Le roman de Mary

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

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 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.

Lovely, crippled STELLA MARIS lives like a princess, sheltered from all of the world's unpleasantness. Orphan Unity Blake, on the other hand, suffers under life's harsh hand. These two young women are fated to be brought together with tragic, unforeseen consequences...

America's Sweetheart, Mary Pickford, even though a tremendous movie star, had always been bothered by the fact that show business had kept her from acquiring a normal education. She asked her dear friend, screenwriter Frances Marion, to tutor her. One of the books they read together was "Stella Maris" by William J. Locke. Mary quickly saw the novel's cinematic possibilities.

What startled the studio bosses was Mary's determination to play the parts of both Stella and Unity. She was sure this could be achieved convincingly. For the role of Unity, Pickford wore makeup that negated her pretty features, learned to stand & walk awkwardly & even insisted that she be photographed mostly using her right, less photogenic, profile. The effect was most believable.

The result was a triumph, professionally, artistically & at the box office. Mary tugged at the viewer's heartstrings, but never crossed the line into cheap mugging or maudlin histrionics. She earned her accolades with genuine, sincere emotion & pathos.

Frances Marion's screenplay allowed both of Mary's characters to share some screen time. Double exposure would produce a special effect that puzzled & delighted contemporary audiences.

Although Mary dominates the film, mention should be made of Conway Tearle who ably plays the strong, sensitive man who loves Stella; Marcia Manon is very effective as his brutal, alcoholic wife; and Josephine Crowell scores in another of her matronly roles.

After years of neglect, STELLA MARIS is available on video to enchant whole new generations of Pickford fans.

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.