The Sorrowful Shore

1913
17min

MA NOTE

Ajouter une intrigue dans votre langueThere dwelt the widowed fisherman and his indulged son. Then the girl, the sole survivor of the wreck, came into their lives. The father suppressed his own love, realizing the son could offe... Tout lireThere dwelt the widowed fisherman and his indulged son. Then the girl, the sole survivor of the wreck, came into their lives. The father suppressed his own love, realizing the son could offer youth instead of age, but the young woman decided otherwise. It was through the young wi... Tout lireThere dwelt the widowed fisherman and his indulged son. Then the girl, the sole survivor of the wreck, came into their lives. The father suppressed his own love, realizing the son could offer youth instead of age, but the young woman decided otherwise. It was through the young wife's attempt to make peace without exposing the son that the sorrowful shore revealed anot... Tout lire

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Photos

Rôles principaux10

Modifier

Harry Carey

The Widowed Father

Christy Cabanne

The Widowed Father's Son
(as W. Christy Cabanne)

Olive Carey

The Orphan
(as Olive Fuller Golden)

Frank Opperman

The Orphan's Father

Robert Harron

One of the Son's Friends

William Courtright

On Shore
(non crédité)

J. Jiquel Lanoe

On Shore
(non crédité)

Jennie Lee

On Shore
(non crédité)

Adolph Lestina

On Shore
(non crédité)

Mae Marsh

On Shore
(non crédité)

Réalisation
- D.W. Griffith
Scénario
- Christy Cabanne
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Avis des utilisateurs1

Avis à la une

deickemeyer

Not the strongest way of making the situation powerful

A rather heavyhearted tragedy dealing with fisher folk. It has three chief roles, a father, his son and a girl who is washed up from a wreck, a sole survivor. The working out of the triangle in this case brings all three to their deaths by drowning. The acting is competent, although the cameraman seemed to be a bit off the best speed in taking the scene in which the older man accuses the girl whom he has now married, of loving the son. The letter she writes is convincing, but the son's tearing of it to deceive the father, and the ease with which this is accomplished, are not strongly so. In drama, the deaths of all concerned is not the strongest way of making the situation powerful, as it really denies emotion. We are not left very deeply interested in these three people. - The Moving Picture World, July 19, 1913