Stella's awakening. It is handled rather patly and not psycologically probing. I also found the the man character rather bland and boring as effused. The director's symbolism is rather thick especially the use of the cat and a dog to express the disharmony in the world. All in all, a dynamic performance by Pickford as Unity and a fairly rousing Victorian denouemwnt and resolution make it a see. It might help if you knew it was a huge box office smash surprising studio bosses.

This is a fine old silent melodrama with an outstanding dual performance by Mary Pickford, certainly one of her greatest accomplishments. The story itself is quite good, and the rest of the cast is solid as well, but it is Pickford who holds your attention from start to finish with a wonderful portrayal of two very different characters.

Both of her characters are wonderful creations, and Pickford's portrayals bring both of them to life convincingly and memorably. Stella and Unity have vastly different appearances, life experiences, and personalities, and Pickford even gives them distinctive mannerisms and expressions. This allows the story to bring them together seamlessly in a plot that itself offers good, thoughtful drama and some good comic moments as well. You quickly come to care for both Stella and Unity in different ways, and feel for them as they learn some often difficult lessons about life.

While probably little-known today, "Stella Maris" is a terrific movie, one of the best of its era. If you enjoy silent films, you'll probably find it well worth the trouble to track down.

This is a lovely little film, another Mary Pickford film that has been long available to cherish as an artifact from a long forgotten era beautifully preserved by the Mary Pickford Institute. Most silent fans would perhaps think of Pollyanna, Rebecca or Sparrows as being her best work but I would put this one in there too, not only for her acting but also the production.

She plays Stella Maris - a cripple who has been completely and tenderly shielded from The World by her Uncle and Aunt, so has a few shocks when she's finally able to walk and process information for herself. She convincingly plays Stella Maris complete with pretty curls glistening in soft focus and dripping elegance. She also convincingly plays orphan girl Unity Blake adopted by the man she loves, the more elderly looking and well-chiselled John Risco (Conway Tearle). The problem was of course that rich Risco had previously married a "commoner" with a drink problem – like many in the original cinema audiences perhaps – one of the peripheral familiar messages here being that when the working class is teetotal they're likely to be as faithful as dogs to their masters and mistresses. Even to the death. For the plain girl Unity she plastered her hair with Vaseline and walked lopsided as though she had had to carry children for years – so well that her mother visiting the film set was worried that she was turning into Unity, and also had to tell a worried Adolph Zukor that the character died early in the picture. In fact, these are 2 of Mary's finest performances ever, and in the one film. There's some nice languid photography, sometimes pretty inventive with great tinting throughout, overall engrossing stuff for 1917, and augmented in the Milestone Films release with a fantastic orchestral music score by Phillip Carli.

The 84 minutes are well plotted (even with a couple of large implausibilities, the largest being just how fast and hard the Law dealt with Mrs Risco for her violence) never drag and are additionally clean and decent – would that it could still be the same for these speedier earthier techno times! If you really like silent melodrama you must see this fine romance.

Mary Pickford would likely have won that year. If you didn't know that Stella Maris and Unity Blake were played by the same actress, you probably would not guess that they were. Stella Maris has been paralyzed her entire life. Fortunately, her family is wealthy so they can give her the best of care. However, she is still bedridden. Her relatives feel so sorry for her that they keep all bad news from her, and with her only seeing the beauty of nature visible from the spectacular view of her bedroom window, and with her only encountering the kind souls that enter the world that is her room, she has grown to young womanhood knowing nothing of the ugliness of life.

In contrast, Unity Blake is an orphan at an orphanage and is a very plain girl on top of everything. Louisa Risca, a drunken woman with a drug habit to boot, adopts Unity as a servant girl who won't/can't complain about her habits. It's quite touching when Unity first thinks she's getting a mother and instead realizes that instead she is just a servant, and an indentured one at that. The common thread between Unity's and Stella's very different worlds is John Risca (Conway Tearle), husband of Louisa and frequent visitor of Stella Maris. At the insistence of Stella's aunt and uncle, John has never told Stella that his wife is an addict or that he is even married for that matter.

One day, in a drunken rage, Louise beats Unity to the brink of death over a mistake the girl has made in doing the marketing. Not even John's connections can save Louise from doing three years in prison for this deed. Meanwhile, a prominent European surgeon restores Stella's ability to walk and she is now able to explore the world - the whole world - with all of its ugliness as well as its beauty. John Risca makes Unity his ward to compensate in his own way for what his wife has done. Thus Unity, for the first time, gets to see some of the beauty in life. Thus the worlds of these two girls collide with very interesting and powerful results - I'll let you watch and see what happens.

This is very sophisticated story-telling and acting for a 1918 film. If you are disappointed at all, please remember this film was made just three or so years out from a time when comedy mainly consisted of pants kicking fests and drama of maidens being tied to railroad tracks. Of course the greatness of this film lies not only in Mary Pickford's convincing portrayal of two very different people, but in Frances Marion's adapted screenplay, Ms. Marion being one of the great writers for the screen in the silent and early sound eras.

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